The originality of Tyutchev's philosophical lyrics. Philosophical lyrics of Tyutchev

Contemporaries knew and appreciated F.I. Tyutchev is so smart, wonderful educated person, interested in politics and history, a brilliant conversationalist, and author of journalistic articles. After graduating from university, he spent more than 20 years in the diplomatic service in Germany and Italy; later - in St. Petersburg - he served in the Department of Foreign Affairs, and even later - as a censor. No one paid attention to his poetry for quite a long time, especially since the author himself was absent-minded about his poetic work, did not publish his poems, and did not even like to be called a poet. And yet, Tyutchev entered the history of Russian culture precisely as a lyric poet, or more precisely, as an author of philosophical lyrics, a lyricist-philosopher.

Philosophy, as you know, is the science of the laws of life and existence. Lyrics are not science, not journalism, it is art. It is designed to express feelings, to evoke experiences in the reader - this is its direct purpose. But lyric poem can awaken thought, lead to questions and reasoning, including strictly philosophical ones.

“Many poets have thought about questions of existence in the history of Russian literature, and yet among Russian classics Tyutchev has no equal. Of the prose writers next to him, they call F.M. Dostoevsky, there is no one to put among the lyricists,” says critic K. Pigarev. .

F.I. Tyutchev emerged as a poet in the 20-30s of the 19th century. This is a period of intense philosophical quest, which was reflected primarily in philosophical poetry. Romanticism, dominant in the literature of the early 19th century, began to sound in a new way in the works of M.Yu. Lermontov, enriched himself with deep philosophical content. Many literary scholars define such poetry as philosophical romanticism.

He declared himself in the works of the wise men. The work of the poets of N.V.’s circle went in the same direction. Stankevich: himself, V.I. Krasova, K.S. Aksakova, I.P. Klyushnikova. The poets of Pushkin’s galaxy E.A. paid tribute to this type of romanticism. Baratynsky, N.M. Languages. Related motifs entered the work of F.N. Glinka. But philosophical romanticism received its most valuable and artistically original expression in the poetry of F.I. Tyutcheva.

“Philosophical romanticism updated the problematics, poetics and stylistics artistic creativity, proposing almost a system of natural philosophical and cosmogonic ideas, images and ideas from the sphere of philosophy and history,” writes Candidate of Philosophical Sciences S.A. Dzhanumov..

The lyrical “I” was replaced by the lyrical “we”; in poetry, the “lyrics of self-knowledge” stands out, in which, analyzing their own mental states, poets draw general conclusions about the romantic, sublime organization of the human soul. “Traditional “night poetry” acquired new depth, incorporating the philosophically significant image of CHAOS; a picture of the worldview was created in poetry.”

The rise of Russian philosophical thought of that time was indicated in the works of V.G. Belinsky and A.I. Herzen, in the works of A.S. Pushkin and E.A. Baratynsky, M.Yu. Lermontov and F.I. Tyutchev, in poetry and prose of the wise.

Philosophical poets are members of the Philosophy Society. Particularly famous among them were Dmitry Vladimirovich Venevitikov, Alexey Stepanovich Khomyakov, Stepan Petrovich Shevyrev. They directly correlated poetry with philosophy. In their opinion, poetry can directly reproduce the philosophical picture of the world. They began to widely use philosophical terms and concepts in poetry. However, their lyrics suffered from excessive rationalism and rationality, since poetry was deprived of independent tasks and served as a means for conveying philosophical ideas.

This significant drawback was overcome by the brilliant Russian lyricist F.I. Tyutchev.

The source of philosophical lyrics is general issues, disturbing a person, to which he seeks to find an answer.

For Tyutchev, these are questions of extreme depth and comprehensiveness. Its scale is man and the world, the Universe. This means that every private fact of personal life is thought of and assessed in relation to universal human, world existence. Many were dissatisfied with life at the beginning of the 19th century, with their time, they were afraid of the new and grieved over the passing era. “Tyutchev perceived not the change of eras, but the whole world, existence as a whole, as a catastrophe. This catastrophic nature, the level of tragedy in Tyutchev’s work is unprecedented.”

F.I. Tyutchev's lyrics contain a special philosophical concept of the world, expressing its complexity and the contradictory nature of reality. Tyutchev was close to the ideas of the German idealist philosopher Friedrich Schelling about a single World Soul, which finds expression in nature and in inner life person.

We know that Tyutchev was closely acquainted with Schelling. Like many of his contemporaries in Russia, he was interested in the natural philosophical ideas of the German idealist. Moreover, some key images of the lyrics resemble those image-concepts that Schelling used. But is this enough to confirm the fact of the direct dependence of Tyutchev’s poetry on Schelling’s pantheistic natural philosophy?

Let us take a closer look at Schelling's philosophical views and Tyutchev's lyrics to answer this question.

In the poem, both parallel figurative series are both independent and at the same time dependent. The close interconnectedness of two semantic series leads to the fact that images from the natural world allow for double interpretation and perception: they are realized in direct meaning, and in possible correlation with the human. The word is perceived by the reader in both senses at once. In Tyutchev’s natural-philosophical poems, words live a kind of double life. And this makes them as full, voluminous, and with an internal perspective as possible.

The same technique is used in the poem “When in a circle of murderous worries...”.

Tyutchev’s poetic thought, driven by a “powerful spirit” and “refined color of life,” has the widest range of perception of the world. The poet’s poetic world, huge in scale, contains many contrasting and even polar images. The figurative system of lyrics combines the objective realities of the external world and the subjective impressions of this world made on the poet. The poet knows how to convey not the object itself, but those of its characteristics, plastic signs, by which he is guessed. Tyutchev encourages the reader to “finish” what is only outlined in the poetic image.

So, what is the difference between the lyrics of Tyutchev and Schelling?

In our opinion, the difference between Tyutchev’s poems and Schelling’s philosophical views is genre and generic. In one case we have philosophical poetry, in the other, with Schelling, poetic philosophy. Translation of philosophical ideas into the language of poetry is not a mechanical translation from one system to another, from one “dimension” to another. When this is done in the language of real poetry, it does not look like a trace of influence, but like a new discovery: a poetic discovery and a discovery in the field of thought. For a thought expressed through the means of poetry is never fully detailed in what it is outside the poetic whole.

Existence of Man. Human and nature

In the general series of natural phenomena, Man in Tyutchev’s poetry occupies the incomprehensible, ambiguous position of a “thinking reed.” Painful anxiety, attempts to understand one’s purpose, to unravel the mysteries of “sphinx nature” and to find the “creator in creation” relentlessly haunt the poet. He is consoled by the creation of limitation, the powerlessness of thought, which persistently strives to comprehend the eternal mystery of existence, and the “invisibly fatal hand” indomitably suppresses these vain and doomed attempts.

Here a parallel involuntarily arises not only with the views of Schelling, but also with the views of another thinker - Pascal. . Pascal's philosophy is very close to Tyutchev's worldview.

Blaise Pascal - French mathematician, physicist, thinker, sage. He developed ideas about the tragedy and fragility of man, located between two abysses - infinity and insignificance: “Man is just a reed, the weakest in nature, but he is a thinking reed. (... The Universe does not need to take up arms to destroy him: just steam, a drop of water " to kill him. But if the Universe destroyed him, man would remain more worthy than what kills him, for he knows that he is dying, while the Universe knows nothing about the advantage that the Universe has over him." “A man is great when he is aware of his pitiful condition”

Pascal believed that the dignity of a person lies in the fact that he thinks; this is what elevates a person above space and time. The French philosopher was sure that a person floats “in the vastness, not knowing where”, something drives him, throws him from side to side, and only a person gains stability, as “the laid foundation gives a crack, the earth opens up, and in the gap there is an abyss.” Man is unable to know himself and the world, being a part of nature, he is not able to escape beyond the boundaries of the Universe: “Let us understand what we are: something, but not everything; being being, we are not able to understand the beginning of principles arising from non-existence; Being a short-term existence, we are not able to embrace infinity.” “Inconstancy and restlessness are the conditions of human existence,” we read in Pascal’s “Thoughts.” – We thirst for truth, but we find in ourselves only uncertainty. We seek happiness, but we find only deprivation and death. We cannot find confidence and happiness.”

Blaise Pascal sees the way to comprehend the mystery of existence and save man from despair in irrationalism (that is, in limiting or denying the capabilities of the mind in the process of cognition.

The basis of the worldview becomes something irrational; non-mental aspects of a person’s spiritual life come to the fore: will, contemplation, feeling, intuition, mystical “insight,” imagination, instinct, “the unconscious.”

In Tyutchev’s poetry there are many images and concepts found in the French philosopher, but perhaps the most basic is Tyutchev’s conviction that “the root of our thinking is not in a person’s speculative ability, but in the mood of his heart.” .

The opinion of the Russian poet is consonant with one of the main provisions of Pascal: “We comprehend the truth not only with our minds, but also with our hearts... The heart has its own reasons and its own laws. Their minds, which rely on principle and proof, do not know.”

However, Tyutchev not only accepts the philosophical postulates of the French thinker of the 17th century, but also complements them with his own views, his vision and understanding of the world and the essence of man.

For Pascal, the basis of existence is the Divine will, the irrational principle in man, which always tries to plunge man into the abyss and darkness.

While for Tyutchev, a person is not a being attracted by unconscious, instinctive feelings or divine will.

Chaos and space in Tyutchev’s understanding

The Abyss in the most ancient mythologies is Chaos, that infinite, without boundaries, which is not given to man to comprehend. The Abyss once gave birth to the world, and it will also become its end, the world order will be destroyed, swallowed up by Chaos. Chaos is the embodiment of everything incomprehensible. Everything that exists and is visible is just a splash, a temporary awakening of this abyss. One can feel the elemental breath of “ancient Chaos”, feel oneself on the edge of an abyss, and experience the tragedy of loneliness only at night, when Chaos “wakes up”:

Chaos embodies the element of destruction, destruction, rebellion, and Space is the opposite of Chaos, it is the element of reconciliation and harmony. In Chaos, demonic energies predominate, and in Cosmos, divine energies predominate. These views were later reflected in the poem "Glimpse". Two rows of images pass through the work: on the one hand, loudly, and on the other, faintly sounding “dormant strings” and an awakening “light ringing” symbolize the earthly and heavenly. But the essence of Tyutchev’s dialectic is not to separate or oppose them, but to merge them. In the earthly the poet discovers the heavenly, and in the heavenly the earthly. There is a constant, never-ending struggle between them. What is important to Tyutchev is the moment when the heavenly is reconciled with the earthly, imbued with the earthly, and vice versa.

The light ringing is filled with sorrow, the sound of the “angel’s lyre” is inseparable from the earth’s dust and darkness. The soul strives from Chaos to rise to the sky-high heights, to the immortal. The poet mourns the impossibility of fully joining the mysterious life of nature and wants to forever contemplate and actively live in its secrets, but they are revealed to him only for a moment. The poet remembers the “golden time”. The thirst for the eternal - to be a star, to “shine” - becomes for him an ideal that will never come true. Tyutchev is inexorably drawn to the sky, but he knows that he is burdened by the earth. That is why he appreciates this moment, which gives him a brief but unconditional participation in the infinite.

In the earthly circle, the earth longs to become addicted to the heavenly, yearns for it. But the dream only becomes a reality for a moment; gravity is inexorable.

However, Tyutchev understands the struggle between the eternal and the perishable in his own way. This is the law of motion of the Universe. It equally approaches all events and phenomena without exception: historical, natural, social, psychological. This confrontation between Space and Chaos is most powerful in the social and psychological.

“Tyutchev’s lyrics in a unique form reflected the crisis of an entire stage European culture, crisis, creations of noble intellect,” writes the famous literary critic Valentin Ivanovich Korovin.

Tyutchev painfully perceives the bourgeois way of life in Europe, realizing that it arouses chaotic elements in society, in communication between people, which threatens humanity with new upheavals. For romanticism, the lofty and dear turns into death; the sublime and living conceals the low, inert. “Catastrophicity brings death, but it also makes you feel life away from the ordinary and takes you into inaccessible spiritual realms.” .

Tyutchev mourns the inevitability of the death of the age-old way of life and the person belonging to it and at the same time glorifies his share, which allows him to see the world at the moment of creation.

In the poem “The Soul Wanted to Be a Star,” a person longs to dissolve in nature, merge with it, become part of it. Tyutchev paints a vivid picture of the universe. It is strengthened by the contrast of the night sky, where the poet’s soul seems to be lost among other stars, only contemplating the “sleepy earthly world” to the sky flooded sunlight. Against this background, the merging of the soul, revealed by a ray of sunshine, with nature turns out to be far from being the main plan of the poem. The main motive is the high mission of a person, his destiny to be a star of intelligence, beauty, and humanity. Tyutchev deliberately increases the “solar”, “reasonable” power of the “star”, deifying it.

“So, Tyutchev’s poetic consciousness is addressed primarily to “double being,” to the duality of consciousness and the world as a whole, to the disharmony of all things. Moreover, disharmony is inevitably catastrophic. And this reveals the rebelliousness of being that lies at its basis. The very spirit of man possesses such rebellion.”

The world, according to Tyutchev, can be known not in peace, but, firstly, in an instant, in a “flash of rebellion,” a moment of struggle, in a turning point, and, secondly, an individual, private phenomenon. Only a moment allows one to feel the integrity and boundlessness of existence, towards which the poet is striving, and only a phenomenon reveals the universal, towards which the author gravitates. Tyutchev sees the ideal in a single moment. It seems to connect and merge the actual and the possible. This merging occurs at all levels: both stylistic and genre. A small lyrical form - a miniature, a fragment - contains content equal to the scale of generalizations of a novel. Such content appears only for a moment; it cannot be extended.

The fusion of the majestic-beautiful and solemn-tragic principles gives Tyutchev’s lyrics an unprecedented philosophical scale, contained in an extremely compressed form. Each poem depicts an instantaneous state, but is addressed and turned towards the whole of existence and carefully preserves its image and meaning.

The uniqueness of Tyutchev as a poet lies in the fact that in his lyrics German and Russian cultures, East and West coexist in an unusual way. German culture was partly assimilated by him back in Russia at the suggestion of V. A. Zhukovsky. In "Foggy Germany" the poet communicated either in German or French - the language of diplomacy of the time, looked at the same landscapes that inspired the poets and philosophers of Germany, read and translated German poetry; both of the poet's wives were German by birth.

The philosophical basis of Tyutchev's romanticism rests on the recognition of life as an unceasing confrontation of opposite principles, on the affirmation of the mystery, enigma and tragedy of this struggle.

“Tyutchev brought the problematics of Russian romantic philosophical lyricism to the limit, enriching it with the legacy of poets of the 18th century, philosophers of the 19th century, and paving the way for poets of the 20th century.” The structure and form of his poems reflect admiration for the integrity and limitless power of the Universe. The poet feels the contradictory nature of existence and the impossibility of resolving these contradictions, which are caused by inexplicable forces outside of man. Tyutchev recognizes the historical inevitability of the death of his contemporary civilization. This view is typical of the romantic poets of the 20s and 30s of the nineteenth century.

The works of F.I. Tyutchev reflect the views of the German idealist philosopher Friedrich Schelling and the French thinker Blaise Pascal.

Tyutchev's philosophical lyrics are least of all “heady”, rational. I. S. Turgenev described it perfectly: “Each of his poems began with a thought, but a thought that, like a fiery point, flared up under the influence of a feeling or a strong impression; as a result of this, so to speak, the properties of its origin, Tyutchev’s thought never appears naked and abstract to the reader, but always merges with the image taken from the world of the soul or nature, is imbued with it and itself penetrates it inseparably and inseparably.”

In poetry, Fyodor Ivanovich Tyutchev strives to comprehend the life of the Universe, to comprehend the secrets of the Cosmos and Human Existence. Life, according to the poet, is a confrontation between hostile forces: the dramatic perception of reality combined with an inexhaustible love for life.

The human “I” in relation to nature is not a drop in the ocean, but two equal infinities. The internal, invisible movements of the human soul are in tune with natural phenomena. To express the complex world of the human soul, Tyutchev the psychologist uses associations and images of nature. He does not just depict the state of the soul, but conveys its “beating”, the movement of inner life through the dialectics of natural phenomena.

Tyutchev's lyrics are one of the most remarkable phenomena of Russian philosophical poetry. It intersects the lines of the Pushkin movement, the poets of wisdom, and the influence of the great predecessors and contemporaries - Lermontov, Nekrasov, Fet - is felt. But at the same time, Tyutchev’s poetry is so original that it is perceived as a special, unique artistic phenomenon. The poet’s lyrics merged natural philosophy, subtle psychologism and lyrical pathos. And in Tyutchev itself amazingly a poet-philosopher and a poet-psychologist united.

Tyutchev lived in an era of great upheaval, when both in Russia and in Europe “everything turned upside down.” This determined the tragic nature of his worldview: the poet believed that humanity was living on the eve of its destruction, that nature and civilization were doomed. Apocalyptic moods penetrate his lyrics and determine his attitude towards the world as disharmony, “Prophecy”, “The world is over, the choirs have fallen silent”, etc.).

It is believed that Tyutchev’s artistic destiny is that of the last Russian romantic who worked in the era of romanticism. This determines the extreme subjectivity, romanticism and philosophy of his art world. Characteristic Features Tyutchev's poetry is rich in metaphor, psychologism, plasticity of images, and widespread use of sound writing. The structure of Tyutchev's poems corresponds to his pantheistic consciousness: usually the poet uses a two-part composition based on hidden or obvious parallelism of the natural world, and three-part structures.

The poet pays special attention to the word, loves to use polysyllabic words, since the length of the word determines the rhythmic pattern and gives the poem an intonation originality.

In terms of genre, Tyutchev gravitates towards philosophical miniatures - compressed, brief, expressive; a philosophical parable with a direct or implied lesson; poetic fragment.

“F.I. Tyutchev, a deeply original poet, was the forerunner of the poetry of the end XIX beginning XX century, starting with Fet and the Symbolists. For many poets and thinkers of the 20th century, Tyutchev’s poems, saturated with unfading meaning, became a source of themes, ideas, images, and semantic echoes.”

Tyutchev's philosophical lyrics are one of the peaks of Russian philosophical poetry. In his work, high poetry is combined with a philosophical worldview. Its depth and strength best works comparable to Pushkin's poetry.

The “hero” of many of Tyutchev’s works is the human mind, thirsting for knowledge.

Tyutchev was distinguished not only by his lively and faithful depiction of nature, but also by her deep philosophical comprehension. Nature interested him in its elemental and cosmic manifestations - in a thunderstorm, in the night, in a storm, in the spring influx and flowering, in menacing gusts of wind, in the light of the sun or in the moonlight.

The symbol of purity and truth in Tyutchev’s poems is the sky. Without this atmosphere of height and eternity there is no Tyutchev's poetry. He himself speaks about this in the poem “Poetry”:

Among the thunder, among the lights,

Among the seething passions,

In spontaneous, fiery discord,

She flies from heaven to us -

Heavenly to earthly sons...

Pictures of the world drawn by Tyutchev, as a rule, are devoid of strict and precise signs of time and place of action. This is typical for philosophical poetry in general - it has an extra-everyday character. Thus, Tyutchev’s night is grandiose, majestic and tragic. It leaves a person alone with himself and with the terrible mysteries of the universe:

...And the abyss is exposed to us With its fears and darkness,

And there are no barriers between her and us -

This is why the night is scary for us!

The lyrical plot of the poem “Fountain” is the languor of the mind, striving for instant insight and realizing the limitations of its capabilities:

About mortal thought water cannon,

O inexhaustible water cannon!

What an incomprehensible law

Does it urge you, does it bother you?

How greedily you strive for the sky!

But the hand is invisible and fatal,

Your stubborn beam refracts,

Sparkles in the spray from above.

Sometimes the poet seems to get tired of his own concentration on the depths of knowledge. In the poem “No, my passion for you...” Tyutchev frees himself from the burden of thoughts, from a complex spiritual life and returns to earthly life with its simple joys:

Wander around idle and without purpose And inadvertently, on the fly,

Come across fresh spirit chenille

Or for a bright dream...

Tyutchev realizes that translating philosophical ideas into the language of poetry is extremely difficult, because this is a transition to another dimension, where thought is subordinated to image, rhyme, and rhythm. The poet speaks about this complexity in the poem “Silentium!”:

...How can the heart express itself?

How can someone else understand you?

Will he understand what you live for?

A spoken thought is a lie.

This poem is also about human disunity, about the impossibility of fully explaining oneself even to a person close in spirit.

In his philosophical lyrics, Tyutchev does not just reflect. In excitement and torment, he pronounces his prophetic word, makes discoveries, experiences ups and downs. The poet infects us with his feelings and his thoughts. And we feel Tyutchev’s excitement, the passion of his thoughts, and comprehend the restless wisdom of his poems:

O my prophetic soul!

O heart full of anxiety,

Oh, how you beat on the threshold

As if double existence!..

The main themes and motives of Tyutchev's lyrics

The great Russian poet Fyodor Ivanovich Tyutchev left a rich creative heritage to his descendants. He lived in an era when Pushkin, Zhukovsky, Nekrasov, Tolstoy were creating. Contemporaries considered Tyutchev the smartest, most educated man of his time and called him a “real European.” From the age of eighteen, the poet lived and studied in Europe, and in his homeland his works became known only in the early 50s of the 19th century.

A distinctive feature of Tyutchev’s lyrics was that the poet did not seek to remake life, but tried to understand its secrets, its innermost meaning. That is why most of his poems are permeated with philosophical thoughts about the mystery of the Universe, about the connection of the human soul with the cosmos.

In Tyutchev's lyrics one can distinguish philosophical, civil, landscape and love motives. But in each poem these themes are closely intertwined, turning into works that are surprisingly deep in meaning.

Civil lyric poetry includes the poems “December 14, 1825”, “Above this dark crowd...”, “The Last Cataclysm”. Tyutchev witnessed many historical events in Russian and European history: the war with Napoleon, revolutions in Europe, the Polish uprising, the Crimean War, the abolition of serfdom in Russia and others. As a state-minded person, Tyutchev could compare and draw conclusions about the development paths of different countries.

In the poem “December 14, 1825,” dedicated to the Decembrist uprising, the poet angrily denounces the autocracy that has corrupted the ruling elite of Russia:

The people, shunning treachery,

Blasphemes your names -

And your memory from posterity,

Like a corpse in the ground, buried.

The poem “Above this dark crowd...” reminds us of Pushkin’s freedom-loving lyrics. In it, Tyutchev is indignant at the “corruption of souls and emptiness” in the state and expresses hope for a better future:

…When will you rise, Freedom,

Will your golden ray shine?

The poem “Our Century” refers to philosophical lyrics. In it, the poet reflects on the state of the soul of a contemporary person. There is a lot of strength in the soul, but it is forced to remain silent in conditions of lack of freedom:

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.

According to the poet, a person has lost faith, without the light of which the soul is “dried up”, and his torment is unbearable. Many poems convey the idea that man has failed in his mission on Earth and must be swallowed up by Chaos.

Tyutchev's landscape lyrics are filled with philosophical content. The poet says that nature is wise and eternal, it exists independently of man. Meanwhile, he only draws strength for life from her:

So bound, united from eternity

Union of consanguinity

Intelligent human genius

With the creative power of nature.

Tyutchev’s poems about spring “Spring Waters” and “Spring Thunderstorm” became very famous and popular. The poet describes a stormy spring, the revival and joy of the emerging world. Spring makes him think about the future. The poet perceives autumn as a time of sadness and fading. It encourages reflection, peace and farewell to nature:

There is in the initial autumn

A short but wonderful time -

The whole day is like crystal,

And the evenings are radiant.

From autumn the poet moves straight into eternity:

And there, in solemn peace

Unmasked in the morning

The white mountain is shining

Like an unearthly revelation.

Tyutchev loved autumn very much; it’s not for nothing that he says about it: “Last, last, charm.”

In the poet's love lyrics, the landscape is often combined with the feelings of the hero in love. So, in wonderful poem“I met you...” we read:

Like late autumn sometimes

There are days, there are times,

When suddenly it starts to feel like spring

And something will stir within us.

The masterpieces of Tyutchev’s love lyrics include the “Denis’ev cycle,” dedicated to his beloved E. A. Denis’eva, whose relationship lasted 14 years until her death. In this cycle, the poet describes in detail the stages of their acquaintance and subsequent life. The poems are a confession, like a personal diary of the poet. The last poems written on the death of a loved one are shockingly tragic:

You loved, and the way you love -

No, no one has ever succeeded!

Oh God!.. and survive this...

And my heart didn’t break into pieces...

Tyutchev's lyrics rightfully entered the golden fund of Russian poetry. It is full of philosophical thoughts and is distinguished by the perfection of its form. Interest in the study of the human soul made Tyutchev's lyrics immortal.

Fyodor Ivanovich Tyutchev is the first poet in the history of Russian literature, the central theme of whose work is the “ultimate foundations of being”, general questions of the world order. With it, the lyrical hero is not an exponent of any specific philosophical concept; he will only ask “damned” unanswerable questions: what is a person? Why was he thrown into the world? Why was nature itself created? What is the mystery of natural existence? The dramatic feeling of the futility of philosophical search is reflected in Tyutchev’s famous quatrain:

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.

Tyutchev is “consistently contradictory” in his philosophical position regarding the essence of natural being - first of all, and the question of whether natural world to a person.

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...

In a number of Tyutchev’s poems, nature is truly animated: streams “speak” and “foreshadow”, a spring “whispers”, the tops of birch trees “rave”, the sea “walks” and “breathes”, the field “rests”. On the other hand, the author talks about nature’s deafness to the pleas of its children, about its indifference both to the death of a person and to his sufferings and passions.

Let’s compare Tyutchev’s poem “From the life that raged here...” with Pushkin’s philosophical elegy “Again I visited...”. Like Tyutchev, Pushkin writes about the inexorable rush of time allotted to man (“... a lot has changed in life for me,” “... I myself... have changed”), about the majestic leisurely nature (“... it seems like I was still wandering in THESE groves in the evening”) . But Pushkin associates with the images of trees the idea of ​​continuity of generations and the associated idea of ​​​​the immortality of all being - both natural and human: how a tree continues itself in other trees (“young grove”” “green family” is crowded near the “obsolete” roots of old pines), so a person does not die in his descendants. Hence the philosophical optimism of the final part of the poem:

Hello tribe

Young, unfamiliar! not me

I will see your mighty, late age...

Tyutchev's trees personify the dispassion, self-sufficiency of nature, and its indifference to the spiritual life of people: “They show off, make noise, and they don’t care / Whose ashes, whose memory their roots dig.” Nature is not just devoid of soul, memory, love - it, according to Tyutchev, is above the soul, and love, and memory, and man, as a creator is above his creation:

... in front of her we are vaguely aware

Ourselves are just a dream of nature.

Here, as in a number of other poems, the motif of the abyss (chaos) sounds - one of the key motifs of Tyutchev’s lyrics. In the poem “From the life that raged here...” the abyss is thought of as one of the parts or one of the functions of the physical world:

Nature does not know about the past...

One by one, She greets all her children, Performing their useless feat, with her All-Helping and Peaceful Abyss, the poet writes with eerie irony (“welcomes”).

In Tyutchev’s creative heritage there are many bright and joyful poems that express reverent, enthusiastic feelings evoked by the beauty of the world (“Spring”, “Summer Evening”, “Morning in the Mountains”, “No, my passion for you ...”, “It’s not for nothing that winter is angry...”). This is the famous “Spring Storm,” filled with triumphant intonations, the jubilant sound of a symphony of colors and sounds, and the energy of life renewal: Young peals thunder, The rain splashes, dust flies, Rain pearls hang, And the sun gilds the threads. However, the existence of man in the world, the existence of nature itself is perceived by the poet as a prologue to an inevitable catastrophe. Hence the tragic sound of such poems by the poet as “Vision” (1829), “Insomnia” (1829), “How the Ocean Envelops the Globe” (1830), “Soya on the Sea” (1833). In “Insomnia” Tyutchev paints an image of time. At the beginning of the poem, the “monotonous chiming of the clock” is interpreted as the “dull groaning” of time, as its language, “equally alien and intelligible to everyone”; at the end - like a “metal funeral voice.” A reminder of the inexorable movement of time makes a person see himself (and humanity as a whole) standing “at the edge of the earth,” and feel his existential loneliness in the world (“... we are... abandoned to ourselves”).

“... We are floating in a burning abyss. / Surrounded on all sides,” says Tyutchev in the poem “Like an ocean envelops the globe.” The path of life is a path to nowhere; non-existence is the last refuge of both man and the natural world. This idea is expressed in the poetic philosophical miniature “The Last Cataclysm”: When it strikes last hour nature, The composition of the earth’s parts will collapse: Everything visible will again be covered by waters, And God’s face will be depicted in them!