Life and work of Tyutchev. Themes of Tyutchev's creativity

Fyodor Tyutchev is a famous Russian lyricist, poet-thinker, diplomat, conservative publicist, corresponding member of the St. Petersburg Academy of Sciences since 1857, privy councilor.

Tyutchev wrote his works mainly in the direction of romanticism and pantheism. His poems are very popular both in Russia and throughout the world.

In his youth, Tyutchev spent his days reading poetry (see) and admiring their creativity.

In 1812, the Tyutchev family was forced to move to Yaroslavl due to the outbreak.

They remained in Yaroslavl until the Russian army finally expelled the French army, led by.

Thanks to his father’s connections, the poet was enrolled in the College of Foreign Affairs as a provincial secretary. Later, Fyodor Tyutchev becomes a freelance attaché of the Russian diplomatic mission.

During this period of his biography, he works in Munich, where he meets Heine and Schelling.

Tyutchev's creativity

In addition, he continues to write poetry, which he later publishes in Russian publications.

During the period of biography 1820-1830. he wrote such poems as “Spring Thunderstorm”, “Like the Ocean Envelops the Globe...”, “Fountain”, “Winter is not angry for nothing...” and others.

In 1836, the Sovremennik magazine published 16 works by Tyutchev under the general title “Poems sent from Germany.”

Thanks to this, Fyodor Tyutchev is gaining great popularity in his homeland and abroad.

At the age of 45, he receives the position of senior censor. At this time, the lyricist continues to write poetry, which arouses great interest in society.

However, the relationship between Tyutchev and Lerchenfeld never reached the wedding. The girl chose to marry the wealthy Baron Krudner.

The first wife in Tyutchev’s biography was Eleonora Fedorovna. In this marriage they had 3 daughters: Anna, Daria and Ekaterina.

It is worth noting that Tyutchev had little interest in family life. Instead, he liked to spend his free time in noisy companies in the company of representatives of the fairer sex.

Soon, at one of the social events, Tyutchev met Baroness Ernestina von Pfeffel. An affair began between them, which everyone immediately found out about.

When the poet's wife heard about this, she, unable to bear the shame, struck herself in the chest with a dagger. Fortunately, there was only a minor injury.

Despite the incident and condemnation in society, Fyodor Ivanovich was never able to part with the baroness.

After the death of his wife, he immediately married Pfeffel.

However, having married the baroness, Tyutchev immediately began to cheat on her. For many years he had a close relationship with Elena Deniseva, whom we have already mentioned.

Death

In the last years of his life, Tyutchev lost many relatives and people dear to him.

In 1864, his mistress Elena, whom he considered his muse, passed away. Then his mother, brother and his own daughter Maria died.

All this had a negative impact on Tyutchev’s condition. Six months before his death, the poet was paralyzed, as a result of which he became bedridden.

Fyodor Ivanovich Tyutchev died on July 15, 1873 at the age of 69. The poet was buried in St. Petersburg at the Novodevichy Convent cemetery.

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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 a widely educated man, 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 for 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 poetry, in landscape poetry there were always reflections on the fatal questions of existence and on the destiny 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.

“For Tyutchev, living means thinking.”

I. Aksakov

“Only strong and original talents are given the opportunity to touch such strings in the human heart.”

N. Nekrasov

Fyodor Tyutchev is one of the largest Russian lyric poets, poet-thinker. His best poetry still excites the reader with its artistic foresight, depth and power of thought.

If a political struggle unfolded around the poetry of Nekrasov and Fet and now literary critics are divided into supporters of either the “Nekrasov” or “Fetiv” direction, then thoughts about Tyutchev’s work were unanimous: they were highly valued and perceived by both democrats and aestheticians.

What is the inexhaustible wealth of Tyutchev’s lyrics?

Fyodor Tyutchev was born on November 23, 1803 into a nobleman’s family on the Ovstug estate in the Oryol province. The parents of the future poet, educated and wealthy people, gave their son a thorough and varied education.

His tutor invited the once famous poet and translator S.E. Raich, an expert in classical antiquity and Italian literature. From his lessons, Tyutchev gained deep knowledge of the history of ancient and modern literature. While still a teenager, Fedor began to write himself. His early poems are somewhat outdated and “heavy”, but testify to the talent of the young man.

At the age of 14, Tyutchev became a member of the Union of Lovers of Russian Literature. In 1819, his free translation of the “Epistle of Horace to Maecenas” appeared for the first time. During 1819-1821 Tyutchev studied at the literature department of Moscow University.

Letters and diaries of this period testify to his literary tastes. He admired Pushkin, Zhukovsky, the German romantics, and read the works of French educators, poets and philosophers of Ancient Greece and Rome. The range of his intellectual interests was quite wide and covered not only literature, but also history, philosophy, mathematics, and natural sciences.

Moscow University in the early 20s became the center of political and social thought. And although Tyutchev was not interested in politics, his mother, fearing the harmful influence of revolutionary ideas on him, insisted on early completion of his studies and his son joining the diplomatic service.

Tyutchev was enrolled in the College of Foreign Affairs. Soon he left for Europe, where he lived for almost 22 years, representing the Russian diplomatic mission in Munich, then in Turin and at the court of the Sardinian king. Munich (the capital of the Bavarian kingdom) was one of the largest centers of European culture.

Tyutchev met scientists, writers, and artists there and immersed himself in the study of German romantic philosophy and poetry. He becomes close to the outstanding idealist philosopher F. Schelling, is friends with Heine, is the first to begin translating his works in the Osi language, and also translates F. Schiller, I.V. Goetheta of other European poets. This helped Tyutchev hone and improve his poetic skills.

His name entered great poetry in the 20s. Tyutchev's poems periodically appeared in various Moscow magazines and almanacs, and were often signed only with the poet's initials. Tyutchev himself did not value his own achievements very highly. Most of what was written either disappeared or was destroyed.

Surprisingly modest and demanding of himself, during one of the moves Tyutchev, burning unnecessary papers, threw several notebooks of his poetry into the fire.

Four hundred poems by Tyutchev allow us to trace the formation of his worldview and get acquainted with the outstanding events of his life.

During his student days and at the beginning of his stay abroad, the poet was influenced by freedom-loving ideas. His poem “To Pushkin's ode “Liberty” is close in ideological orientation to the works of romanticism, but it already differs from the social lyrics of Pushkin of the Decembrist period.

Tyutchev uses vocabulary characteristic of the poetry of the Decembrists (“fire of freedom”, “sound of chains”, “dust of slavery”, etc.), but sees the meaning of poetry not in a call for struggle, but in a call for peace and peace of mind. His ode contains lines addressed to the poet with a request to use a magic string to “soften, and not disturb the hearts” of readers.

Tyutchev's attitude towards Russia was contradictory. He deeply loved his homeland, believed in its future, but understood its economic and cultural backwardness, neglect, and could not put up with the political regime of “office and barracks,” “whip and rank,” which personified autocratic Russia.

For Tyutchev, any violent forms of struggle always remained unacceptable. Hence his contradictory attitude towards the Decembrist events, to which he responded with the poem “December 14, 1825.”

The poet respected the brave actions of the nobles for the sake of the ideas of public freedom, who stepped over their own interests, but at the same time he considered them “victims of stupid intentions”, argued that their act was meaningless, and therefore would not leave a mark in the memory of descendants.

Every year the poet's skill improved. By the mid-30s, he published such gems as “Spring Thunderstorm”, “Spring Waters”, “Summer Evening”, “Silentium!” However, the poet’s name remained unknown to the average reader, since some of Tyutchev’s poems (and some without the author’s signature ) appeared scatteredly in various magazines and almanacs and were “lost” in a sea of ​​low-grade poetry.

Only in 1836, on the initiative of his friend I. Gagarin, Tyutchev collected his poems into a separate manuscript for the purpose of publication. The works were transferred to P. Vyazemsky, who showed it to Zhukovsky and Pushkin.

The three luminaries of Russian poetry were delighted, and Sovremennik (and the magazine at that time belonged to its founder A. Pushkin) published 24 poems under the title “Poems sent from Germany” with the signature of F.T.

Tyutchev was proud of the attention paid to him by the first poet of Russia and dreamed of a personal meeting. However, they are not destined to meet. Tyutchev responded to Pushkin’s death with the poem “January 29, 1837.”

Like M. Lermontov, Tyutchev blamed the secular elite for Pushkin’s death, but believed that the poet was deeply mistaken in being distracted from pure poetry. At the end of the poem, he asserts the poet’s immortality: “The heart of Russia will not forget you, like its first love.”

Over the years, the sense of social changes that are taking place in the world has increased, and the understanding that Europe is on the threshold of an era of revolutions. Tyutchev is convinced that Russia will take a different path. Torn away from his homeland, he creates with his poetic imagination an idealized image of Nicholas Rus. In the 40s, Tyutchev almost did not engage in poetry; he was more interested in politics.

He explains his political beliefs in a number of articles in which he propagates the idea of ​​Pan-Slavism and defends Orthodoxy, considering religiosity a specific feature of the Russian character. In the poems “Russian Geography” and “Prediction” there are calls for the unification of all Slavs under the scepter of Russian autocracy, condemnation of the revolutionary movements that spread in Europe and threatened the Russian Empire.

Tyutchev believes that the Slavs should unite around Russia and oppose the revolutions with enlightenment. However, idealistic sentiments regarding the Russian autocracy were destroyed by the shameful defeat of Russia in the Crimean War.

Tyutchev writes sharp, biting epigrams on Nicholas I, Minister Shuvalov, and the censorship apparatus.

Interest in politics was constantly declining. The poet comes to understand the inevitability of changes in the basis of the socio-political system of Russia, and this worries and worries him at the same time.

“I realize,” writes Tyutchev, “the futility of all the desperate efforts of our poor human thought to understand the terrible whirlwind in which the world is perishing... Yes, indeed, the world is collapsing, and how not to get lost in this terrible whirlwind.”

The fear of destruction and the joy of realizing the confident gait of the new now live together in the poet’s heart. It was he who owned the words that became popular: “Blessed is he who visited this world in its fatal moments...”

It is no coincidence that he uses the word “fatal” (“Cicero”). Tyutchev, by his convictions, was a fatalist; he believed that both the fate of man and the fate of the world were predetermined. However, this did not give him a feeling of doom and pessimism, on the contrary - a sharpened desire to live, to move forward, to finally see the future.

Unfortunately, the poet considered himself to be one of the “remnants of the old generation,” acutely feeling detachment, alienation from the “new young tribe” and the impossibility of walking next to him towards the sun and movement (“Insomnia”).

In the article “Our Century” he argues that the leading feature of the contemporary is duality. We clearly see this “duplicity” of the poet’s worldview in his lyrics. He is in love with the theme of storms, thunderstorms, downpours.

In his poetry, a person is doomed to a “hopeless”, “unequal” battle with life, fate, and himself. However, these pessimistic motives are combined with courageous notes that glorify the feat of indestructible hearts, strong-willed people.

In the poem “Two Voices,” Tyutchev glorifies those who overcome life’s difficulties and social disagreements and can only be cracked by fate. Even the Olympians (i.e., the gods) look at such people with envy. The poem “Fountain” also glorifies the one who strives upward - towards the sun, towards the sky.

Tyutchev's philosophical and social lyrics are often built on the basis of the compositional device of parallelism. In the 1st part, a picture or natural phenomenon familiar to us is depicted; in the 2nd stanza, the author makes a philosophical conclusion, designed for human life and destiny.

Thematically, Tyutchev's poems are divided into three cycles: social and philosophical lyrics (already discussed), landscape lyrics and intimate lyrics (about love).

We value Tyutchev primarily as an unsurpassed singer of nature. There has never been a poet in Russian literature in whose work nature weighed so heavily. She acts as the main object of artistic sensations.

In addition, the natural phenomena themselves are conveyed in few words, but the main attention is focused on the feelings and associations that they evoke in humans. Tyutchev is a very observant poet; with just a few words he can reproduce an unforgettable image.

The poet's nature is variable and dynamic. She knows no peace, being initially in a state of struggle of contradictions, clashes of elements, in a continuous change of seasons, day and night. It has many “faces”, full of colors and smells (poems “How good you are, night sea”, “Spring thunderstorm”, “What a cheerful noise of a summer storm”, etc.).

Epithet and metaphor have an unexpected character; in their meaning they are basically those that are mutually exclusive.

This is what helps create a picture of the struggle of opposites, constant changes, which is why the poet is especially attracted to transitional moments in nature: spring, autumn, evening, morning (“There is in autumn ...”, “Autumn Evening”). But more often Tyutchev turns to spring:

Winter has come torment,

That's why she's sad

He's knocking on her window,

It's spring for her wife.

Translation by M. Rylsky

Storms and blizzards strive to stop the progress of spring, but the law of life is inexorable:

Winter doesn't want to go away

In the spring everything grumbles,

But spring laughs

And young noise!

Translation by M. Rylsky

Nature in Tyutchev’s poems is humanized. She is close to the person. And although in the poems we do not find a direct image of a person or any signs of her presence (room, tools, household items, etc.), we internally feel that we are talking about a person, his life, feelings, about what The old generation is being replaced by the young. The thought arises about the eternal celebration of life on earth:

Winter disaster heard

The end of your life

The last snow was thrown

Into a magical child.

But what an enemy's power!

I washed my face with snow

And only Spring turned pink in its bloom.

Translation by M. Rylsky

Having creatively mastered Schelling’s teaching about the dominance of a single “world soul” in the world, the poet is convinced that it finds its expression both in nature and in the inner world of an individual. Therefore, nature and man are organically fused in Tyutchev’s lyrics and form an inextricable whole. “Thought after thought, wave after wave—two manifestations of one element” (“Wave and Thought”).

The feeling of optimism, the affirmation of the celebration of life is the essence of Tyutchev’s poetry. That is why Tolstoy greeted every spring with the lines of Tyutchev’s poem “Spring”. N. Nekrasov wrote about the poem “Spring Waters”: “Reading poetry, feeling spring, from where, I don’t know, my heart becomes cheerful and light, as if several years younger.”

The traditions of Tyutchev's landscape lyrics have their origins in the poetry of Zhukovsky and Batyushkov. The style of these poets is characterized, so to speak, by the transformation of the qualitative characteristics of the objective world into emotional ones.

However, Tyutchev is distinguished by a philosophical orientation of thought and a bright, picturesque speech, which gives euphony to the poems. He uses particularly tender epithets: “blessed”, “bright”, “magical”, “sweet”, “blue” and others. In his landscape lyrics, Tyutchev acts as a romantic poet, and in some of his poems the tendencies of symbolism are noticeable (“Days and Nights”, “Grey Shadows”).

Tyutchev also achieves high mastery in intimate lyrics. He raises it to the height of the same generalization as we see in landscape poetry.

However, while landscape painting is imbued with philosophical thoughts, intimate painting is filled with psychologism in revealing the inner world of a person in love. For the first time in Russian poetry, the author’s attention shifted from the lyrical suffering of a man to a woman. The image of the beloved is no longer abstract; it takes on living, concrete psychological forms. We see her movements (“She was sitting on the floor ...”), we learn about her experiences.

The poet even has poems written directly on behalf of the woman (“Don’t say: he loves me as before ...”).

In the 40-50s, the women's issue in Russia became problematic. The romantic ideal remains alive, according to which a woman was imagined as a fairy, a queen, but not as a real earthly creature.

George Sand begins the fight for the emancipation of women in world literature. Many works have been published in Russia in which the character and intellectual capabilities of a woman are determined: is she full-fledged compared to a man? What is her purpose on earth?

Revolutionary-democratic criticism and literature viewed a woman as a being equal to a man, but without rights (Chernyshevsky’s novel “What to do”, N. Nekrasov’s poem “Russian Women”). Tyutchev shared Nekrasov’s (“Panaevsky cycle”) position. However, unlike the democrats, he calls not for the social, but for the spiritual emancipation of women.

The pearl of Tyutchev’s poetry is the “Denisiev cycle”.

In 1850, when the poet turned 47 years old, he accepted a civil marriage with Elena Denisyeva, a 24-year-old niece and a student of the inspector of the Smolny Institute of Noble Maidens, where the daughters (!) of the poet also studied, their relationship lasted 14 years (during this time three children were born). High society did not recognize and condemned Deniseva. The delicate situation depressed the young woman, which led to his illness with tuberculosis and early death.

“The Denisiev Cycle” is truly a novel in verse about love. We learn about the joy of the first meeting, the happiness of mutual love, the inexorable approach of tragedy (the poet’s beloved, who is condemned by her environment, does not have the opportunity to live the same life with her beloved, doubts the fidelity and strength of his feelings), and then the death of her beloved and “bitter pain and despair ”about the loss that does not leave the poet until the end of his life (“What did you pray with love”, “And I am alone ...”).

In the intimate cycle there is a lot of personal experience, experienced by the author himself, but there is no place for subjectivity. Poems excite the reader and are associated with their own feelings.

Many literary scholars note the closeness in the disclosure of the theme of love between F. Tyutchev and I. Turgenev. In both, a woman’s love is tragic, for the one who loves her is not able to reciprocate her to the extent that she feels.

The cause of suffering lies in the differences in female and male characters. A woman can live by love alone, but for a man, feelings always coexist with the needs of social or intellectual activity. Therefore, the lyrical hero repents that he is not able to love with the same strength as his chosen one. (“Oh, don’t bother me…”).

The love of Tyutchev’s lyrical hero is powerless, just like the love of the heroes of Turgenev’s novels. And this was typical for that time.

Tyutchev was a liberal in his worldview. And his life’s fate is similar to the fate of the heroes of Turgenev’s novels. Turgenev the realist sees the reason for the heroes’ inability to love in their social essence, social impotence. Tyutchev the romantic tries to find the reason in the impossibility of fully understanding human nature, in the limitations of the human “I”. Love acquires destructive power; it violates the isolation and integrity of a person’s inner world. The desire to express oneself, to achieve complete mutual understanding, makes a person vulnerable. Even mutual feeling, the desire of both lovers to “dissolve” in a new unity - to replace “I” - “we” - is not able to prevent how to stop the destructive outbreak of individuality, “peculiarity”, alienation, which fatally accompanies lovers and is traditionally “introduced” for a moment of harmony of souls (“Oh, how we love the murderous…”).

Most of Tyutchev's poems were set to music and became popular romances.

However, the poet was recognized only at the end of his life. In 1850, the magazine “Sovremennik” published an article by N. Nekrasov “Russian minor poets”, which was mainly dedicated to F. Tyutchev. The critic raises him to the level of A. Pushkin and M. Lermontov: he sees in him a poet of the “first magnitude,” since the main value of his poetry is in the “living, graceful, plastically accurate depiction of nature.” Later, 92 poems by Tyutchev were published as an appendix to one of the next issues of the magazine.

In 1854, edited by I. Turgenev, the first collection of Tyutchev’s poems was published. In the article “A few words about the poems of F.I. Tyutchev" Turgenev places him above all modern Russian poets.

Tyutchev's work had a significant influence on Russian literature of the 2nd century. XIX century - Beginning XX century Russian romanticism in his work reached the pinnacle of its development in the 19th century, however, it did not lose its vitality, since we trace the traditions of Tyutchev’s poetics in the works of L. Tolstoy, F. Dostoevsky, A. Blok, M. Prishvin, M. Tsvetaeva, M Gumilyov and many others.

Only a few of Tyutchev’s poems have been translated into Ukrainian (translators: M. Rylsky, P. Voroniy), but these translations cannot be called perfect. Firstly, it is very difficult to translate associative poems, since they do not have specific content, and secondly, Tyutchev’s poetic dictionary is an obstacle, in which there are such semantic shades of words that cannot be conveyed word for word in another language. Therefore, the translations lack the unique sound of Tyutchev’s speech in verse.

"Silentium" (1830)

The poem has a Latin title, which translated means “Silence.” It seems to cross two themes: the traditional literary theme of the poet and poetry and the theme of love. In form and content the poem is declarative, i.e. the author tries to convince the reader of the correctness of the judgments that are declared in it.

In the first stanza, based on his own ideological beliefs, Tyutchev warns us against trying to tell the world about our feelings and thoughts:

Shut up, shut up from life

And dreams, and your feelings.

Translation by P. Voronoi

Man and nature live by the same laws. Just as the stars cannot understand why they shine and fade in the heights, so a person cannot and should not try to understand why feelings suddenly arise and just as suddenly disappear:

Let in the abyss of the depths

And they go and they come,

Like stars clear at night:

Admire them and be silent.

Tyutchev believed that feelings are higher than reason, since they are the product of the eternal soul, and not mortal matter. And therefore, trying to express what is happening in a person’s soul makes no sense, and is not possible at all:

How can the heart express itself?

Will anyone understand you?

He won't understand the words

Therefore the thought expressed is decay.

A person is a “thing in itself”, each personality is unique and “sealed” in its own spiritual world. It is from this that a person can draw life-giving forces, and not try to find support among the material environment:

Learn to live within yourself!

There is a whole world in your soul

Secretly enchanting thoughts,

Drown out their everyday noise,

And the darkness will disappear in the light of day,

Listen to their singing and be silent!

And again, in the last lines of the poem, the poet compares the world of the human soul and the world of nature. This is emphasized by the rhyming of words that have the main meaning - “dum - noise”, “mruchi - be silent”.

The word “be silent” sounds like a refrain. It is used 4 times in the poem, and this focuses our imagination on the main idea of ​​the poem: why and what we need to remain silent about.

The poem also gives us some idea about the subject of poetry. The beautiful is characteristic of the human soul, and it is to characterize it that the poet uses the only majestic poetic epithet in this poetry (which is generally not characteristic of his poetics and differs from others in the wealth of expressive vocabulary) - “secret and enchanting thoughts.” And this is when the surrounding world receives a prosaic definition - “ordinary noise.”

The world of the human soul is alive and objectified; it exists, as it were, outside of man (“Admire them”—that is, with your feelings—and be silent”). The author’s idea is emphasized by the rich metaphorical nature of the speech (“feelings go away,” “feelings come in,” “the heart expresses itself”).

The author uses iambic bimeter, which enhances the semantic sound of speech. Rhetorical questions and exclamations also enhance his oratorical focus. In the questions there is a theme (“How can the heart express itself?”, “Who will understand you?”), in the answers there is an idea (“Be silent, close your dreams and your feelings from life!”, “Know how to live within yourself!”, “Listen to their singing (feeling - N.M.) and be silent!”

This poem is important for understanding the essence of F.I. Tyutchev’s poetry, especially his intimate lyrics.

"Last love"

(1852 or 1854)

The poem belongs to the “Denisevsky cycle” and is dedicated to the strong outburst of the poet’s last love. The poem is romantic in sound. At the center of the work is an image-feeling, an image-experience. There are no references to the person to whom it is dedicated; the lyrical heroine is outside the context of the narrative. And therefore poetry acquires not a specific personal, but a universal sound. This is not a story about the love of an elderly man Tyutchev for a young girl Elena Denisyeva, this is a story about the last bright feeling that can flare up in a person’s soul - “about the last love.”

The poem takes the form of an extended metaphor: pictures of nature are interspersed with descriptions of the feelings of the lyrical hero. The last love is associated in the poet’s mind with the “farewell radiance of the evening dawn.” The author understands that his life is coming to an end (“a shadow has already covered half the sky” and “the blood runs cold in his veins”), and the more precious this strange and wonderful feeling is for him, which can only be compared with the “shine” in the middle of a dark night.

The poem is distinguished by its emotionality and sincerity, the author managed to achieve this feeling with the help of interjections “Oh”, sounding at the beginning and end of the poem, repetition of individual words that are most significant for the lyrical hero (“wait”, “wait a minute.” “Evening day” ”, “continue to enjoy”, “continues”, “miracle”), a successful selection of euphonious words (tenderness, charm, bliss, etc.).. The uniqueness of this poetry is provided by the metaphorical nature of epithets and phrases (“farewell radiance”, “blood runs cold” and etc.), an original combination at the end of the work of the words “bliss” and “hopelessness” that have completely different lexical meanings, the use of unexpected grammatical variations of one word (“more tender” and “tenderness”).

The melody and melodiousness of the verse contributed to the fact that composers of both the 19th and 20th centuries turned to it repeatedly.

"Fountain" (1836)

The poem is built on the principle of parallelism. The first stanza describes a natural phenomenon, the second projects it onto human life. The content is philosophical poetry, in which the author talks about the predestination of human life. And at the same time, he is delighted with those daredevils trying to break out of this fatal circle.

The lyrical hero looks with surprise at the splashes of the fountain, which, sparkling in the rays of the sun, will rush up to the sky. However, no matter how high they fly up like “flaming dust,” they are “destined” to fall to the ground. Further, in the author’s mind, this is associated with human life. No matter how a person tries to achieve something unusual, bright and outstanding in his life’s path, it is doomed, like the doomed splashes of a fountain, to fall from a height. Despite the seemingly pessimistic content, the poem does not evoke a feeling of hopelessness. On the contrary, it is optimism, because it glorifies and extols those who do not want to put up with the drab routine.

“The Fountain,” like most of Tyutchev’s poems on philosophical topics, is written in the form of an emotionally charged monologue. It begins with an address to an invisibly present interlocutor: “look”, the pronouns “you”, “you” are introduced into the text, and rhetorical exclamations are used. However, the excess of purely “aesthetic”, “exotic” vocabulary (for example, “hand”) in the poem causes difficulties for translators.

"Spring Storm" (1828)

This is one of Tyutchev’s best poems, which has long become a textbook. Purely landscape, devoid of philosophical didacticism (which is in the poems “Zieepiiiit!” and “Fountain”), the poem is accessible not only to adults, but also to children’s perception.

Tyutchev loved “turning moments” in nature, when the seasons change, night gives way to day, after a thunderstorm the sun’s rays break through the clouds. Characteristic of the poet’s landscape lyricism is the beginning of the poem, in which he categorically states: “I love the time of thunderstorms in the spring.” The following is a description of nature during the first May thunderstorm. Why is the lyrical hero so attracted to a thunderstorm, a natural phenomenon that many simply fear? Tyutchev's thunderstorm is attracted by the uncontrollability of the elements, when everything is engulfed in flashes of lightning, when everything is in a state of struggle, in motion. This also determined the author’s choice of a dynamic poetic meter - iambic bimeter.

Each stanza of the poem is dedicated to one of the stages of a thunderstorm. In the first stanza, the thunderstorm is only approaching, reminding of itself with distant thunder. The sky is still clear and blue:

I love the time of thunderstorms in spring,

When the first thunder in May

As if reveling in the game,

Rumbling in the blue sky.

Translation by M. Rylsky

In the second, the thunderstorm is approaching, the struggle between the sun and the storm begins, the thunder sounds loud and noticeable:

And in the third stanza there is a thunderstorm in full swing. But it is not the evil force that wins, but nature, life. Therefore, “everything sings along with thunder”:

Streams of clear waters flow,

The din of birds never stops,

And there is a din in the forest, and noise in the mountains, -

Everyone sings along with the thunder.

This joyful mood and fun are also heard in the last - final stanza, where the image of “mischievous Hebe” appears (in Greek mythology, the goddess of youth, the daughter of the supreme deity - Zeus), who “poured a socially wet cup from heaven to earth with laughter.”

Despite the detailed subject description of the thunderstorm (thunder, dust, rain, flow of water), the main thing in the poem is not the image of the thunderstorm, but the image-feeling, the mood that it evokes in the heart of the lyrical hero. The poem is written in a romantic creative method: the personification of nature (“thunder plays”, “Vociferous thunders”, nature “sings along”), a majestic poetic comparison (“drops of vision often a necklace burns golden in the sun”), the use of ancient images (Hebe, Zeus, etc. .).

The poem is elegant both in its form and in its content. Knowing it, you repeat it to yourself, and when you meet the first spring thunderstorm, you feel a joyful and optimistic mood, which is conveyed to us through the centuries by the great master of the poetic word.

References

Zakharkin A.F. Russians of the late second half of the 19th century. M., 1975.

Kasatkina V.N. Positive worldview of F.Y. Tyutchev: Saratov University, 1969.

Fyodor Ivanovich Tyutchev is an exclusively lyrical poet. He did not leave a single epic or dramatic work, except for small and few translations from foreign languages.

Fyodor Ivanovich Tyutchev, Russian poet, was born into a noble family on November 23, 1803. He was the youngest son of Ivan Nikolaevich and Ekaterina Lvovna Tyutchev. The poet’s small homeland is the village of Ovstug, Oryol province, Bryansk district.

The father of the future celebrity was kind, meek and respected by everyone. Ivan Nikolaevich was educated in St. Petersburg, in a prestigious noble educational institution - the Greek Corps, founded by Catherine in honor of the birth of Grand Duke Konstantin Pavlovich.

His wife, Ekaterina Lvovna, nee Tolstaya, was raised by her relative, her aunt, Countess Osterman. The Tolstoy family, to which Ekaterina Lvovna belonged, was an old and noble one, and it also included the outstanding Russian writers Lev Nikolaevich and Alexey Konstantinovich Tolstoy.

Ekaterina Lvovna, Fedenka Tyutchev’s mother, was a graceful woman with a sensitive and gentle soul. Ekaterina Lvovna was very smart. It is possible that her intelligence, the ability to see beauty, to subtly feel the world, was inherited by her youngest son, the future famous Russian poet Fyodor Tyutchev.

His native estate, the Desna River, an ancient garden, linden alleys are wonderful places where the future poet grew up. Peace and harmony reigned in the Tyutchev family.

Fyodor Ivanovich received his initial education in his father's house. Tyutchev's home teacher, Raich, an expert and translator of Ariosto and Torquato-Tasso, awakened his poetic talent and in 1817, on his recommendation, Tyutchev was already elected a member of the Society of Lovers of Russian Literature for his translation from Horace.

The powerful influence of alien poetry was joined by the no less powerful influence of alien life and nature when, after graduating from Moscow University, Tyutchev in 1823 received an appointment as part of the Russian mission to Munich and left his homeland for 22 years. (In 1823, he was assigned as a supernumerary official to the mission in Munich, the capital of the then Bavarian kingdom, where he went at the end of that year). In Munich, he became interested in German idealistic philosophy and was familiar with Schelling. Tyutchev's friend in the Bavarian kingdom was Heinrich Heine.

In 1825, Fyodor Ivanovich was granted the rank of chamber cadet; in 1828 - appointed second secretary at the mission in Munich; in 1833 he departed as a diplomatic courier for Nauplia. Tyutchev's places of service changed in subsequent years.

In 1836, a notebook with Tyutchev’s poems, transported from Germany to Russia, fell into the hands of A.S. Pushkin. Alexander Sergeevich publishes the poet’s poems in his magazine “Sovremennik”.

Fyodor Ivanovich Tyutchev spent a significant part of his life (due to his choice of career) abroad, but in his soul he was always with Russia and did not lose his spiritual connection with his homeland.

In 1846, Tyutchev received a new appointment: to serve on special assignments with the State Chancellor.

In 1848, Fyodor Ivanovich became senior censor at the special office of the Ministry of Foreign Affairs.

On October 6, 1855, Tyutchev was appointed, by Imperial command, to be one of the members of the committee for the caesural review of the posthumous works of V.A. Zhukovsky prepared for publication.

Then, in 1857, he was promoted to full state councilor and appointed chairman of the St. Petersburg Committee of Foreign Censorship. In 1861 and 1863, Tyutchev became a holder of the Orders of St. Stanislav and St. Anna, first degrees, and was promoted to Privy Councilor in 1865.

Tyutchev’s first poems were published in 1826, in the almanac “Urania”, where three of his works were placed: “To Nysa”, “Song of the Scandinavian Warriors”, “Glimpse”.

Tyutchev's works were not immediately accepted by his contemporaries. But everything changed in 1854, after the publication of an article by I.S. Turgenev in Sovremennik. It was called: “A few words about the poems of F.I. Tyutchev.” In it, Turgenev called Tyutchev “one of our most remarkable poets, bequeathed to us by Pushkin’s greetings and approval.”

Two months after the publication of the article, all of Tyutchev’s works collected by the editors of Sovremennik were published as a separate book entitled: “Poems by F. Tyutchev. St. Petersburg, 1854,” and the editors stated that it “placed in this collection those poems that belong to the very first era of the poet’s activity, and now would probably be rejected by him.”

The second edition of Tyutchev’s poems was published in 1868, in St. Petersburg, under the following title: “Poems by F.I. Tyutchev. New (2nd) edition, supplemented by all poems written after 1854."

The 70s of the 19th century became some of the most difficult in the poet’s life. He loses loved ones, and this affects his poetic gift. Since 1873, the poet has been plagued by illnesses that he was never able to overcome. In May of the same year, a decision was made to transport Tyutchev to Tsarskoe Selo. Death occurred on July 15, 1873. On July 18, the Russian poet Fyodor Tyutchev was buried in St. Petersburg, at the Novodevichy cemetery.

Tyutchev's poems were translated into German and published in Munich. The best analyzes of Tyutchev’s poems belong to N.A. Nekrasov and A.A. Fet.

Tyutchev was one of the most knowledgeable, educated, witty people of his time. He was and remains a great Russian poet, highly revered by his descendants.

Fyodor Tyutchev's appearance was discreet: a man of asthenic build and short stature, clean-shaven with disheveled hair. He dressed rather casually and was absent-minded. However, the diplomat changed dramatically during the conversation in the salon.

When Tyutchev spoke, those around him fell silent, the poet’s words were so reasonable, imaginative and original. The impression on those around him was made by his inspired high forehead, brown eyes, thin lips folded into a mocking smile.

Nekrasov, Fet and Dostoevsky, without saying a word, wrote: Tyutchev’s work is akin to Pushkin’s and Lermontov’s. And Lev Nikolaevich Tolstoy once spoke about his attitude towards his poems: “You cannot live without Tyutchev.”

However, Fyodor Tyutchev, in addition to his great virtues, was characterized by narcissism, narcissism, and adultery.

Tyutchev's personality

This poet seemed to live in two parallel and different worlds. The first is a successful and brilliant sphere of diplomatic career, authority in high society. The second is the dramatic story of Fyodor Ivanovich’s personal relationships, because he lost two beloved women and buried children more than once. It seems that the classical poet resisted a dark fate with his talent. The life and work of F.I. Tyutchev illustrates this idea. This is what he wrote about himself:

Quite frank lines, aren't they?

The contradictory nature of the poet

Fyodor Ivanovich was one of those people who, without breaking the law, brought a lot of suffering to those around him. A diplomat was once even transferred to another duty station to avoid a scandal.

Among the mental characteristics of Fyodor Ivanovich noticed by contemporaries are lethargy and an indifferent attitude towards his appearance, behavior with the opposite sex, bringing chaos to the family. He did everything in his power to charm, manipulate women and break their hearts. Tyutchev did not save his energy, wasting it in pursuit of high-society pleasures and sensations.

In this case, esotericists would probably remember about ancestral karma. His grandfather Nikolai Andreevich Tyutchev, a minor nobleman, walked to wealth along slippery paths and made a fair amount of sins in life. This ancestor was the lover of the landowner Saltychikha, known for her atrocities. There were stories among the people about his fury. In the Oryol province, people used to say that he was engaged in robbery, robbing merchants on the roads. Nikolai Andreevich was obsessed with wealth: having become the leader of the nobility, he immorally ruined his neighbors and bought up land, increasing his fortune 20 times over a quarter of a century.

According to biographers, the grandson of the Oryol nouveau riche Fyodor Tyutchev managed to channel the ancestral fury into the mainstream of sovereign service and creativity. However, life was not easy for the descendant, mainly due to his pathological and selfish love for women.

Life was not easy for his chosen ones.

Childhood, youth

Fyodor’s upbringing was largely the responsibility of his mother, nee Tolstaya Ekaterina Lvovna, a representative of the family that later gave birth to Lev and Alexei Tolstoy.

The life and work of Tyutchev, born in 1803, was determined by the reverent attitude towards his native speech instilled in him from childhood. This is the merit of the teacher and poet Semyon Egorovich Raich, an expert in Latin and classical languages. Subsequently, the same person taught Mikhail Lermontov.

In 1821, Fyodor Tyutchev received a diploma from Moscow University and the title of candidate of literary sciences. He drew on the Slavophile ideas of Koshelev and Odoevsky, generated by a reverent attitude towards antiquity and inspiration from victory in the Napoleonic wars.

The young man also shared the views of the emerging Decembrist movement. The noble parents found the key to re-educating their rebellious son, who at the age of 14 began writing seditious poems, which were imitations in their form.

Thanks to his family ties with General Osterman-Tolstoy, he was assigned to the diplomatic service (away from freethinking) - to Munich as a freelance attache of the diplomatic mission.

By the way, there was one more moment why the mother hastened to change her son’s fate: his infatuation with the yard girl Katyusha.

The diplomatic path captivated young Tyutchev for a long time: once he arrived in Munich, he stayed in Germany for 22 years. During this period, the main themes of Tyutchev’s work were outlined: philosophical poetry, nature, love lyrics.

The first impression is the strongest

Uncle Osterman-Tolstoy introduced the young man, who found himself in another country, to the Lerchenfeld family. Their daughter Amalia was actually the illegitimate child of the Prussian monarch. Beautiful and smart, she became a guide for a couple of weeks for a Russian guy who was getting acquainted with a different way of life. Young people (the naivety of youth) exchanged watch chains - as a sign of eternal love.

However, the charming girl, at the behest of her parents, married a colleague of the poet. Mercantilism has taken over: just think, some incomprehensible nobleman against the baron! The story continued almost half a century later. They met for the second time in their lives, arriving in Carlsbad. Old acquaintances spent a lot of time wandering the streets and sharing memories, and were surprised to realize that after so many years their feelings had not cooled. Fyodor Ivanovich was already ill by that time (he had three years to live).

Tyutchev was overcome by a feeling of something irretrievably lost, and he created piercing poetic lines, on the level of Pushkin’s “wonderful moment”:

This man’s feelings were amazingly vivid; they did not lose their colors even in old age.

First love triangle

Four years after his arrival, he married the Dowager Countess Emilia Eleanor Peterson, by which time his passion already had four sons. He was in love with this woman, and they had three more daughters. However, Tyutchev’s life and work already in his first marriage were dramatic.

The diplomat met his future second wife, Ernestine Pfeffel, Countess Dernberg, at a ball. She was one of the brightest beauties of Munich. Tyutchev was friendly with her husband, who, dying, entrusted his husband to his care. A connection arose between them.

Russian diplomat in Germany

Let's imagine what kind of environment Fyodor Tyutchev found himself in in Germany. Hegel, Mozart, Kant, Schiller had already stopped creating there, and Beethoven and Goethe were at the zenith of creativity. The poet, for whom “to live meant to think,” was fascinated by German poetry, organically intertwined with philosophy. He became closely acquainted with Heinrich Heine and Friedrich Schelling. He admired the poems of the former and gladly translated his poems into Russian. Fyodor Ivanovich loved to talk with the second one, sometimes disagreeing and desperately debating.

Tyutchev realized the transcendental dialectic of German poetry, where the genius of the creator acts as a sensitive instrument of art. His lines acquired poignancy and depth:

These lines became favorites for many people, including Lev Nikolaevich Tolstoy.

Rethinking Western Philosophy

Fyodor Ivanovich, having adopted the tradition of German intellectual poetry, at the same time denied the German idealization of the person of the poet, the prophet, standing above society. He does not identify himself with the pro-Western egocentrism of the poet, the “proud eagle,” preferring to him the image of the poet-citizen, the “white swan.” According to Tyutchev, he should not position himself as a prophet, because:

A spoken thought is a lie;
Happy is he who visited this world in its fatal moments...

Fyodor Tyutchev is considered the founder of Russian philosophical poetry. He managed to combine Eastern and Western poetic traditions in his rhymes.

The poet saw how his beloved Motherland was being raped by the political regime of “whip and rank,” “office and barracks.” His joke is widely known: “Russian history before Peter the Great is a continuous dirge, and after Peter the Great it is one criminal case.” Even schoolchildren studying Tyutchev’s work (grade 10) can notice: only in the future tense does he speak about the greatness of Russia.

How much is said in these four lines. This cannot be expressed even in volumes!

Second marriage

His wife, Emilia Peterson, having learned about her husband’s affair, tried to kill herself with a saber, but she was saved. To save the diplomat's career, he is transferred to Turin. As the family sailed to his new duty station, the ship they were on sank. It is curious that then the countess was saved by Ivan Turgenev, who was on board. However, unable to cope with this nervous shock, Tyutchev’s first wife soon died. The diplomat, having learned about this, turned gray overnight.

A year after the death of his first wife, Tyutchev married Ernestine.

Love in poetry, love in life

The poet eloquently reflected his understanding of the phenomenon of love in his poetry. For Tyutchev, this feeling is the alpha and omega of all things. He sings of love, which makes the hearts of lovers tremble and fills their lives with meaning.

Love, love - says the legend -
Union of the soul with the dear soul -
Their union, combination,
And... the fatal duel...

In the poet’s understanding, starting as a quiet, bright feeling, love then develops into a frenzy of passions, a captivating, enslaving feeling. Tyutchev plunges readers into the depths of fatal, passionate love. Fyodor Ivanovich, a man consumed by passions all his life, was not familiar with this topic empirically; he experienced much of it personally.

Poems about nature

The decoration of Russian literature of the second half of the 19th century was the work of Tyutchev and Fet. These poets, representatives of the “pure art” movement, were able to express a touching romantic attitude towards nature. In their understanding, it is, as it were, multidimensional, that is, it is described both landscape-wise and psychologically. Through pictures of nature, these authors convey the states of the human soul. In particular, nature in Tyutchev’s works has many faces, like “chaos” and “abyss”.

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.

But if Fet’s lyrical hero feels like an organic part of nature, then Tyutchev’s separated character tries to comprehend it, being in the status of an empirical observer. He watches how the first thunder “frolics and plays”, winter “gets angry”, spring is “blissfully indifferent”.

Socialite

In 1844, Fyodor Ivanovich arrived in Russia with his second wife and their two common children. State Councilor (according to the table of ranks - a rank equal to brigadier general or vice-governor) became popular in the most fashionable high society salons. Fyodor Tyutchev possessed a foreign gloss of intellect and understanding of state accents. He was a man of encyclopedic literacy in matters of diplomacy, who spoke basic European languages.

His jokes even now look like sedition, but in the first half of the 19th century they were successful and turned into high-society jokes:

• About Princess T gossiping in French: “An absolute abuse of a foreign language. She simply wouldn’t be able to say so many stupid things in Russian.”
• About Chancellor Prince G., who granted the title of chamber cadet to the husband of his mistress: “Prince G. is like ancient priests who gilded the horns of their victims.”
• About his arrival in Russia: “Not without regret, I said goodbye to this rotting West, filled with comforts and cleanliness, in order to return to the promising native dirt.”
• About a certain Mrs. A: “Tireless, but very tiring.”
• About the Moscow City Duma: “Any attempts at political speeches in Russia are like trying to strike fire from a bar of soap.”

In addition to his service, he had a stormy personal life, and only in his spare time was he occupied with creativity.

Tyutchev was also briefly characterized as a person prone to romantic adventures.

Second love triangle

The diplomat arranged for his two daughters from his marriage with the late Emilia to study at the Smolny Institute. Elena Denisyeva studied with them and became the mistress of a diplomat who was 23 years older than her. Petersburg rejected Elena, even her own father disowned her, but she “loved and appreciated” Tyutchev like no one else in the world.

At this time, the diplomat's legal wife chose to retire to Fyodor Ivanovich's family estate in Ovstug and raise children.

The social circle was perplexed: the poet, diplomat and socialite Tyutchev and some college girl. And this is with a living wife. Tyutchev lived with Denisyeva in Moscow, they had three children, he called the young woman his last love, dedicating to her two dozen of his poems, called the Denisyevsky cycle. They traveled around Europe, reveling in their love, but Elena, having contracted consumption, died. Two more of Denisyeva’s children also died from tuberculosis. The third one was taken in by Ernestine. Fyodor Ivanovich was shocked by the collapse of this civil marriage.

The last love triangle

It is difficult to call Fyodor Ivanovich an exemplary family man. In recent years, Tyutchev had two more relationships: with Elena Bogdanova, Denisyeva’s friend and his second common-law wife Hortensia Lapp.

To the last of them and their two common sons, Fyodor Ivanovich bequeathed his general's pension, which rightfully belonged to Ernestine Pfeffel and her children. Fyodor Ivanovich died after a stroke and paralysis on July 15, 1873 in Tsarskoe Selo.

Instead of a conclusion

Tyutchev’s work could well have remained a secret for us if Nikolai Alekseevich Nekrasov had not published an article about him in the Sovremennik magazine “Russian minor poets”, containing 24 poems. And at this time its author was already 60 years old! There are not many hitherto unknown masters of the pen who became famous at such a respectable age. Perhaps only one comes to mind - prose writer Pavel Petrovich Bazhov.

Tyutchev, a Russian classical poet, wrote only about 300 poems over half a century. They can all be placed in only one collection. They write this way not for sale, but for the soul. The beginning that Pushkin called the “Russian spirit” is palpable in them. It is not for nothing that a man who knows a lot about poetry, Afanasy Afanasyevich Fet, said that Tyutchev’s work, published so compactly, is worth many volumes.

Tyutchev perceived his poetic gift as something secondary. He would absentmindedly scribble poetry on a napkin and forget it. His colleague on the censor council, P. I. Kapnist, recalled how one day he, while deep in thought at a meeting, scribbled something on a piece of paper and walked away, leaving it behind. If Pyotr Ivanovich had not picked it up, his descendants would never have known the work “No matter how difficult the last hour...”.