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    Analysis of the poem

    1. The history of the creation of the work.

    2. Characteristics of the work of the lyrical genre (type of lyrics, artistic method, genre).

    3. Analysis of the content of the work (analysis of the plot, characterization of the lyrical hero, motives and tone).

    4. Features of the composition of the work.

    5. Analysis of the means of artistic expression and versification (presence of tropes and stylistic figures, rhythm, meter, rhyme, stanza).

    6. The meaning of the poem for the entire work of the poet.

    The poem "I met you - and all the past ..." was written by F.I. Tyutchev in 1870 in Carlsbad. It is dedicated to Countess Amalia Lerchenfeld (married Baroness Krüdener). It was first published in the Zarya magazine in 1870. The work belongs to love lyrics, its genre is a lyrical fragment, which combines the features of a spiritual ode and elegy, the style is romantic. The main theme is the awakening of love and life in a person, the memory of the heart.

    The first stanza conveys the joy of the hero from an unexpected meeting with his beloved woman. His feelings, it turns out, are alive in his heart. At the same time, the characterization of the hero is also given here. This is a man who has experienced a lot and is tired of life, his heart is dead, as if frozen:

    I met you - and all the past
    In the obsolete heart came to life;
    I remembered the golden time -
    And my heart felt so warm...

    The tautology deliberately used by the poet creates here a semantic oxymoron: "It came to life in an obsolete heart." There is also an author's reminiscence from the poem "I remember the golden time" ("I remembered the golden time"). The feelings resurrected in the soul are compared with the breath of spring, which a person suddenly feels in the middle of late autumn. Here the poet uses the technique of antithesis. And something resonates in the human soul. The hero associates spring with youth, with spiritual fullness, with the ability to love passionately and selflessly:

    So, the whole is covered with a breath
    Those years of spiritual fullness,
    With a long forgotten rapture
    I look at the cute features ...

    The hero of Tyutchev does not seem to believe his eyes, a wonderful meeting after many years of separation seems to him a magical dream. Feelings take over his soul more and more:

    And now - the sounds became more audible,
    Not silenced in me...

    The heart of the hero thawed, the ability to feel the joy and fullness of life returned to him:

    There's not just one memory
    Then life spoke again, -
    And the same charm in you,
    And the same love in my soul! ..

    Tyutchev's work echoes the poem by A.S. Pushkin I remember a wonderful moment. Note the similarity of the lyrical plot, a reminiscence from Pushkin (“cute features”). However, the images of lyrical heroes in these works are different. The soul of Pushkin's hero "fell asleep", immersed in the bustle of life, love was dispelled by "storms of rebellious impulse." However, his heart is alive, experience has not cooled him. His separation from his beloved woman is fragmentary - this is some period of time when life passed "without a deity", "without inspiration", "without love". But then She appeared again - "and the soul came to an awakening." The image of the heroine in Pushkin, for all its generalization, leaves a feeling of constant presence in the work. For Tyutchev, the image of the hero, his life, his feelings and experiences are central. The heroine is outlined with only two strokes: "cute features", "And the same charm in you." Behind the shoulders of the hero Tyutchev is a whole life and, obviously, a difficult fate: his heart is “obsolete”, dead. But an unexpected meeting also awakens in his soul "and deity, and inspiration, and life, and tears, and love." Let us also note the common motif of a dream that sounds in both poets. With the dreams of youth, we associate Pushkin's epithet "a fleeting vision", the hero "dreamed cute features", finally, life itself "without a deity", "without inspiration", "without tears" and "without love" for him is nothing else, like a dark dream. The same motive of sleep sounds in Tyutchev: “I look at you, as if in a dream ...” The hero does not seem to believe his eyes, and in the same way the whole past life seems to him a heavy dream.

    The composition is divided into two parts. The first part is a description of the hero's meeting with the "past", the experience of a seemingly gone love, a comparison of a happy moment of life with a breath of spring (I and II stanzas). The second part, as it were, contains a consequence of the first. The memory-experience awakened in a person a feeling of fullness and joy of life (III, IV, V stanzas).

    The poem is written in iambic tetrameter, quatrains, rhyming is cross. The poet uses various means of artistic expression: epithets (“golden time”, “cute features”), metaphor and personification (“everything that was in the obsolete heart came to life”, “life spoke again”), a simple and detailed comparison (“Like after a century of separation , I look at you, as if in a dream…”, “Like late autumn sometimes…”), anaphora (“There is more than one memory, Here life spoke again”), inversion (“breathed in the breath of Those years of spiritual fullness”), syntactic parallelism (“And the same charm in you, And the same love in my soul! ..”), alliteration (“I met you - and all the past ...”), assonance (“Like late autumn sometimes ...”).

    The poem "I met you" is a masterpiece of Tyutchev's love lyrics. It amazes us with its melody, musicality, depth of feeling. A magnificent romance was written on these verses.

    GENRE UNIQUENESS. Tyutchev's lyrics gravitate, firstly, to the tradition of odic poetry of the 18th century. and, secondly, to the type of elegy that was created by Zhukovsky. With an ode (primarily spiritual), Tyutchev's lyrics are connected by a steady interest in the metaphysics of the human and the divine, in the topic “man and the universe”, with an elegy - a type of hero. Actually, the originality of the artistic world of Tyutchev's poetry lies in the fact that in it the elegiac hero, with his loneliness, longing, suffering, love dramas, forebodings and insights, is introduced into the range of problems of the spiritual ode.

    At the same time, however, Tyutchev does not borrow compositional forms from either the ode or even the elegy. It focuses on the form of a fragment or passage. The poetics of the fragment, substantiated by the German romantics, frees the artist from the need to follow any particular canon, allowing the mixing of heterogeneous literary material. At the same time, a fragmentary form, expressing the idea of ​​incompleteness, openness of the artistic world, always implies the possibility of completeness and integrity. Therefore, Tyutchev's "fragments" gravitate towards each other, forming a kind of lyrical diary, replete with lacunae, but also "fastened" by a number of stable motifs, which, of course, vary, transform in different contexts, but at the same time retain their meaning throughout Tyutchev's creative path, ensuring the unity of his artistic world.

    MOTIVES. Man on the edge of the abyss. Strictly speaking, this motif appears in Russian poetry long before Tyutchev (cf., for example, Lomonosov's Evening Reflection on God's Majesty). But it was Tyutchev who pushed him to the center of the art world. The consciousness of Tyutchev the lyricist is catastrophic in the sense that he is interested in the self-consciousness of a person who is, as it were, on the border of life and death, the fullness of meaning and nonsense, ignorance and omniscience, the reality of the familiar, familiar, everyday and secret hidden in the depths of life. The abyss into which the Tyutchev hero peers or listens so intently and with bated breath is, of course, the abyss of the Cosmos, the Universe enveloped in mystery, the incomprehensibility of which beckons and at the same time frightens, repels. But at the same time it is an abyss, the presence of which a person feels in his own soul. Wed: “Oh, do not sing these terrible songs / About ancient chaos, about dear! / How greedily the world of the night soul / Listens to the story of his beloved!” (“What are you howling about, night wind?”, 1836).

    Catastrophe, struggle and death. The catastrophism of Tyutchev's thinking was associated with the idea that true knowledge about the world is available to a person only at the moment of destruction, death of this world. Political catastrophes, “civil storms”, as it were, reveal the plan of the gods, the meaning of the mysterious game they started. One of the most illustrative poems in this regard is “Cicero” (1830), in which we read: “Happy is he who visited this world / In his fatal moments - / He was called by the all-good, / As an interlocutor to a feast; / He is a spectator of their high spectacles, / He was admitted to their council / And alive, like a celestial, / He drank immortality from their cup! “Fateful minutes” is the time when the boundary between the human world and the Cosmos becomes thinner or disappears altogether. Therefore, a witness and participant in a historical catastrophe turns out to be a “spectator” of the same “high spectacles” that are observed by their organizers, the gods. He stands next to them, because the same “spectacle” is open to him, he feasts at their feast, is “admitted” to their council and joins immortality.

    But a witness to historical upheavals can also be a participant in them, he can take part in the struggle of some forces of his time. This fight is twofold. On the one hand, it is meaningless and useless, since all the combined efforts of mortals are ultimately doomed to death: “Anxiety and work are only for mortal hearts ... / There is no victory for them, there is an end for them” (“Two voices”, 1850). On the other hand, the understanding of the impossibility of "victory" does not exclude the understanding of the need for "struggle". In the same poem we read: "Be of good courage, O friends, fight diligently, / Though the battle is unequal, the struggle is hopeless." It is the ability of a person to wage this “hopeless struggle” that turns out to be almost the only guarantee of his moral viability, he becomes on a par with the gods who envy him: “Let the Olympians with an envious eye / Look at the struggle of adamant hearts. / Who, fighting, fell, defeated only by Fate, / He snatched the victorious crown from their hands.

    Mystery and intuition. The mystery hidden in the depths of the Cosmos is, in principle, unknowable. But a person can approach it, to the realization of its depth and authenticity, through intuitive insight. The fact is that a person and the Cosmos are connected by many invisible threads. Man is not simply merged with the Cosmos; the content of the life of the Cosmos is in principle identical with the mysterious life of the soul. Compare: “Only know how to live in yourself - / There is a whole world in your soul<...>” (“Silentium!”). Therefore, in Tyutchev's lyrics, firstly, there is no clear boundary between “external” and “internal”, between nature and human consciousness, and, secondly, many natural phenomena (for example, wind, rainbow, thunderstorm) can play a kind of mediating role , be perceived as signs of the mysterious life of the human spirit and at the same time as signs of cosmic catastrophes. At the same time, approaching a secret does not entail its full disclosure: a person always stops at a certain boundary that separates the known from the unknowable. Moreover, not only the world is unknowable to the end, but also your own soul, whose life is full of both magic and mystery (“There is a whole world in your soul / Mysteriously magical thoughts<...>” (“Silentium!”; italics in quotations hereinafter are mine. - D.I.).

    Day and night. Tyutchev's opposition of night and day, in principle, corresponds to the romantic tradition and is one of the forms of distinguishing between the "day" sphere of the everyday, everyday, earthly and "night" world of mystical insights associated with the life of the Cosmos. At the same time, the “daytime” world is associated with vanity, noise, while the night is associated with the theme of self-realization: “Only know how to live in yourself - / There is a whole world in your soul / Mysteriously magical thoughts; / They will be deafened by external noise, / Daytime rays will disperse<...>” (“Silentium!”). The day can be associated with the “brilliant” shell of nature, with the exultation of vital forces (for example, “Spring Waters”, 1830), with the triumph of harmony and reason, the night with chaos, madness, longing. At the same time, the moment of transition from day to night (or vice versa) can also be recognized as significant, when the reality of everyday life loses its distinct outlines, colors fade, and what seemed obvious and unshakable turns out to be unstable and fragile. Compare: “The gray-gray shadows mixed, / The color faded, the sound fell asleep - / Life, movement resolved / Into the unsteady dusk, into the distant rumble ...” (“Shadows of the gray-gray mixed ...”, 1836). At the same time, the very boundary between man and nature, the soul yearning to merge with the world and oblivion, and the world that has lost its strict contours and plunged into sleep, is lost, cf. in the same place: “An hour of inexpressible longing! .. / Everything is in me, and I am in everything ... /<...>Feelings - a haze of self-forgetfulness / Overflow over the edge! .. / Let me taste destruction, / Mix with the dormant world!” The "mist" that veils the soul is, of course, the same "twilight" into which "life" and "oblivion" are "resolved".

    Loneliness- the natural state of the hero of Tyutchev's lyrics. The reasons for this loneliness are not rooted in the social sphere, they are not associated with conflicts such as "poet-crowd", "personality-society". Tyutchev's loneliness has a metaphysical nature, it expresses the confusion and longing of a person in the face of the incomprehensible mystery of being. Communication with another, understanding the other in Tyutchev's world is impossible in principle: true knowledge cannot be “translated” into ordinary language, it is found in the depths of one's own “I”: “How can the heart express itself? / How can another understand you? / Will he understand what you live for? / Thought spoken is a lie” (“Silentium!”). Therefore, the motives of silence, inner concentration, even a kind of secrecy or closeness, tightness are naturally associated with the motive of loneliness (“Be quiet, hide and hide / Both your feelings and your dreams<...>” (“Silentium!”).

    Nature. Nature rarely appears in Tyutchev simply as a landscape, as a background. She, firstly, is always an active “character”, she is always animated and, secondly, is perceived and depicted as a certain system of signs or symbols of cosmic life more or less understandable to a person (in this regard, Tyutchev’s lyrics are often called “natural philosophical” ). A whole system of symbols arises that perform a kind of intermediary function, connecting the world of the human soul with the worlds of nature and space (key, fountain, wind, rainbow, sea, thunderstorm - see, for example, “What are you howling about, night wind? ..” , “Fountain”, “Silentium!”, “Spring Thunderstorm”, “There is melodiousness in the sea waves...”, “How unexpected and bright...”). Tyutchev as a landscape painter is attracted by the transitional states of nature: for example, from day to night (“Shadows of blue-gray mixed ...”) or from one season to another (“Spring waters”). Not statics, but dynamics, not rest, but movement, not the selection of one-dimensional details, but the desire for diversity, and sometimes for paradoxical combinations, are characteristic of Tyutchev's landscapes (cf., for example, in the poem “Spring Waters”: the snow is still “whitening”, but “messengers of spring” have already appeared). It is significant in this regard that Tyutchev's nature lives simultaneously according to the laws of "linear" and "cyclic", "circular" time. So, in the poem “Spring Waters”, the theme of linear time, stated in the first two stanzas (transition from winter to spring), is supplemented in the final, third, theme of cyclic time (“<...>days of May / Ruddy, bright round dance”). It is curious to note in this regard that Tyutchev is very characteristic of referring to the earth and sky, to natural phenomena, to the elements (for example: “What are you howling about, night wind? ..”).

    Earth and sky. The earthly and the heavenly are clearly opposed in Tyutchev's poetry and at the same time are closely interconnected, the "heavenly" is reflected in the "earthly", as the "earthly" in the "heavenly". This connection is found, as a rule, in a situation of a historical catastrophe, when an earthly person becomes an “interlocutor” of the “celestials” (“Cicero”), or a natural cataclysm (“You will say: windy Hebe, / Feeding Zeves’ eagle, / A thundering goblet from the sky, / Laughing, she spilled it on the ground ”(“ Spring Thunderstorm ”)). Often the antithesis of the earthly and the heavenly is associated with the theme of death, cf.<...>” (“And the coffin is already lowered into the grave ...”).

    Memory. This motive is interpreted in two ways. On the one hand, memory is perhaps the only guarantee of the moral identity of a person, on the other hand, it is a source of excruciating suffering. The hero of Tyutchev, like the hero of Zhukovsky, dreams not of the future, but of the past. It is in the past that, for example, the happiness of love remains, the memories of which cause pain (“Oh, how deadly we love ...”). It is significant that some of Tyutchev's "love" poems are built from beginning to end in the form of a reminiscence ("I knew the eyes - oh, those eyes! ..").

    Love. Tyutchev's love lyrics are autobiographical and, in principle, can be read as a kind of intimate diary, which reflected his stormy romances with Ernestine Dernberg, who became his wife, later with E.A. Deniseva. But this is a special kind of autobiography: in Tyutchev's "love" poems, we will not find, of course, any direct references to the heroines of these novels. It is significant that even the composition of the so-called “Denisiev cycle” cannot be reliably determined (there is no doubt that this cycle includes, for example, the poem “Oh, how deadly we love ...”, but the question of belonging to him such things as “I knew the eyes - oh, these eyes! ..” and “Last love”). The autobiographical nature of Tyutchev's love lyrics presupposed poetization not of events, but of experiences.

    In the poetic world of Tyutchev, love is almost always a drama or even a tragedy. Love is incomprehensible, mysterious, full of magic: “I knew the eyes - oh, these eyes! / How I loved them - God knows! / From their magical, passionate night / I couldn’t tear my soul away” (“I knew the eyes, - oh, those eyes! ..”). But the happiness of love is short-lived, it cannot withstand the blows of fate. Moreover, love itself can be interpreted as a sentence of fate: “Fate was a terrible sentence / Your love was for her” (“Oh, how murderously we love ...”). Love is associated with suffering, longing, mutual misunderstanding, heartache, tears (for example, in the poem “Oh, how deadly we love ...”: “Where did the roses go, / The smile of the lips and the sparkle of the eyes? / Everyone scorched, burned out the tears / With its combustible moisture”), finally, with death. A person has no power over love, just as he has no power over death: “Let the blood in the veins grow thin, / But tenderness does not fail in the heart... / Oh, last love! / You are both bliss and hopelessness” (“Last Love”).

    COMPOSITION RECEPTIONS. Focusing on the form of a lyrical fragment or passage, Tyutchev strove for harmony in composition, “planned construction” (Yu.N. Tynyanov). Compositional techniques, which he constantly resorts to, are repetition (including framing), antithesis, symmetry.

    The repetition usually emphasizes the main theme of the poem, for example, the coming of spring in “Spring Waters” (“Spring is coming, spring is coming!”) Or silence and inner concentration in “Silentium!”, where each stanza ends with the call “and be silent”, with the first stanza and begins with this word (“Be quiet, hide and conceal”). Wed poem "Oh, how deadly we love ...", where the last stanza is a repetition of the first. The antithesis organizes the narrative, providing a certain sequence of alternation of various semantic plans (calm - movement, sleep - reality, day - night, winter - summer, south - north, external - internal, earthly - heavenly, etc.). Symmetry can emphasize either a situation of dialogue or a dispute with oneself or with an imaginary interlocutor (for example, “Two voices”, “Silentium!”), Or the significance of comparing the world of man and the world of nature, earthly and heavenly. Tyutchev's predilection for two-line constructions has long been noted (for example, “What are you howling about, the night wind? ..”, “Shadows of blue-gray mixed ...”) and four-line constructions, which make it possible to build symmetrically.

    STYLE. Tyutchev seeks to combine odic (oratorical) intonations with elegiac, archaic vocabulary with "neutral", with stamps of elegiac poetry. Following Zhukovsky, he plays with the objective meanings of words, shifting attention to their emotional load, mixing visual images with auditory, tactile (“tactile”), even olfactory ones. For example: “Quiet dusk, sleepy dusk, / Flow into the depths of my soul, / Quiet, languid, fragrant, / Fill it all up and calm down” (“Shadows of blue-gray mixed ...”). "Twilight" is here<...>becomes not so much a designation of incomplete darkness, but rather an expression of a certain emotional state ”(B.Ya. Bukhshtab). Following the traditions of odic poetry (Lomonosov, Derzhavin), Tyutchev strives for aphorism, creates “didactic” formulas (“The thought spoken is a lie”, “Happy is he who visited this world / In his fatal moments”), actively uses “high” book vocabulary, often Church Slavonic origin (“wind”, “conceal”, “one”, “spoken”, etc.), rhetorical questions, exclamations, appeals, complex epithets (such as “fire-star”, “boiling”). A quick change of intonation is Tyutchev's favorite technique; one of the means of its implementation is the use of different poetic meters within the same text (for example, the combination of iambic and amphibrach in "Silentium!").

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    Fedor Ivanovich Tyutchev is the greatest Russian poet of the 19th century, who vividly reflected in his work the burning topics relating to nature, love, harmony, and human feelings and natural phenomena are inextricably linked in his poems. At first glance, it may seem that his works are simple - and in fact, sometimes with their lightness they resemble a babbling brook - but in fact they should be read, carefully pondering each line.

    In his poetry, Tyutchev reflected the problems of the time in which he lived, the complexity

    And the realism of life, and all his poems are saturated with sharpness of thought and tension. After all, it is not without reason that a significant place in the works of Tyutchev is occupied by a thunderstorm - a symbol of something disturbing, to some extent even tragic. In general, one can see many symbolic images in his poems, although he was more inclined towards realism - researchers of his work establish links between poems and events in the poet's life, taking into account the person to whom this or that work was dedicated.

    In his early work, Tyutchev imitated Pushkin, but very soon his poems acquired a special individuality. He usually wrote in iambic double-footedness, which must be why the poems seem so light. It was Pushkin who drew public attention to the then little-known poet, having published his poems in his journal Sovremennik. Tyutchev's poems immediately fell in love with the public, his love lyrics were especially highly valued.

    Turgenev noted that each poem of this budding poet began with a thought that appeared under the influence of a very strong feeling, which was ignited by a spark and splashed onto paper. In addition, the poet's thoughts were closely intertwined with nature and relentlessly followed her. Especially significant in his love work was the "Denisevsky cycle".

    In Tyutchev's poems, contradictions and comparisons are also clearly visible: for example, he believed that a person brings destruction to nature, and nature without the intervention of a human hand is a strong and powerful creature. Man is weak in comparison with nature, but at the same time Tyutchev sings of the extraordinary strength of the human spirit, his freedom of thought.

    Now, many years later, the reader's interest in Tyutchev's work does not fade away: those who want to understand the mystery of this poet's beautiful poetry again and again turn to his works. Some poems amaze only with the beauty of descriptions of nature - for example, "Autumn Evening", others - poems with deep philosophical overtones: "Vision", "The Last Cataclysm". But all the works of this great poet for a long time will be in a place of honor in Russian literature.