Year of birth of Tyutchev and Fet. Biography of Tyutchev

Tyutchev and Fet, who determined the development of Russian poetry of the second half of the 19th century century, entered literature as poets of “pure art”, expressing in their work a romantic understanding of the spiritual life of man and nature. Continuing the traditions of Russian romantic writers of the first half of the 19th century (Zhukovsky and early Pushkin) and German romantic culture, their lyrics were devoted to philosophical and psychological problems.
Distinctive feature The lyricism of these two poets was that it was characterized by the depth of analysis of a person’s emotional experiences. Yes, complicated inner world the lyrical heroes of Tyutchev and Fet are similar in many ways.
A lyrical hero is the image of that hero in a lyrical work, whose experiences, thoughts and feelings are reflected in it. It is by no means identical to the image of the author, although it reflects his personal experiences associated with certain events in his life, with his attitude to nature, social activities, people. The uniqueness of the poet's worldview, his interests, and character traits find appropriate expression in the form and style of his works. The lyrical hero reflects certain character traits people of their time, their class, exerting a huge influence on the formation of the reader’s spiritual world.
Both in the poetry of Fet and Tyutchev, nature connects two planes: externally landscape and internally psychological. These parallels turn out to be interconnected: description organic world smoothly transitions into a description of the inner world lyrical hero.
Traditional for Russian literature is the identification of pictures of nature with certain moods of the human soul. This technique of figurative parallelism was widely used by Zhukovsky, Pushkin, and Lermontov. The same tradition was continued by Fet and Tyutchev.
Thus, Tyutchev uses the technique of personification of nature, which is necessary for the poet to show the inextricable connection of the organic world with human life. Often his poems about nature contain thoughts about the fate of man. Landscape lyrics Tyutchev acquires philosophical content.
For Tyutchev, nature is a mysterious interlocutor and a constant companion in life, understanding him better than anyone. In the poem “What are you howling about, night wind?” (early 30s) the lyrical hero turns to the natural world, talks with it, enters into a dialogue that outwardly takes the form of a monologue:
In a language understandable to the heart
You talk about incomprehensible torment -
And you dig and explode in it
Sometimes frantic sounds!..
Tyutchev has no “dead nature” - it is always full of movement, imperceptible at first glance, but in fact continuous, eternal. Tyutchev's organic world is always many-sided and diverse. It is presented in 364
constant dynamics, in transitional states: from winter to spring, from summer to autumn, from day to night:
The gray shadows mixed,
The color faded, the sound fell asleep -
Life, movements resolved
Into the unsteady twilight, into the distant roar...
(“The gray shadows mixed”, 1835)
This time of day is experienced by the poet as “an hour of unspeakable melancholy.” The lyrical hero’s desire to merge with the world of eternity is manifested: “Everything is in me and I am in everything.” The life of nature fills the inner world of man: turning to the sources of the organic world should regenerate the entire being of the lyrical hero, and everything corruptible and transitory should fade into the background.
The technique of figurative parallelism is also found in Fet. Moreover, most often it is used in a hidden form, relying primarily on associative connections, and not on an open comparison of nature and the human soul.
This technique is used very interestingly in the poem “Whisper, timid breathing...” (1850), which is built on only nouns and adjectives, without a single verb. Commas and exclamation points also convey the splendor and tension of the moment with realistic specificity. This poem creates a point image that, when viewed closely, gives chaos, “a series of magical changes,” and when viewed from a distance, an accurate picture. Fet, as an impressionist, bases his poetry, and, in particular, the description of love experiences and memories, on the direct recording of his subjective observations and impressions. Condensation, but not mixing of colorful strokes gives the description of love experiences poignancy and creates the utmost clarity of the image of the beloved. Nature in the poem appears as a participant in the life of lovers, helps to understand their feelings, giving them a special poetry, mystery and warmth.
However, dating and nature are described not just as two parallel worlds - the worlds of human feelings and natural life. The innovation in the poem is that both nature and the date are shown in a series of fragmentary meetings, which the reader himself must connect into a single picture.
At the end of the poem, the portrait of the beloved and the landscape merge into one: the world of nature and the world of human feelings are inextricably linked.
However, in the depiction of nature by Tyutchev and Fet there is also a deep difference, which was due primarily to the difference in the poetic temperaments of these authors.
Tyutchev is a poet-philosopher. It is with his name that the current of philosophical romanticism, which came to Russia from German literature, is associated. And in his poems, Tyutchev strives to understand nature, incorporating it into a system of philosophical views, turning it into part of his inner world. This desire to place nature within the framework of human consciousness was dictated by Tyutchev’s passion for personification. So, in the poem “ Spring waters“Streams “run and shine and shout.”
However, the desire to understand and comprehend nature leads the lyrical hero to the fact that he feels cut off from it; That’s why in many of Tyutchev’s poems the desire to dissolve in nature, to “merge with the beyond” sounds so vividly (“What are you howling about, night wind?”).
In the later poem “The gray shadows mingled...” this desire appears even more clearly:
Quiet dusk, sleepy dusk,
Lean into the depths of my soul,
Quiet, dark, fragrant,
Fill everything up and console.
Thus, an attempt to unravel the secret of nature leads the lyrical hero to death. The poet writes about this in one of his quatrains:
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.
In his later lyrics, Tyutchev realizes that man is a creation of nature, its invention. He sees nature as chaos, instilling fear in the poet. Reason has no power over it, and therefore in many of Tyutchev’s poems the antithesis of the eternity of the universe and the transience of human existence appears.
The lyrical hero Fet has a completely different relationship with nature. He does not strive to “rise” above nature, to analyze it from the position of reason. The lyrical hero feels like an organic part of nature. Fet's poems convey a sensory perception of the world. It is the immediacy of impressions that distinguishes Fet’s work.
For Fet, nature is the natural environment. In the poem “The night was shining, the garden was full of the moon...” (1877) the unity of human and natural forces is felt most clearly:
The night was shining. The garden was full of moonlight, they lay
Rays at our feet in a living room without lights.
The piano was all open, and the strings in it were trembling,
Just like our hearts follow your song.
The theme of nature for these two poets is connected with the theme of love, thanks to which the character of the lyrical hero is also revealed. One of the main features of Tyutchev’s and Fetov’s lyrics was that it was based on the world of spiritual experiences loving person. Love, in the understanding of these poets, is a deep elemental feeling that fills a person’s entire being.
The lyrical hero Tyutchev is characterized by the perception of love as passion. In the poem “I knew the eyes - oh, these eyes!” this is realized in verbal repetitions (“passion night”, “passion depth”). For Tyutchev, moments of love - “ wonderful moments”, which bring meaning to life (“In my incomprehensible gaze, life is revealed to the bottom...”).
This poet compares life to the “golden time” when “life spoke again” (“K.V.”, 1870). For the lyrical hero Tyutchev, love is a gift sent from above, and some Magic force. This can be understood from the description of the image of the beloved.
In the poem “I knew the eyes - oh, these eyes!” What is important is not the emotions of the lyrical hero, but the inner world of the beloved. Her portrait is a reflection of spiritual experiences.
He breathed (gaze) sad, deep,
In the shadow of her thick eyelashes,
Like pleasure, tired
And, like suffering, fatal.
Appearance the lyrical heroine is shown not as really reliable, but as the hero himself perceived him. The specific detail of the portrait is only the eyelashes, while to describe the gaze of the beloved, adjectives are used that convey the feelings of the lyrical hero. Thus, the portrait of the beloved is psychological.
Fet's lyrics were characterized by parallels between natural phenomena and love experiences (“Whisper, timid breathing...”). 366
In the poem “The night was shining. The garden was full of the moon...” the landscape smoothly turns into a description of the image of the beloved: “You sang until dawn, exhausted in tears, that you alone are love, that there is no other love.”
Thus, love fills the life of the lyrical hero with meaning: “you are alone -entire life”, “you are alone - love”. All worries, in comparison with this feeling, are not so significant:
... there are no insults from fate and burning torment in the heart,
But there is no end to life, and there is no other goal,
As soon as you believe in the sobbing sounds,
Love you, hug you and cry over you!
For love lyrics Tyutchev is characterized by a description of events in the past tense (“I knew the eyes, - oh, these eyes!”, “I met you, and everything that was past...”). This means that the poet realizes the feeling of love as long gone, therefore its perception is tragic.
In the poem “K. B.” the tragedy of love is expressed in the following. The time of falling in love is compared to autumn:
Like late autumn sometimes
There are days, there are times,
When suddenly it starts to feel like spring
And something will stir within us...
In this context, this time of year is a symbol of the doom and doom of high feelings.
The same feeling fills the poem “Oh, how murderously we love!” (1851), included in the “Denisevsky cycle”. The lyrical hero reflects on what the “fatal duel of two hearts” can lead to:
Oh, how murderously we love!
As in the violent blindness of passions
We are most likely to destroy,
What is dearer to our hearts!..
Tragedy also fills the poem “The Last Love” (1854). The lyrical hero here too realizes that love may be disastrous: “Shine, shine, the farewell light of the last love, the dawn of the evening!” And yet the feeling of doom does not interfere to love the lyrical hero: “Let the blood in the veins become scarce, but the tenderness in the heart does not become scarce...” In the last lines, Tyutchev succinctly characterizes the feeling itself: “You are both bliss and hopelessness.”
However, Fet’s love lyrics are also filled not only with a feeling of hope and hope. She is deeply tragic. The feeling of love is very contradictory; This is not only joy, but also torment and suffering.
The poem “Don't wake her up at dawn” is filled with double meaning. At first glance, it shows a serene picture morning sleep lyrical heroine, but already the second quatrain conveys tension and destroys this serenity: “And her pillow is hot, and her weary sleep is hot.” The appearance of epithets such as “tiring sleep” does not indicate serenity, but a painful state close to delirium. Next, the reason for this state is explained, the poem is brought to its climax: “She became paler and paler, her heart beat more and more painfully.” The tension grows, and the last lines completely change the whole picture: “Don’t wake her, don’t wake her, at dawn she sleeps so sweetly.” The ending of the poem contrasts with the middle and returns the reader to the harmony of the first lines.
Thus, the lyrical hero’s perception of love is similar for both poets: despite the tragedy of this feeling, it brings meaning to life. Tyutchev's lyrical hero is characterized by tragic loneliness. In the philosophical poem “Two Voices” (1850), the lyrical hero accepts life as a struggle, a confrontation. And “even though the battle is unequal, the fight is hopeless,” the fight itself is important. This desire for life permeates the entire poem: “Take courage, fight, O brave friends, no matter how cruel the battle is, no matter how stubborn the struggle!” The poem “Cicero” (1830) is imbued with the same mood.
In the poem “ZPegShit” (1830), touching on the theme of the poet and poetry, the lyrical hero understands that he will not always be accepted by society: “How can the heart express itself? How can someone else understand you?” What is important here is the world of the hero’s emotional experiences: “Only know how to live in yourself - there is the whole world in your soul."
The lyrical hero Fet's worldview is not so tragic. In the poem “With one push to drive away a living boat” (1887), the lyrical hero feels himself to be part of the Universe: “Give life a sigh, give sweetness to secret torments, instantly feel someone else’s as your own.” The contradiction with the outside world here is only external (oxymoron “unknown, dear”). “Blooming shores” and “other life” are a description of that mysterious ideal world from which inspiration comes to the poet. Rationally, this world is unknowable because it is “unknown”; but, encountering its manifestations in everyday life, the poet intuitively feels a kinship with the “unknown.” The poet's refined sensitivity to the phenomena of the external world cannot but extend to the work of others. The ability for creative empathy is the most important trait of a true poet.
In the poem “The Cat Sings, His Eyes Squinting” (1842), Fet does not depict objects and emotional experiences in their cause-and-effect relationship. For the poet, the task of constructing a lyrical plot, understood as a sequence of mental states of the lyrical “I,” is replaced by the task of recreating the atmosphere. The unity of worldview is conceived not as the completeness of knowledge about the world, but as the totality of the experiences of the lyrical hero:
The cat sings, eyes narrowed,
The boy is dozing on the carpet,
There's a storm playing outside,
The wind whistles in the yard.
Thus, Fet’s lyrical hero and Tyutchev’s lyrical hero perceive reality differently. The lyrical hero Fet has a more optimistic worldview, and the thought of loneliness is not brought to the fore.
So, the lyrical heroes of Fet and Tyutchev have both similar and different features, but the psychology of each is based on a subtle understanding of the natural world, love, as well as an awareness of their fate in the world.

And, and. One of these “duets” is and. Despite the considerable age difference - Tyutchev was 17 years older than Fet - they not only knew each other, but also treated each other with great warmth.

They were born in different years, but on one day - November 23, old style (now December 5). When their first acquaintance took place is unknown. Fet, judging by his memoirs, treated Tyutchev with the adoration characteristic of a young “fan.” Due to his modesty, Tyutchev was embarrassed to compliment Feta, but answered him in kind. In 1859, Fet wrote an article “On Tyutchev’s poems.” It was a review of Tyutchev's poetry collection of 1854. “The poetic power, that is, the vigilance of Mr. Tyutchev, is amazing.” In his poems he is a “magical interpreter of the subtlest feelings”. Meanwhile, the mass of the reading public did not appreciate Tyutchev’s collection, which is why its aesthetic sense, according to Fet, suffered greatly.

In 1862, Fet, in a warm and ironic friendly poem, asked Tyutchev to send him his photograph:

My beloved poet,
I come to you with a request and a bow:

What is drawn by Apollo.

Your dream flight has long been
I was carried away by magical power,
Lives in my chest for a long time
Your brow, your appearance is sweet.

Your stone is to repeat,
Asking for poetry - I'm annoying,
And the treasured notebook
I won’t let it out of greedy hands.

A lover of eternal beauty,
Long humbled before fate,
I ask one thing - that you
He was in front of me in every aspect.

That's why I'm in a hurry, poet,
I come to you with a request and a bow:
Send me your portrait in a letter,
What is drawn by Apollo.

And Tyutchev sent a photo. With a poetic response:

My heartfelt bow to you
And my portrait, whatever it is,
And let, sympathetic poet,
At least he will tell you silently,
How dear your greetings were to me,
How I am touched by them in my soul.

Others got it from nature
Instinct is prophetically blind -
They smell them, hear the water
And in the dark depths of the earth...
Beloved by the Great Mother,
Your destiny is a hundred times more enviable -
More than once under the visible shell
You saw it right away...

Until 1953 it was assumed that it was one poem. Then a version appeared that “My heartfelt bow to you...” was written on one sheet of paper with a signature and date, “Others got it from nature...” - on the second. Poems that were different even in stanzas were combined by mistake in the lists.

There are several more well-known poetic addresses of Fet to Tyutchev: “They are dressed with the incorruptibility of the divine...” 1863, “Spring has passed - the forest is darkening...” 1866 and, finally, “On the book of Tyutchev’s poems” 1883 (or 1884):

Here is our patent for nobility, -
The poet hands it to us;
There is a powerful spirit of dominion here,
Here is the color of refined life.

You won’t find Helikon in the syrts,
Laurels will not bloom on ice floes,
The Chukchi do not have Anacreon,
Tyutchev will not come to the Zyryans.

But the muse, observing the truth,
She looks - and on the scales she has
This is a small book
There are many heavier volumes.

Fet wrote a lot about Tyutchev in his memoirs under the intriguing title “My Memories.” “...I cannot help but welcome in my memory the shadows of one of the greatest lyricists who existed on earth,”- he noted.

“There was a time when I went to the Shevaldyshev Hotel on Tverskaya in Moscow three times a week, to the room occupied by Fyodor Ivanovich. To the question: “Is Fyodor Ivanovich at home?” - the German valet, at twelve o'clock in the afternoon, said: “He is walking, but now he will come to drink coffee.” And indeed, a few minutes later Fyodor Ivanovich came, and the two of us sat down to drink coffee, which I never refuse at any time of the day. What psychological issues did we not touch upon! What great poets they didn’t remember! And, of course, I raised all these questions in order to listen to Tyutchev’s remarkable judgments in their strength and accuracy and reveled in them.”

Fet recalled how he once showed Tyutchev his new poem and how happy he was to hear his senior comrade’s feedback: “How airy it is!” Nothing is known about the first meeting of the poets, but we know first-hand about the last one - in 1864. Fet found Fyodor Tyutchev at one of the worst moments of his life: after the death of Elena Deniseva, with whom he lived in a civil marriage for 14 years and who bore him three children. Tyutchev was about to leave for France and called his friend to say goodbye. Fet described this episode in detail in his memoirs:

“At one o'clock in the morning, returning to the Croissant hotel, I received a note from the doorman along with the key to the room. Lighting a candle on the night table, with the thought of sweetly dozing off over a French novel, I intended to first, while already lying in bed, read the note. I open the last one and read: « T Yutchev asks you, if possible, to come and say goodbye to him » . Of course, a minute later I was dressed again and flew to the call. Silently shaking his hand, Tyutchev invited me to sit next to the sofa on which he was reclining. He must have been feverish and shivering. warm room from sobs, since he was completely covered with his head in a dark gray blanket, from under which only one exhausted face was visible. There is nothing to say at such a time. A few minutes later I shook his hand and quietly left.”

The two greatest poets of their era are Fyodor Ivanovich Tyutchev and Afanasy Afanasyevich Fet. The contribution of these writers to the system of Russian versification is invaluable. In the works of both of them one can find features inherent in many literary figures of that time. Perhaps this is why these two poets are so often compared. Meanwhile, both Tyutchev and Fet have special, unique details and moods that cannot be found in the work of the other.

Among the similarities in the works of the two poets, one can note the way the inner world of the lyrical heroes is described. Both Tyutchev and Fet pay more attention to the deepest emotional experiences of a person; the portraits of their lyrical heroes are very psychological. In addition to psychologism, both poets use the technique of parallelism: the inner world, a person’s mood, his deep experiences and feelings are often reflected in nature.

The poets' descriptions of nature itself are also similar. Their nature is two-dimensional: it has a landscape and a psychological side. This precisely explains the use of parallelism: the description of the external world, as it were, turns into a description of the emotions of the lyrical hero. Another similarity is the motives of love lyrics. Tyutchev and Fet experienced a terrible tragedy: they lost a loved one, and this loss was reflected in the nature of their love lyrics.

Despite this a large number of Despite the similarities described above in the lyrics of Fet and Tyutchev, there are quite a lot of differences in their work. Fet's lyrics gravitate more towards descriptive landscape themes, while Tyutchev's poems have a philosophical character (although he also has enough landscape poems). The attitude towards life in the poets' poems also differs: Fet admires life, and Tyutchev perceives it as being. Poets perceive nature and man differently: for Tyutchev, nature is huge world, in the face of which a person becomes powerless, and Fet perceives her as a living being living in absolute harmony with a person. The “technical” side of the poems is also different. Fet uses a lot of syntactic means of expressiveness, especially often compositional repetition. Tyutchev more often uses allegorical tropes, especially metaphor and its varieties.

So, despite the large number of similarities found, one should not lose sight of the huge layer of differences between the lyrics of Fet and Tyutchev. The poets lived in the same era, they were influenced by the same society, and even some facts of their biography are similar, so it should not be surprising that there are some similar motives in their work. But at the same time, Fet and Tyutchev are independent creative personalities capable of creating something original and unique, putting a piece of their soul into it.

Fyodor Ivanovich Tyutchev (1803−1873) - Russian poet. Also known as a publicist and diplomat. Author of two collections of poems, winner of a number of the highest state titles and awards. Currently, Tyutchev’s works are compulsorily studied in several classes. secondary school. The main thing in his work is nature, love, Motherland, and philosophical reflections.

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Brief biography: early life and training

Fyodor Ivanovich was born on November 23, 1803 (December 5, old style) in the Oryol province, in the Ovstug estate. The future poet received his primary education at home, studying Latin and ancient Roman poetry. His childhood years largely predetermined Tyutchev’s life and work.

As a child, Tyutchev loved nature very much; according to his memoirs, he “lived the same life with it.” As was customary at that time, the boy had a private teacher, Semyon Egorovich Raich, a translator, poet and simply a person with a broad education. According to the memoirs of Semyon Yegorovich, it was impossible not to love the boy, the teacher became very attached to him. Young Tyutchev was calm, affectionate, and talented. It was the teacher who instilled in his student a love of poetry, taught him to understand serious literature, and encouraged creative impulses and the desire to write poetry on his own.

Fyodor's father, Ivan Nikolaevich, was a gentle, calm, reasonable person, a real role model. His contemporaries called him a wonderful family man, good, loving father and husband.

The poet's mother was Ekaterina Lvovna Tolstaya, second cousin of Count F. P. Tolstoy, the famous sculptor. From her, young Fedor inherited his dreaminess, rich imagination. Subsequently, it was with the help of his mother that he met other great writers: L.N. and A.K. Tolstoy.

At the age of 15, Tyutchev entered Moscow University in the department of literature, from which he graduated two years later with the degree of candidate of literary sciences. From that moment on, his service began abroad, at the Russian embassy in Munich. During his service, the poet made personal acquaintance with the German poet, publicist and critic Heinrich Heine, and the philosopher Friedrich Schelling.

In 1826, Tyutchev met Eleanor Peterson, his future wife. One of interesting facts about Tyutchev: at the time of meeting the poet, the young woman had already been a widow for a year, and she had four young sons. Therefore, Fyodor and Eleanor had to hide their relationship for several years. They subsequently became the parents of three daughters.

Interesting, that Tyutchev did not dedicate poems to his first wife; Only one poem dedicated to her memory is known.

Despite his love for his wife, according to biographers, the poet had other connections. For example, in the winter of 1833, Tyutchev met Baroness Ernestina von Pfeffel (Dernberg in his first marriage), became interested in the young widow, and wrote poetry for her. To avoid scandal, the loving young diplomat had to be sent to Turin.

The poet's first wife, Eleanor, died in 1838. The steamer on which the family sailed to Turin suffered a disaster, and this seriously undermined the young woman’s health. This was a great loss for the poet; he sincerely grieved. According to contemporaries, after spending the night at his wife’s coffin, the poet turned gray in just a few hours.

However, having endured the required period of mourning, a year later he resumed his relationship with Ernestina Dernberg and subsequently married her. In this marriage, the poet also had children, a daughter and two sons.

In 1835 Fyodor Ivanovich received the rank of chamberlain. In 1839 he stopped diplomatic activities, but remained abroad, where he spent great job, creating a positive image of Russia in the West - this was the main task of this period of his life. All his endeavors in this area were supported by Emperor Nicholas I. In fact, he was officially allowed to speak independently in the press about political problems arising between Russia and Europe.

The beginning of a literary journey

In 1810-1820 The first poems of Fyodor Ivanovich were written. As one would expect, they were still youthful, bore the stamp of archaism, and were very reminiscent of the poetry of a bygone century. In 20−40 years. the poet addressed various forms both Russian lyrics and European romanticism. His poetry during this period becomes more original and original.

In 1836, a notebook with poems by Fyodor Ivanovich, then unknown to anyone, came to Pushkin.

The poems were signed with only two letters: F. T. Alexander Sergeevich liked them so much that they were published in Sovremennik. But the name Tyutchev became known only in the 50s, after another publication in Sovremennik, which was then headed by Nekrasov.

In 1844, Tyutchev returned to Russia, and in 1848 he was offered the position of senior censor at the Ministry of Foreign Affairs. At that time, Belinsky's circle emerged, in which the poet took an active part. Together with him there are such famous writers, like Turgenev, Goncharov, Nekrasov.

In total, he spent twenty-two years outside Russia. But all these years Russia appeared in his poems. It was “Fatherland and Poetry” that the young diplomat loved most, as he admitted in one of his letters. At this time, however, Tyutchev almost did not publish, and as a poet he was completely unknown in Russia.

Relations with E. A. Deniseva

While working as a senior censor, while visiting his eldest daughters, Ekaterina and Daria, at the institute, Fyodor Ivanovich met Elena Alexandrovna Denisyeva. Despite the significant difference in age (the girl was the same age as his daughters!), they began a relationship that ended only with the death of Elena, and three children appeared. Elena had to sacrifice many for the sake of this connection: the career of a maid of honor, relationships with friends and father. But she was probably happy with the poet. And he dedicated poems to her - even fifteen years later.

In 1864, Denisyeva died, and the poet did not even try to hide the pain of his loss in front of his acquaintances and friends. He suffered from pangs of conscience: due to the fact that he put his beloved in an ambiguous position, he did not fulfill his promise to publish a collection of poems dedicated to her. Another grief was the death of two children, Tyutchev and Deniseva.

During this period, Tyutchev was promoted quite quickly:

• in 1857 he was appointed full-time state councilor;
• in 1858 - chairman of the Committee of Foreign Censorship;
• in 1865 - Privy Councilor.

Besides, the poet was awarded several orders.

Collections of poems

In 1854, the first collection of the poet’s poems was published, edited by I. S. Turgenev. The main themes of his work:

• nature;
• Love;
• Homeland;
• meaning of life.

In many poems one can see a tender, reverent love for the Motherland and worries about its fate. Tyutchev’s political position is also reflected in his work: the poet was a supporter of the ideas of pan-Slavism (in other words, that all Slavic peoples would unite under the rule of Russia), and an opponent of the revolutionary way of solving problems.

In 1868, the second collection of the poet’s lyrics was published, which, unfortunately, turned out to be no longer so popular.

All the poet’s lyrics - landscape, love, and philosophical - are necessarily imbued with reflections on what the purpose of man is, on questions of existence. It cannot be said that any of his poems are dedicated only to nature and love: all his themes are intertwined. Every poem by a poet- this is, at least briefly, but necessarily a reflection on something, for which he was often called a poet-thinker. I. S. Turgenev noted how skillfully Tyutchev depicts the various emotional experiences of a person.

Poetry recent years They resemble rather a lyrical diary of life: here are confessions, reflections, and confessions.

In December 1872, Tyutchev fell ill: his vision deteriorated sharply, and the left half of his body was paralyzed. On July 15, 1873, the poet died. He died in Tsarskoe Selo and was buried at the Novodevichy cemetery in St. Petersburg. Over the course of his entire life, the poet wrote about 400 poems.

Interesting fact: in 1981, asteroid 9927 was discovered at the Crimean Astrophysical Observatory, which was named after the poet - Tyutchev.

Fyodor Ivanovich Tyutchev was born and spent his childhood on his father’s estate in the Oryol province. I studied at home. He knew Latin and Ancient Greek well. He learned early to understand nature. He himself wrote that he breathed the same life with nature. His first teacher was widely educated person, poet, translator Semyon Egorovich Raich. Raich recalled that he quickly became attached to his student, because it was impossible not to love him.

He was a very affectionate, calm and very talented child. Raich awakened Tyutchev's love of poetry. He taught me to understand literature and encouraged the desire to write poetry. At the age of 15, Tyutchev entered Moscow University, and at the age of 17 he graduated and then went to serve in the Russian embassy abroad. He served as a diplomat for 22 years, first in Germany, then in Italy. And all these years he wrote poems about Russia. “I loved the Fatherland and poetry more than anything in the world,” he wrote in one of his letters from a foreign land. But Tyutchev almost never published his poems. His name as a poet was not known in Russia.

In 1826, Tyutchev married Eleanor Peterson, née Countess Bothmer. They had 3 daughters.

In 1836, Pushkin received a notebook with poems by an unknown poet. Pushkin really liked the poems. He published them in Sovremennik, but the name of the author was unknown, since the poems were signed with two letters F.T. And only in the 50s. Nekrasovsky’s contemporary had already published a selection of Tyutchev’s poems and his name immediately became famous.

His first collection was published in 1854, edited by Ivan Sergeevich Turgenev. The poems were imbued with reverent, tender love to the Motherland and hidden pain for its fate. Tyutchev was an opponent of the revolution, a supporter of pan-Slavism (the idea of ​​​​unifying all Slavic peoples under the rule of the Russian autocracy). The main themes of the poems: Motherland, nature, love, reflections on the meaning of life

IN philosophical lyrics, in love, in landscape there were always reflections on the fatal questions of existence and on the purpose of man. Fyodor Ivanovich Tyutchev does not have purely love poems, or about nature. Everything is intertwined with him. Each poem contains the human soul and the author himself. Therefore, Tyutchev was called a poet-thinker. Each of his poems is a reflection on something. Turgenev noted Tyutchev’s skill in depicting a person’s emotional experiences.

In December 1872, Fyodor's left half of his body was paralyzed, and his vision deteriorated sharply. Tyutchev died on July 15, 1873.