Tolstoy Tyutchev Fet?
3 What unites and distinguishes two literary eras - the first and second half of the 19th century century?
4 How did the stylistic richness of Russian literary classics of the 19th century manifest themselves?
Please, help! Submit tomorrow!
please help me with literature (A.S. Pushkin From Pindemonti) 1) What is not dear to the lyrical hero of the poem? Why? 2) for what purpose in the poemwere words from Church Slavonic vocabulary used? write down 3 examples, give modern meanings. 3)What life values states the lyrical hero of the poem? 4) What does this poem make you think about? What new did you learn about Pushkin by reading this poem?
I ask someone, I don’t have time to write everything myself 2,5,6,7,9,4whoever can (help a lot) this is an internal exam in literature 1. What is the tragedy of the love of Zheltkov, the hero of Kuprin’s story “ Garnet bracelet»?
2. Prove that for the hero of Kuprin’s story “The Garnet Bracelet,” love is the highest value of the world.
3. Show the richness of the spiritual world of the heroine of Kuprin’s story “Olesya”.
4. Prove by giving examples from Kuprin’s works that his favorite hero is a young man, gentle, intelligent, conscientious, ardently sympathetic to his “little brother” and at the same time weak-willed, tragically subject to the forces of the environment and circumstances.
5. Why is the era of poets of the early 20th century characterized as “ silver Age"Russian poetry? What are its fundamental differences from the “golden age”?
6. What three pieces of advice does the lyrical hero of the poem V.Ya. give to the young poet? Bryusov "To the Young Poet"? Do you agree with his position? What, in your opinion, should a true poet be? Read the poem by heart.
7. Tell us what you know about Bryusov, the translator. Name its main translations. What languages are they used in?
8. How does Balmont’s lyrics show interest in ancient Slavic folklore? What images arise? Analyze the poems “Evil Spells” and “Firebird”.
9. What picture does Balmont paint in the poem “First Love”? Tell us about your perception of this poem.
10. Describe the work of early Mayakovsky. What are its main specific features? Read one poem from this period by heart.
11. “Freedom is the most beautiful thing in life, for the sake of it a person should be ready to sacrifice everything, even his life.” Confirm Gorky’s words with examples from his stories “Makar Chudra” and “Old Woman Izergil”.
12. Prove that even a crazy but extraordinary step, according to Gorky, will remain in people’s memory. Give examples from “The Song of the Falcon”, “The Song of the Petrel”, “The Legend of Marco”.
13. What is the meaning of the title of the play “At the Bottom”? Explain its symbolic meaning.
14. Who is Blok’s cycle of poems “Poems about a Beautiful Lady” dedicated to? What was it written for? Analyze 3 poems from this collection. Read one by heart.
15. How is the theme of the House revealed in Bulgakov’s novel “The White Guard”? What symbolic meaning does the word “house” have for Bulgakov?
16. What philosophical problems are raised in Bulgakov’s novel “The Master and Margarita”?
17. Show the inextricability of the connection between Tsvetaeva’s fate and creativity and Moscow. Analyze the cycle “Poems about Moscow”. Read one poem by heart.
18. Describe the image of the lyrical heroine of the poem “Requiem”.
19. Describe the Cossack life depicted by Sholokhov. Show the peculiarities of Cossack speech. How they help the writer convey the vitality of the setting. How does a writer depict the life of a village?
20. Describe the family structure of the Melekhovs, Korshunovs, Astakhovs. Make a comparative description.
21. How the First is depicted in the novel “Quiet Don” World War?
22. Compare Aksinya and Natalya, explain Gregory’s feelings for each of them. What is the significance of the heroines' names? Why do they both die?
23. What is the meaning of the title of Sholokhov’s story “The Fate of a Man”?
24. Give a detailed description of military prose and poetry. Analyze 2 works.
25. Give a detailed description of urban prose. Analyze 2 works.
Chapter from a new literature textbook for 10th grade
We introduce our readers to a chapter from the textbook “Russian Literature. 10th grade. Part 2", which is published by the Drofa publishing house. (The first part of the textbook, written by A.N. Arkhangelsky, was published at the beginning of this year.)
Fyodor Tyutchev. Writer of the Pushkin generation, poet of the Nekrasov era
You already know that literary historians consider the 1840s unsuccessful for Russian poetry. But it was precisely in this decade that the gift of two great lyricists began to unfold - Fyodor Tyutchev and Afanasy Fet. Paradoxically, readers did not seem to notice them; their lyric poems did not fit into the common idea of what a “correct” poetic composition should be. And only after Nikolai Alekseevich Nekrasov’s article “Russian modern poets” (1850) appeared in the most authoritative literary magazine of that time, Sovremennik, that it was as if a veil fell from the readers’ eyes.
Among others, Nekrasov wrote about the outstanding talent of Fyodor Tyutchev. And he reprinted 24 of his poems, first published in Sovremennik 14 years ago. In 1854, through the efforts of Ivan Sergeevich Turgenev, the first collection of Tyutchev’s poems was published. Shortly before this, 92 poems by Tyutchev were published as an appendix to the third volume of Sovremennik for 1854. And in the fourth volume of the magazine for the same year, Nekrasov published Turgenev’s enthusiastic article “A few words about the poems of F.I. Tyutchev"...
It was the mid-1850s. But Fyodor Ivanovich Tyutchev was only four years younger than Pushkin and began his journey in literature very early. For the Horatian ode “For the New Year 1816,” the young poet was accepted in 1818 as a “collaborator” in the Free Society of Lovers of Russian Literature. Then, in the second half of the 1820s, his poems were sometimes published in magazines and almanacs. With Vladimir Odoevsky, whose romantic prose we talked about in the last six months, Tyutchev simultaneously studied at Moscow University. And in 1836, Pushkin published a large selection of 24 Tyutchev poems in two issues of his Sovremennik magazine. The same one that Nekrasov then reprinted.
The selection was signed with the initials F.T. and entitled "Poems Sent from Germany"; it included masterpieces that would later be reprinted in all anthologies and anthologies of Russian classical poetry: “Be silent, hide and hide // And your feelings and dreams - // Let them rise and set in the depths of your soul // Silently like the stars in the night, - // Admire them - and be silent...” (“Silentium!”, circa 1830).
And yet Tyutchev did not become a poet of the Pushkin or at least Lermontov era. Not only because he was indifferent to fame and made almost no effort to publish his works. After all, even if Tyutchev diligently carried his poems to editors, he would still have to stand in the “queue” for a long time for success, for reader response.
Why did this happen? Because each literary era has its own stylistic habits, “standards” of taste; creative deviation from these standards sometimes seems like an artistic victory, and sometimes like an irreparable defeat. (Contemporaries in general are sometimes unfair in their assessments.)
The end of the 1820s–1830s in Russian poetry is the era of late romanticism. Readers expected poetry to depict human passions and insoluble conflicts between the individual and society. And Tyutchev’s poetry, both passionate and rational, was associated with tradition philosophical ode- a genre that was then revered as dead. Moreover, Tyutchev turned to the Enlightenment times through the head of the romantic era. His complicated style, expressively broken rhythms were equally alien to both the “poetry of reality” of Pushkin and the romantic, intense lyricism of Lermontov.
In the poem just quoted, “Silentium!” the sensitive ear of a reader of poetry will easily discern a rhythmic “glitch” - the fourth and fifth lines of the first stanza are converted from bimeter to trimeter, from iambic to amphibrach. Anyone familiar with the “norms” of poetry of the late 19th and 20th centuries will not be surprised; this “failure” is actually artistically justified, conveys a feeling of anxiety, we literally physically feel how the poet is struggling with himself, with the inability to express his soul - and the need to communicate with the addressee. And the reader of the 1830s, pampered by Pushkin’s rhythmic harmony and Zhukovsky’s musicality, shuddered as if from a false sound.
The landscape poems of early Tyutchev did not simply metaphorically depict the life of the human soul, as was customary in the poetry of the first half of the century. No, things were much more serious with him. The most detailed and “life-like” images of nature could at any moment turn into details of an ancient myth and be filled with cosmic meaning.
This is exactly what happens in the relatively early poem “Spring Thunderstorm” (1828, revised in the early 1850s), the first stanzas of which you all read in elementary school. But in fact the picture spring nature, which serenely rejoices in the young thunderstorm, is not important for Tyutchev in itself. It serves as a transition to the main, final quatrain:
You will say: windy Hebe,
Feeding Zeus's eagle,
A thunderous goblet from the sky,
Laughing, she spilled it on the ground.
Tyutchev looks through reality and sees the life of the ancient gods: Hebe, the goddess of youth, the daughter of Zeus and Hera, who on Olympus brought them nectar and ambrosia during feasts. In his worldview he pantheist, that is, perceives nature as an animate being. And in every blade of grass, in every leaf he sees the presence of God.
It is not for nothing that Tyutchev was so close to the teachings of the German natural philosophers(that is, the creators of the philosophy of nature) about the proximity of the kingdom of nature and the kingdom of history; in everything he revealed the struggle of eternal cosmic principles - harmony and chaos: “Oh, don’t wake the sleeping storms, // Chaos is stirring under them!”
The beginning of the way
Fyodor Ivanovich came from an old noble family; his early childhood took place in the Ovstug estate in the Oryol province (now Bryansk region). Initial education, as was customary in good families, was home; one of the first mentors of the young Tyutchev was the poet and translator Semyon Egorovich Raich. Thanks to this, Tyutchev was already translating Horace when he was twelve years old. His mother, born Countess Tolstaya, doted on “Fedenka.” In general, he was lucky with his family, he had a truly happy and serene childhood; the luxurious southern Russian landscapes sank into his very heart. Then the Tyutchev family moved to Moscow; Fedor, as a volunteer, attended lectures at the university by the famous professor Alexei Fedorovich Merzlyakov on Russian literature; lived partly in Moscow, partly on the Troitskoye estate near Moscow.
In 1821, he graduated from Moscow University as a candidate and went to the capital of the empire, St. Petersburg. Here the young poet began official service in the College of Foreign Affairs, but soon, thanks to family patronage, he received the position of a supernumerary official of the Russian diplomatic mission. And in July 1822 he left for Munich, where he was destined to spend 22 years.
It would seem that there is a serious contradiction here between the biography of the poet and his work. In Tyutchev’s numerous poetic responses to modern events, in descriptions of nature, in philosophical elegies, the same motif constantly sounds. This is the motive of love for the Fatherland, admiration for Russia, belief in its special, mystical purpose: “Russia cannot be understood with the mind, // It cannot be measured with a common yardstick. // She has a special status: // You can only go to Russia believe”.
And so it happened that the author of these lines spent the best part of his life almost constantly in “foreign” lands. The example of Gogol, who wrote the poignant Russian chapters of “Dead Souls” in Rome, immediately comes to mind. But the fact of the matter is that for Tyutchev, “real” Russia, “real” Russian landscapes were not as important as the great idea Russia, its generalized image. Being a convinced Slavophile, he dreamed of a grand future Slavic peoples with the Russian Empire at its head; that is why in the quoted poem he calls for Russia believe. In order to believe, not at all necessary see; rather the opposite. And why believe in what you see around you?..
Read another landscape poem by Tyutchev - “ Summer evening” (“The sun is already a hot ball...”). Keep track of how and at what point detailed description sunset flows into the image of Nature, likened to a living being.
Tyutchev and German culture
In Germany, Tyutchev communicated with the philosopher Friedrich Schelling, especially closely with Heinrich Heine, whom he first translated into Russian.
In fact, Germany, with its philosophy, with its culture of generalization, with its love for abstract concepts, was extremely close to the convinced Slavophile Tyutchev. He adopted the ideas of the Germans natural philosophers, convinced that the kingdom of nature and the kingdom of spirit (that is, human history) are related to each other. And that art connects nature and history. We have already reread the long-familiar poem “Spring Storm,” in which the real landscape becomes a reflection of the mysterious life of the gods. And in the poem “Dreams” (“Like an ocean envelops the globe...”), written in the early 1830s, the starry sky is likened to the ocean of human dreams:
As the ocean envelops the globe,
Earthly life is surrounded by dreams;
Night will come - and with sonorous waves
The elements hit their shore...
.........................................................
The vault of heaven, burning with the glory of the stars,
Looks mysteriously from the depths, -
And we float, a burning abyss
Surrounded on all sides.
This is the picture of the world created in Tyutchev’s poetry. His lyrical hero faces the whole Universe face to face and discerns in the small details of everyday life, in the lovely details of the landscape, the features of an invisible mystical creature - nature. Her life is full of contradictions, sometimes fraught with a threat to humanity, under the cover of her harmony lies romantic chaos: “Oh! Don’t sing these terrible songs // About ancient chaos, about my dear! // How greedily the world of the night soul // Listens to the story of its beloved! // He bursts from mortal breasts // And longs to merge with the infinite!.. // Oh! Don’t wake up sleeping storms – // Chaos is stirring beneath them!..” (“What are you howling about, night wind?..”, 1830s). But even at the moment of the most terrible cataclysm, nature is filled with greatness: “When the last hour of nature strikes, // The composition of the earth’s parts will be destroyed: // Everything visible will again be covered by waters, // And God’s face will be depicted in them!” (“The Last Cataclysm”, 1830).
Schelling’s natural philosophical teachings were also inspired by another classic poem by Tyutchev - “Nature is not what you think...”. Arguing with an invisible interlocutor, the lyrical hero professes faith in all-living nature, like a believer professes God:
Not what you think, nature:
Not a cast, not a soulless face -
She has a soul, she has freedom,
It has love, it has language...
..........................................................
They don't see or hear
They live in this world as if in the dark,
For them, even the suns, you know, do not breathe,
And there is no life in the sea waves...
It is not without reason that in these lines it is easy to discern an echo of Derzhavin’s poem “To Rulers and Judges”: “They will not listen! they see - but don’t know! // Covered with bribes of tow: // Atrocities shake the earth, // Untruth shakes the heavens.” Derzhavin rearranged the 81st Psalm (remember what the Psalter is); he looks at the vices of earthly rulers through the prism of the Bible, from the point of view of eternity. His social denunciation is inspired by a deeply religious feeling. And Tyutchev denounces his opponents the way a church preacher denounces sinners. For him, anyone who does not share the teaching of natural philosophers about the “divine”, living essence of nature is an apostate, a heretic.
So what? human life? She is fleeting in Tyutchev’s artistic world, her fragility is especially noticeable against the backdrop of the eternal and never-ending life of nature:
How a pillar of smoke brightens in the heights! –
How the shadow below slides, elusive!..
“This is our life,” you said to me, “
Not light smoke shining in the moonlight,
And this shadow running from the smoke...”
(“Like a pillar of smoke...”, 1848 or 1849)
Tyutchev's political lyrics
In 1841, Tyutchev visited Prague and met one of the leaders of the Czech national movement, Vaclav Hanka. Hanka was not only a public figure, but also a poet; by the way, he translated “The Tale of Igor’s Campaign” into Czech. In those years, the Slavic peoples, enslaved by the Turks and Austrians - Bulgarians, Serbs, Czechs, Slovaks, began to awaken from political slumber, their national self-awareness grew. On Russian Empire Many of them looked with hope; only with the support of Russia and in a cultural and political union with it could they count on liberation and independent state life.
The meeting with Ganka completed the process of forming Tyutchev’s worldview. From the very beginning he rejected any possibility of a revolutionary reorganization of the world. Already in his youthful poem “December 14, 1825,” dedicated to the memory of the Decembrists, the poet wrote: “You were corrupted by Autocracy, // And his sword struck you down, - // And in incorruptible impartiality // The Law sealed this sentence. // The people, shunning treachery, // vilify your names - // And your memory from posterity, // Like a corpse in the ground, is buried.”
In these poems there is no sympathy for “autocracy”, for autocratic Russia, but there is also no sympathy for the “rebels”. Tyutchev perceived autocracy as a natural support for Russia in the modern decaying world, which had already entered the first act of a universal catastrophe. It is also a revolution. And just as a swamp freezes only in winter, so the political “cold”, tough domestic policy should “freeze” Russia. And the whole world follows her.
But the colder Tyutchev’s political views on modernity were, the hotter the utopian dream about the future of Russia flared up in his mind. That same invisible Russia, in which “one can only believe.”
Thus, in his “everyday” life, the poet did not take into account church regulations. But as a political thinker, as an ideologist, he consistently contrasted Orthodoxy with Catholicism and the papacy. Catholicism was for him a symbol of the West with its threats, Orthodoxy was a symbol of Russia, the last island of conservative peace in the stormy sea of European revolutions. The Parisian revolutionary cataclysms of 1848 finally convinced him of this. And therefore the topic of Eastern Slavism naturally occupied a special place in Tyutchev’s poetic reflections. “Treacherous” Western Europe he finally contrasted Eastern, Slavic Europe:
Should we live forever apart?
Isn't it time for us to wake up?
And shake hands with each other,
To our blood and friends?
(“To Hanka”, 1841)
A union of Slavic lands led by Russia is Tyutchev’s ideal. This union should become global and expand “from the Nile to the Neva, from the Elbe to China” and include three capitals - Moscow, Rome and Constantinople. Therefore, the poet will perceive with particular drama the news of Russia’s defeat in the Crimean War of 1853–1856; Until the last moment he hoped that the revolutionary conspirators in Europe would undermine its power from within, but these hopes were not realized.
Tyutchev's worldview can be called utopian. What does it mean? The word utopia comes from the title of a fantasy dialogue about the island of Utopia; This dialogue, similar to a novel, was written in 1516 by the English humanist Thomas More. In his "Utopia" he depicted a harmonious society, which is based on the principles of justice, legality and a very strict order; in the subtext it was read that the life of Utopia is an image of the future, the goal of the development of European civilization, as More imagined it. Since then, people who project the future and rush towards it, as if sacrificing the present, are called utopians.
Utopians can be supporters of a variety of parties and offer society a variety of different, even mutually exclusive, ideas. He created a socialist utopia in his novel “What is to be done?” Nikolai Gavrilovich Chernyshevsky; as you remember, in Vera Pavlovna’s four dreams the image of future life in communes, the kingdom of universal justice, equality and brotherhood is presented. Tyutchev was a staunch opponent of communist ideas; discussions about socialism made him tremble. But at the same time, Tyutchev’s own views were also utopian; It’s just that the cornerstones of his utopia were not socialism, internationalism and equality, but an Orthodox empire, pan-Slavic brotherhood and enmity with the Catholic West.
In everyday conversation, we also sometimes talk about someone’s unrealistic dreams: well, just a real utopia. But in fact, utopian projects are not always unrealizable. The plans of the revolutionaries of the 19th century, who wanted to destroy the old world and build a new, socialist, happy one, seemed impracticable to many at that time. However, in the 20th century they were realized - in Russia, China, Kampuchea; For this, millions of lives were sacrificed, half the planet was drenched in blood.
Tyutchev, as you already know, was a staunch enemy of revolutionary utopia. But as often happens with utopians, he reflected dramatically, almost with hatred, on modernity. His political lyrics often contained accusatory notes and caustic characterizations. And in his philosophical lyrics, all these reflections rose to a completely different semantic level, sounding piercing and tragic:
It is not the flesh, but the spirit that is corrupted in our days,
And the man is desperately sad...
He is rushing towards the light from the shadows of the night
And, having found the light, he grumbles and rebels.
........................................................
Will not say forever, with prayer and tears,
No matter how he grieves in front of a closed door:
"Let me in! – I believe, my God!
Come to the aid of my unbelief!..”
(“Our Century”, 1851)
Love lyrics 
Poems of the “Denisiev cycle” Tyutchev was not known for monastic behavior; until his later years he retained a taste for social life, for salon splendor; his witty words were passed from mouth to mouth; Everyone around him knew about his amorousness.
Immediately after his first arrival in the capital of Bavaria, Munich (1822), he began a whirlwind romance with Amalia Lerchenfeld, married to Baroness Krüdener. But already in 1826 he married Eleanor Paterson, née Countess Bothmer (she was the widow of a Russian diplomat). And in 1833, he again began a new fatal romance - with Ernestina Dörnberg, née Baroness Pfeffel, who was soon widowed.
As a result of all these love affairs (with his wife alive), an international scandal began to brew. And Tyutchev, who was not particularly zealous in his service, it was decided to send to Turin as the senior secretary of the Russian mission - out of harm’s way.
But greedy sin was still hot on his heels. In 1838, Tyutchev’s wife died - she could not bear the shock experienced during a sea voyage with her three daughters from Russia to Germany. (The steamship “Nicholas I” caught fire and miraculously escaped flooding.) Fyodor Ivanovich, having learned about the death of his wife and children, turned gray overnight, but did not break off contact with Ernestina Dernberg, even temporarily. For his unauthorized absence from the Turin embassy (he went to Switzerland to marry his beloved), the poet-diplomat was eventually expelled from the sovereign's service and deprived of the title of chamberlain.
However, love lyrics were a rare guest in Tyutchev’s poetry. At least for the time being. It was difficult to combine lyrical poems about love with an orientation toward cosmism and philosophy. Therefore, lyrical passion beat in the very depths of Tyutchev’s work, almost without coming out. And when she did break through rational barriers, she took on very calm forms. As in the poem “I remember the golden time...” (1836).
Here the lyrical hero recalls a long-ago meeting on the banks of the Danube, talks about the transience of happiness - but this sadness is devoid of internal breakdown, as is usually the case in elegy:
...And the sun hesitated, saying goodbye
With the hill and the castle and you.And the quiet wind passes by
Played with your clothes
And from the wild apple trees, color after color
There was light on the young shoulders.
................................................
And you with carefree cheerfulness
Happy day spent;
And sweet is fleeting life
A shadow flew over us.
The lyrical plot of the elegy, a sweet memory of joy that has already ended and given way to current sadness, is turned into the lyrical plot of a romance. (Remember what definition we gave to this genre.) That is, softened to the limit, tension and tragedy have been erased from the poem, the wound has long healed, the scratch on the heart has healed. Tyutchev’s favorite thought - about the transience of earthly life, about the unsolved nature of its main secrets - is muffled and blurred here.
Having arrived in Russia for several months (1843), Tyutchev negotiated about his career future; the negotiations ended in success - and in 1844 he returned to his fatherland, receiving the position of senior censor. (In 1858, Tyutchev would become chairman of the foreign censorship committee.) The title of chamberlain was returned to him, Nicholas I spoke favorably of Tyutchev’s journalism; Fyodor Ivanovich hoped for the triumph of the Slavic idea and believed in the imminent establishment of the Great Greek-Russian Eastern Empire.
But in 1850, Tyutchev fell in love again - with 24-year-old Elena Denisyeva; she was a classy lady at the Catherine Institute, where the poet’s daughters were raised. By that time Tyutchev was already 47 years old, but, as contemporaries recall, “he still retained such freshness of heart and integrity of feelings, such a capacity for reckless love, not remembering oneself and blind to everything around him.” Three children were born from the extramarital union of Tyutchev and Deniseva. The ambiguity of the situation, however, depressed the poet’s beloved; she eventually developed consumption, and Denisieva died in August 1864. Having fallen into despair, Tyutchev went abroad and united with his former family (fortunately, the formal divorce from his wife was never formalized). But immediately upon returning from Geneva and Nice, in the spring of 1865, he experienced several terrible shocks one after another: two children he had from Denisyeva, a son and a daughter, died; his mother died soon after; after some time - son Dmitry, daughter Maria, brother Nikolai. Last years Tyutchev’s life passed under the sign of endless losses...
And yet one of the highest achievements of Russian love lyrics became Tyutchev's cycle of poems addressed to Deniseva. Thanks to this meeting, which ended so tragically in life, the lyrical element finally broke through into Tyutchev’s poetry, enhanced its drama, and animated it with deep personal feeling.
Love, love - says the legend -
Union of the soul with the dear soul -
Their union, combination,
And their fatal merger,
And... the fatal duel...
("Predestination", 1850 or 1851)
Here Tyutchev remains true to himself; The love drama is translated into a philosophical plane; in the center of the poem is not the image of the beloved herself, but the problem of love. But inside this problem, as if in a thin shell, lies the deeply personal experience of the lyrical hero; through abstract, extremely generalized words (“union”, “fatal merger”, “duel”) one can see the insolubility, unbearability of the situation in which he placed beloved woman, – and at the same time, unexpected happiness, given to him by life just before its decline. The same pathos animates the poem “Oh, how murderously we love...” (1850 or 1851), which is rightfully considered one of the masterpieces of Russian love lyrics:
Oh, how murderously we love,
As in the violent blindness of passions
We are most likely to destroy,
What is dear to our hearts!
..............................................
Where did the roses go?
The smile of the lips and the sparkle of the eyes?
Everything was scorched, tears burned out
With its flammable moisture...
Re-read the stanzas from the early poem “I remember the golden time...” again. And now compare his key images, conveying the idea of the “fragility” of earthly happiness (“flying wind”, “fleeting life”), with the figurative structure of the poem “Oh, how murderously we love...”:
So what now? And where is all this?
And how long was the dream?
Alas, like northern summer,
He was a passing guest!Fate's terrible sentence
Your love was for her
And undeserved shame
She laid down her life!
At the level of individual words, abstract images, everything is the same. In the center is the theme of transience, short-termism happy love, the inescapability of suffering: “A life of renunciation, a life of suffering! // In her spiritual depths // She still had memories... // But they changed them too.”
But how the very tone of the lyrical statement changes! From relaxed, refined, it becomes sharp, almost hysterical. The lyrical hero rushes between the feeling of inspiration that love brings and the tragedy of the circumstances in which it puts a person...
After Denisyeva’s death, Tyutchev wrote less and less. And fame, which came to him late, did not last long for his pride. Tyutchev's second collection, 1868, was received much cooler than the first. Old age bothered the poet; During his dying illness, he addressed a repentant and farewell quatrain to his wife Ernestine, who remained faithful to him despite everything:
The executing God took everything from me:
Health, willpower, air, sleep,
He left you alone with me,
So that I can still pray to Him.
Analysis of the work “Last Love” (between 1851 and 1854) 
This poem, as you probably guessed, is connected with Tyutchev’s real “last love,” with the middle-aged poet’s feeling for 24-year-old Elena Denisyeva. But this is not (at least, primarily) why it is interesting to readers of subsequent generations. What we have before us is not a diary entry, even if rhymed, but a lyrical generalization; Tyutchev talks about his personal feeling, but in fact he talks about any “last love”, with its sweetness and sadness.
And how contradictory the poet’s feeling was, how displaced, “wrong” the rhythm of the poem turned out to be. Let's try to follow his movement, listen to his intermittent breathing, like a doctor listening to a patient's breathing with a stethoscope; this will not be easy - we will have to use complex literary terms. But there is no other way to analyze the poems; they themselves are quite complex (that’s why they are interesting). To make the work ahead easier, remember in advance some concepts with which you have been familiar for a long time. What is meter, how does it differ from rhythm? What is metrical stress? How do two-syllable meters differ from three-syllable meters? What is iambic, dactyl, amphibrachium? Use dictionaries, encyclopedias, your school notes, and ask your teacher to give you the necessary explanations.
Do you remember? Then let's start reading and analyzing Tyutchev's poem.
Oh, how in our declining years
We love more tenderly and more superstitiously...
Shine, shine, farewell light
Last love, dawn of evening!
“Last Love” begins with the confessional confession of the lyrical hero; he confesses to the reader the tenderness of his feelings - and the fear of possible loss: “We love more tenderly and more superstitiously...” In the first line, the two-syllable meter, iambic, is emphasized and correct. There are no truncated feet here; the line is crowned with a masculine rhyme. (By the way, also remember what a truncated foot is, male and female rhyme.) And suddenly, without warning, in the second line, out of nowhere, an “extra” syllable appears, not provided for by the meter, the conjunction “and”. If it weren’t for this “and”, the line would be read as usual, it would sound without any glitches: “We love more tenderly, more superstitiously.” But, therefore, the poet needs this failure for some reason; Let’s not rush to answer the question of why exactly. Moreover, in the third line the meter is again strictly maintained, and in the fourth it is again “knocked down”: “Shine, shine, farewell light // Of last love, of the evening dawn.”
Of course, in all this “disorder” there is a special, higher order - otherwise we would not have before us a masterpiece of Russian lyricism, but an inept poetic craft. Look carefully, because not only the rhythm of the poem is contradictory, but also the system of its images. To convey all the sweet tragedy of the situation of his lyrical hero, all the hopelessness of his sudden happiness, the poet uses antinomic images. Think about what light he compares his last love with? Happy farewell, sunset. But at the same time, he addresses the sunset light as one addresses the bright midday sun: “Shine, shine!” Usually we talk about the evening light fading, going out. And here - shine!
So the rhythmic pattern of the poem is inextricably linked with its figurative structure, and the figurative structure with the intense experience of the lyrical hero.
But as soon as we have time to tune in to a certain mood, to get used to the sequential alternation of “right” and “wrong” lines, everything changes again in the second stanza:
Half the sky was covered in shadow,
Only there, in the west, does the radiance wander, -
Slow down, slow down, evening day,
Last, last, charm.
The first line of this stanza seems to correspond to its metrical scheme. Iambic he is iambic... But something has already subtly changed in the rhythm; this “something” is a neatly missed rhythmic stress. Try reading the line out loud, chanting and beating the rhythm with your palm, and you will immediately feel that there is something missing in the word “grasped.” This effect is explained simply: the metric stress falls here on the first and third syllables, and the linguistic stress only on the third (“obhvatIla”). The omission of metrical stress is called pyrrhic by poets; pyrrhichis seem to stretch the sound of the verse, lighten it and slightly blur it.
And in the next line the iambic is simply “cancelled”. Immediately after the first – iambic! - feet, the verse without warning jumps from two-syllable to three-syllable, from iambic to dactyl. Read this line, breaking it into two unequal parts. The first part is “Only there”. The second part is “...in the west, a radiance wanders.” Each of these hemistiches in itself sounds smooth and harmonious. One is how an iambic should sound (a foot consists of an unstressed and stressed syllable), the other is how a dactyl should sound (a foot consists of a stressed and two unstressed syllables). But as soon as we connect hemistiches into the tight confines of one poetic line, they immediately begin to “spark,” like oppositely charged poles, they repel each other. This is what the poet strives for, because the feelings of his lyrical hero are also overstrained, they also “spark”, they are also filled with internal conflicts!
The third line of this stanza is also written in trisyllabic meter. But no longer a dactyl. Before us is an amphibrach (a foot consists of an unstressed, stressed and again unstressed syllable). Moreover, another “glitch” is very noticeable in the line: “Slow down, slow down, evening day.” If Tyutchev wanted to “smooth out” the rhythm, he would have to add a monosyllabic word after the epithet “evening” - “mine”, “you” or any other. Try to mentally insert the “missing” syllable: “Slow down, slow down, it’s evening.” The rhythm has been restored, but the artistic impression has been destroyed. In fact, the poet deliberately skips a syllable, causing his verse to stumble and begin to beat in rhythmic hysteria.
The feeling of anxiety and torment is growing. This is noticeable not only in the rhythmic pattern, but also in the movement of the images: the bright sunset fades, half of the sky is already in shadow; Thus, the time of sudden happiness, given to the poet at last, gradually expires. And the brighter the feeling flares up, the closer the cold of the inevitable ending. But still -
Let the blood in your veins run low,
But there is no shortage of tenderness in the heart...
Oh you last love!
You are both bliss and hopelessness.
And at the same time, as the heart of the lyrical hero calms down, coming to terms with the short-term nature of his bliss, the rhythm of the poem “evens out.” Three iambic lines follow one after the other. Only in the last line does the rhythm shift again for a moment, as if a short sigh interrupts the monologue of the lyrical hero.
Remember literary terms: lyrical plot; metric accent; poetic cycle; philosophical ode; Utopia.
Questions and tasks
- Why is Tyutchev, who made his debut in the 1820s, rightfully considered a poet of the second half of the 19th century?
- How would you define the pathos of Tyutchev's lyrics, its cross-cutting theme, the dominant mood?
- What was most important in Tyutchev’s landscape lyrics – a detailed depiction of nature or mythological overtones?
- What is utopian consciousness and how did it manifest itself in Tyutchev’s political lyrics? What is the advantage of utopian consciousness and what is its danger?
- Analyze Tyutchev’s poem on your own according to the teacher’s choice.
Questions and tasks of increased complexity
- How did German natural philosophers influence Tyutchev?
- Read again Tyutchev’s translation of Heine’s poem “Pine and Palm Tree” (Tyutchev called it “From the Other Side”). Why did Tyutchev replace pine with cedar? Remember how the same poem by Heine was translated by Lermontov (“Two Palm Trees”). Whose translation seems more expressive to you? Which one, in your opinion, is closer to the German original? Try to justify your answer with examples from both translations.
- Read Tyutchev’s poetic translation from the poetic heritage of the great Renaissance artist Michelangelo Buonarroti:
Be quiet, please don't you dare wake me up.
Oh, in this criminal and shameful age
Not living, not feeling is an enviable lot...
It's nice to sleep, it's nicer to be a stone.
You already know how and what Tyutchev wrote in his poems about modernity. Connect this translation of an ancient quatrain with the constant motifs of Tyutchev's lyrics.
Topics of essays and abstracts
- Philosophical lyrics of Tyutchev.
- Fyodor Tyutchev and Russian landscape poetry.
- Tyutchev's political lyrics and Slavophile ideas.
* Aksakov I.S. Biography of F.I. Tyutcheva. M., 1997.
* Aksakov I.S. Fedor Ivanovich Tyutchev // Aksakov K.S., Aksakov I.S. Literary criticism. M., 1981.
One of the best publicists and literary critics of the Slavophile camp, Ivan Sergeevich Aksakov, wrote a short essay about Tyutchev and a short monograph “Biography of F.I. Tyutchev”, which marked the beginning of the scientific study of Tyutchev’s creativity.* Grigorieva A.D. The word in Tyutchev's poetry. M., 1980.
The author of the book is not a literary critic, but a linguist, a historian of the Russian literary language. HELL. Grigorieva shows how colloquial expressions and book rhetorical turns were combined in Tyutchev’s poetic language.* Tynyanov Yu.N. Pushkin and Tyutchev // Tynyanov Yu.N. Pushkin and his contemporaries. M., 1969.
The outstanding literary critic and writer Yuri Nikolaevich Tynyanov, whose works should already be familiar to you, believed that the generally accepted point of view in science at the beginning of the 20th century on the relationship between Pushkin and Tyutchev is nothing more than a legend. Unlike Ivan Aksakov, Tynyanov was convinced that Tyutchev was not at all a continuer of Pushkin’s line in poetry, that he outlined a completely different line of its development.* Ospovat A.L. “How our word will respond...” M., 1980.
A brief but comprehensive outline of the history of the creation and publication of the first book of Tyutchev’s poems.* Full name Tyutchev: Bibliographic index of works of Russian literature about life and work. 1818–1973 / Ed. preparation I.A. Koroleva, A.A. Nikolaev. Ed. K.V. Pigareva. M., 1978.
If you decide to get acquainted with the life and work of Tyutchev in more detail, prepare an essay, write a good essay, this book will be useful to you - with its help you will be able to select the necessary scientific literature.* Shaitanov I.O. F.I. Tyutchev: poetic discovery of nature. M., 1998.
A small collection of articles that speak in an accessible form about Tyutchev’s connection with German natural philosophy, about his poetic dispute with his predecessors. The book will be useful in preparing for final and entrance exams.
Undoubtedly, the poetry of Fyodor Ivanovich Tyutchev stood at the origins of Russian philosophical poetry. Its place and meaning is determined by its philosophical orientation. Contemporary readers felt the peculiarity of Tyutchev's lyrics. So, N.A. Nekrasov, in his 1850 article “Russian Minor Poets,” highly praised poetry: “everything he wrote bears the stamp of true and beautiful talent, ... full of thought and genuine feeling.”
Four years later I.S. Turgenev in a short article “A few words about the poems of F.I. Tyutchev" defined the special quality of Tyutchev's poetry: "... the poet needs to express one thought, one feeling, fused together, and for the most part he expresses them in a single way...". A.A. Fet, in his article “On the Poems of F. Tyutchev” (1859), already categorically called Tyutchev a “poet of thought.” Now we see that each of his contemporaries points to the main feature of Tyutchev’s poetry - the presence of thought in poetry.
In 1874, critic V.G. pointed out the philosophical nature of F. Tyutchev’s poetry. Avseenko: “... his poems... already reflect that need for reflection, which has become one of the signs of new poetry.” According to the philosopher-critic V. Solovyov, “Pushkin, as it were, left the revelation of the poetic meaning of natural life to his thoughtful contemporary Tyutchev...” I agree with the statements of critics V.G. Avseenko and V. Solovyov and I believe that the work of Fyodor Ivanovich is connected with the tradition of Pushkin’s poetry and correlates with the searches of contemporary poets, A. Fet and A. Tolstoy.
Attitude of F.I. Tyutchev, embodied in the unusual figurative and symbolic form of his poems, turned out to be in tune with the symbolist poets of the early 20th century: A. Blok, K. Balmont, Vyach. Ivanov, V.Ya. Bryusov, D. Merezhkovsky, D. Darsky. They saw Tyutchev as their immediate predecessor.
Literary critic Lev Ozerov succinctly and metaphorically said about Tyutchev: “Heir to the 18th century, child of the 19th, Tyutchev belongs entirely to our 20th century.”
The poetic heritage of Fyodor Ivanovich Tyutchev is small: just over two hundred poems. However, the scale of his poetry is not measured by the number of poems! It is determined by criteria of a different order:
There is a powerful spirit of dominion here,
Here is the color of refined life
Bibliography
1. Aksakov I.S. Biography of Fyodor Ivanovich Tyutchev M., 1986.
2. Kablukov V.V. Motive - motivic complex - model of the world // Problems of artistic world modeling in Russian literature of the 19th-20th centuries. Blagoveshchensk, 1997.
3. Kasatkina V.N. Poetry F.I. Tyutcheva M., 1978.
4. Kozhinov V.V. A book about Russian lyric poetry of the 20th century. M., 1978.
5. Kozhinov V.V. History of world literature: vol.6 M., 1989.
Composition
Russian literature XIX V. generously gifted us with priceless, highly spiritual works, introduced us to many outstanding poets, among whom a special place belongs to my favorite poet F. I. Tyutchev. One can say about his work in the words of Turgenev: “They don’t argue about Tyutchev: whoever doesn’t feel him, thereby proves that he doesn’t feel poetry.” Since childhood, we have been accompanied by the poems of Fyodor Ivanovich Tyutchev. Many of us did not yet know how to read, but we already knew his poems by heart. After the first acquaintance with his works, for many he later became the most understandable and beloved poet. We remember many of his lines when we want to express our deepest feelings. Even now, when I re-read his poems again and again, I understand and am amazed at the inexhaustible wealth of the Russian language. His poems serve as the best evidence of the power of the word.
Many of Tyutchev’s poems reflect deep love to nature, which is inextricably linked with love for the homeland. The poet tried to instill his selfless faith in his homeland in the people around him at that moment, as well as in the future generation. I remember a small, but containing so much meaning excerpt from Tyutchev’s letter to his daughter, in which he writes that in Russia she will find more love than anywhere else, she will feel all the good things about her people and will be happy that she was born Russian.
Through an appeal to nature, Tyutchev reveals all the beauty and uniqueness of our homeland, glorifies love for it, admires it and describes it with such precision that you will not find in any other poet. Fyodor Ivanovich in his poems provided the most succinct and poetically accurate pictures of his native nature. Thus, in his poem “Spring Thunderstorm,” he most accurately showed a thunderstorm over a field, forest, garden, over the green expanses of the beginning spring in Russia:
* I love the storm in early May,
* When spring, the first thunder,
* As if frolicking and playing,
* Rumbles in the blue sky.
Yes, many of Tyutchev’s poems are dedicated to nature and love. This, of course, gives reason to classify him as a priest of “pure poetry,” but Tyutchev was also a man of his time. And he dedicated many poems to his homeland. From them we learn that not everything in Russia pleases the poet as much as the beauty of his native expanses. The events taking place in his homeland were not in tune with his worldview. Tyutchev’s judgments accurately characterize the entire abomination of the political situation created in the country: “In Russia, the office and the barracks... everything moves around the whip and rank.” Judging by the poet's lyrics, he was an opponent of veneration, devoid of any desire to curry favor, and was an opponent of serfdom:
* Above this dark crowd
* Unawakened people
* Will your golden ray shine?
Tyutchev always strived to maintain complete freedom of thought and feeling, did not submit to conventional secular “morality”, did not subservient to secular decency. For the poet, Russia seemed to be an unshakable entity, an “ark of salvation” for Europe. However, this is how she seemed to the poet only externally. In its depths it was “the edge of long-suffering.” Tyutchev places all responsibility for the military losses and troubles of the people on the tsar. And it was precisely to him that a sharp and accusatory epigram was sent:
* You did not serve God and not Russia,
* Served only his vanity,
* And all your deeds, both good and evil,
* Everything was a lie in you, all the signs were empty:
* You were not a king, but a performer.
This poem evokes mixed feelings. Tyutchev was also ambiguous in his behavior. He belonged to a privileged class, participated in noble political circles and was acquainted with some Decembrists. However, he was deeply outraged by the violent methods they chose to fight. Knowing about the impending revolt of the Decembrists, the poet adhered to neutrality. Then he sharply criticized the Decembrist movement:
* You have been corrupted by autocracy,
* And the sword struck him, -
* And in incorruptible impartiality
* This sentence was sealed by the law.
* The people, shunning treachery,
*Blames your names -
* And your memory from posterity,
* Like a corpse in the ground, preserved.
The breath of the era in which the poet lived can be felt even in poems that are far from social and political themes. He was a contemporary big wars and social upheaval. And as a man of broad outlook and sharp mind, Tyutchev tried to comprehend historical meaning events taking place in the country, following them with pain and anxiety. His poetry is a kind of confession of a man who visited “this world in its fatal moments,” in an era of collapse of social foundations. Tyutchev always strived to live not in the past, but in real Russia, and these lines reflect his thoughts very well:
* Roses do not sigh about the past
* And the nightingale sings in the night:
* Fragrant tears
* Aurora does not speak about the past,
* 14 fear of inevitable death
* Not a leaf falls from the tree.
* Their life is like a boundless ocean,
* Everything in the present is spilled.
Tyutchev's ambiguous attitude towards the image of his homeland runs through all of his work. He simultaneously glorifies the beauty of Russia through nature and exposes all the vices of the country of those times. But still, the poet treats Russia with great sincerity and love and admires its beauty. For Tyutchev, Russia was a kind of picturesque canvas, the merits of which he could judge not only in his homeland, but also far from it. Having lived abroad for many years, the poet began to judge his homeland as if from afar, and sometimes the events taking place in Russia became unclear and alien to him. At the end of his life he wrote the following poems:
* Russia cannot be understood with the mind,
* The general arshin cannot be measured:
* She has become special -
* You can only believe in Russia.
Like any Russian poet, Fyodor Tyutchev could not only be a lyrical poet. All his poetry is imbued with a deep, mystical feeling for his homeland. Recognizing the presence of a living soul in nature, he saw it in Russia in a similar way. Moreover, he considered Russia to be a Christian kingdom by nature. According to him, Russia is called internally and externally renew humanity. The great calling of Russia, according to Tyutchev, instructs it to adhere to unity based on spiritual principles:
* Above this dark crowd
* Unawakened people
* Will you ever rise, freedom,
* Will your golden ray shine?
* Corruption of souls and emptiness.
* What gnaws at the mind and aches at the heart...
* Who will heal them and cover them?
* You, the pure robe of Christ...
If we accept the poet’s point of view that Russia is the soul of humanity, then, as in every soul, the bright spiritual principle has against it dark chaotic energy, which has not yet been defeated, has not yet submitted to higher forces, which is still fighting for dominance and leads to death and death. Her life has not yet been completely determined, she is still moving, doubling, drawn into different sides opposing forces. Will the light of truth be embodied in it, will it weld the unity of all parts with love? The poet himself admits that she is not yet covered with the robe of Christ. This means that the fate of Russia depends on the outcome of the internal moral struggle of the light and dark principles within itself. The condition for fulfilling her cosmic mission is the internal victory of good over evil. And then everything else will be added to her.
Features of the lyrics of F. I. Tyutchev
The lyrics of F.I. Tyutchev were very different from what was then published in the poetry sections of magazines and almanacs of that time. His poems became a real discovery for Russian readers.
The first collection of V. I. Tyutchev was published in 1854, edited by I. S. Turgenev. This became Tyutchev’s second discovery in his homeland, the collection was a tremendous success, and in 1868 the second lifetime edition of the poet’s poems was published.
F. I. Tyutchev became a prominent figure in literary and secular salons. He was distinguished by his wit, had an excellent education, and wrote equally well in Russian and French. Tyutchev had a wide circle of acquaintances at court and in government circles, and his opinion as an experienced political thinker and diplomat was highly valued, he was listened to, and respected. The poet was known to Leo Tolstoy, Goncharov, Turgenev. Tyutchev's reviews of their novels were distinguished by their accuracy and originality.
Thanks to his authority and these connections, Tyutchev contributed to mitigating the fate of censorship large quantity publications, helped import books into Russia that were previously prohibited. The poet’s aphorisms, distinguished by their sharpness and paradoxical nature, were subsequently included in a special collection called “Tyutcheviana”. Just like articles and aphorisms in Russian, the poet’s French aphorisms, articles and letters are replete with subtle witticisms and deep discussions about politics and literature.
Tyutchev's lyrics are distinguished by brevity, inner freedom, and the energy of compressed poetic thought; his works are characterized by bold and unexpected metaphors. Tyutchev's merit lies in the fact that he returned to poetic thought its lyricism, beauty and artistry, for which he changed the entire metaphorical, rhythmic and genre structure of Russian verse. Tyutchev managed to avoid the well-worn cliches and formulas of the elegiac school of romanticism. The poet managed to find new forms for new content.
Unfortunately, not all of the poet’s lyrical heritage has reached modern times. Some of his works were burned or lost while sorting through his papers. Therefore, quite a few poems that make up the poet’s lyrics have survived. Goncharov counted several dozen works, Turgenev spoke of a hundred. And Tyutchev himself asked not to publish his works “just in case.” Tyutchev has many poems on political topics and translations of foreign poets. Among these poems there are masterpieces containing magnificent lines, stanzas and images.
Tyutchev as a master of small poetic form
But still Tyutchev is called an unsurpassed master of the small poetic form. The best works of a lyricist thinker are usually short, consisting of one to three stanzas. It should be noted that these are not lyrical fragments or excerpts, these are complete, complete works. These short poems perfectly reflect the poet’s surprisingly capacious and moving thought. This idea is not only profound, it is amazingly clear and convincing. This idea is ingeniously embedded in the form of an aphorism, rapidly unfolding, in the form of a clear statement. The poet’s thought in these works is beautiful and completed with a spectacular statement - an image. Tyutchev does not indulge in philosophizing, but his ideas came from the school of classical philosophy.
Definition 1
A poetic miniature is a small work that has a strict, finished form and is distinguished by its depth of content and aphoristic expression of the author’s thoughts.
Tyutchev's most famous poem was written in 1869. It looks like this in full:
Nature - sphinx. And the more faithful she is
His temptation destroys a person,
What may happen, no longer
There is no riddle and she never had one.
The example of this poem shows how the poet’s living, flexible thought unfolds within one quatrain. This thought is a single rhymed aphorism. However, if you look closely at the course of this thought, delving into the idea and image, and the development of the verse itself, you can be convinced of the great art of composition the poet possessed. Deserves special attention and a special formulation of the philosophical problem. In the work we're talking about about the fundamental mystery of existence and the place of man in this existence. This question is a fundamental question in philosophical science. And the poet gives an answer to it, bringing together the key words “man” and “century”.
This poem indicates that Tyutchev, who was keen on the ideas of Rousseau in his youth, has his own, special view of nature. Nature is not only a world that is full of life, colors and sounds. All this is just a shell under which the very secret of the universe is hidden. Man and nature in Tyutchev’s lyrics appear as two living beings, inextricably linked with each other and understanding each other. In Tyutchev's work, the natural world is rethought anew.
Note 1
The lyricist poetizes every part of nature, as a result a new image is born - the Great Mother Nature. Tyutchev's lyrics are a conversation with her.
The poet updated the metaphors. The lyrical boldness of Tyutchev’s metaphors surprised A. Fet, who himself was a bold lyricist of nature.
A new poeticization of nature as a single whole, as well as the discovery of it eternal riches, forgotten by man, became Tyutchev’s main task - lyrics.
Tyutchev also wrote poems on historical topics. Such poems are “Napoleon” and “Cicero”. In these works, the great national poet makes his unexpected judgment about the creators of world history and about world history itself. Tyutchev even saw and reflected on the tragedy of the Decembrists as an objective, attentive witness. We can say that Tyutchev’s view is a Russian view. Russia, despite its difficult bloody history, despite all the tragic events, remains Christian country. This is the main thing for the poet. He believes that this gives faith and hope, this explains the resilience of the Russian people in any trials. This determines Russia's location at the center of world history.
Thus, Tyutchev’s work brought a lot of new things to Russian poetry. The poet's merit is as follows:
- returning beauty and lyricism to the poetic word
- change in the metaphorical, genre, rhythmic structure of the verse
- search for new forms and new content
- a new look at nature, man, history, society
- new reasoning about the most important questions of existence.
And this is far from full list innovations that the poet introduced into Russian poetry.