Hebe and the loud-boiling goblet (about three texts of the “spring thunderstorm” by F. I. Tyutchev)

In the history of the familiar poem, it turns out, there are little-known pages.

spring thunderstorm

I love the storm in early May,

When spring, the first thunder,

As if frolicking and playing,

Rumbles in the blue sky.

The peals of the young are thundering...

Rain pearls hung,

And the sun gilds the threads.

An agile stream runs from the mountain,

In the forest, the din of birds does not stop,

And the noise of the forest and the noise of the mountains -

Everything echoes cheerfully to the thunders.

You say: windy Hebe,

Feeding Zeus' eagle

A thundering cup from the sky

Laughing, she spilled it on the ground.

Fedor Tyutchev

Spring 1828

These lines, and especially the first stanza, are synonymous with Russian poetic classics. In the spring we just echo these lines.

I love a thunderstorm ... - Mom will say thoughtfully.

In the beginning of May! - the son will cheerfully respond.

The kid still, perhaps, has not read Tyutchev, and the lines about the thunderstorm are already mysteriously living in him.

And it is strange to learn that "Spring Thunderstorm" took on the textbook form familiar to us from childhood only a quarter of a century after it was written, in the 1854 edition.

And when first published in the magazine "Galatea" in 1829, the poem looked different. There was no second stanza at all, and the well-known first looked like this:

I love the storm in early May:

So funny spring thunder

From edge to edge

Rumbles in the blue sky!

It was in this version that "Spring Thunderstorm", written by 25-year-old Tyutchev, was familiar to A.S. Pushkin. I don’t dare to guess what Alexander Sergeyevich would say, comparing the two editions of the first stanza, but the early one is closer to me.

Yes, mastery is obvious in the later version, but in the early one - what immediacy of feeling! There, not only a thunderstorm is heard; there, behind the clouds, the rainbow is already guessed - "from edge to other edge." And if you scroll through Tyutchev's volume a couple of pages ahead, then here it is and the rainbow - in the poem "Calmness", which begins with the words "The storm has passed ..." and written, perhaps, in the same 1828:

... And the rainbow is the end of its arc

Rested against the green peaks.

In the early version of "Spring Storm" the first stanza flew so high and said so much in it that the subsequent stanzas seem to be "trailed", optional. And it is obvious that the last two stanzas were written when the storm had long gone beyond the horizon, and the first enthusiastic feeling from contemplating the elements had faded.

In the edition of 1854, this unevenness is smoothed out by the second stanza that suddenly appeared.

The peals of the young are thundering...

Here the rain splashed, the dust flies,

Rain pearls hung,

And the sun gilds the threads.

The stanza is brilliant in its own way, but only the first and last lines remain of the first. Gone was the enthusiastically half-childish "how merry ...", the "edges" of the earth, between which thunder was walking, disappeared. In their place came an ordinary line for a romantic poet: "As if frolicking and playing ..." Tyutchev compares thunder with a naughty child, there is nothing to complain about, but: oh, it's "as if"! If Fyodor Ivanovich and Ivan Sergeevich Turgenev, who collected his book in 1854, knew how we would get tired of this verbal virus in the 21st century (as philologists call the ill-fated “as if”), they would not have been zealous in editing the first stanza.

But you never know what to expect from your descendants.

“I love a thunderstorm in early May ...” - this is how one of the most popular works of Fyodor Ivanovich Tyutchev begins. The poet wrote not so many poems, but they are all imbued with a deep philosophical meaning and written in a beautiful style. he felt nature very subtly, knew how to catch the slightest changes taking place in it. Spring is the poet's favorite time, it symbolizes youth, freshness, renewal, beauty. Perhaps that is why Tyutchev's poem "Spring Thunderstorm" is filled with cheerfulness, love and hope for a better future.

A little about the author

Fedor Tyutchev was born on November 23, 1803 in the Bryansk region in Ovstug, where he spent his childhood, but he spent his youth in Moscow. The poet was educated at home, and also graduated from Moscow University with a PhD in verbal sciences. From his youth, Tyutchev was fond of poetry, took an active part in literary life tried to write his own works. It so happened that Fedor Ivanovich spent almost 23 years of his life in a foreign land, working as an official of the Russian diplomatic mission in Munich.

Despite the fact that the connection with the motherland on for a long time interrupted, the poet in his works described Russian nature. After reading his poems, one gets the impression that he wrote them not in distant Germany, but somewhere in the wilderness of Russia. During his life, Tyutchev wrote not so many works, because he worked as a diplomat, translated the works of German colleagues, but all his works are filled with harmony. Through his work, the poet tirelessly repeated to people that man is an integral part of nature, we must not forget about it even for a moment.

The history of writing a poem

“I love a thunderstorm in early May ...” - this is a poem, or rather its first version, Fyodor Tyutchev wrote in 1828, at that time he was in Germany, working there as a diplomat. Reading the lines of the work, a person sees the sky before his eyes, which is clouded, hears the roar of thunder and the murmur of streams of water formed on the road after heavy rain.

It is difficult to imagine how the poet managed to convey the nature of Russia so accurately, while being far from his homeland at that time. It should be said that the poem "Spring Thunderstorm" first saw the light in 1828, and immediately after writing, Fedor Ivanovich published it in the magazine "Galatea". After 26 years, the poet returned to his work again, in 1854 he completed the second stanza and slightly changed the first.

main theme of the verse

The main theme of the work is a spring thunderstorm, because for the author it is associated with change, moving forward, expelling stagnation and decline, the birth of something new, the emergence of other views and ideas. In almost all of his works, Fedor Ivanovich drew a parallel between nature and the world of people, finding some common features. Spring (judging by the love with which the poet describes this time of year) causes Tyutchev to tremble, to lift his spirits.

And this is not just so, because spring days are associated with youth, beauty, strength, renewal. In the same way that nature loudly announces the arrival of warmth with the singing of birds, peals of thunder, the sound of a downpour, so a person, having stepped into adulthood, seeks to declare himself publicly. An analysis of the poem "Spring Thunderstorm" by Tyutchev only emphasizes the unity of people with the outside world. What else can be said about this work?

Unity of the divine principle with nature

“I love a thunderstorm at the beginning of May ...” - Fyodor Tyutchev specially used through images of water, sky and sun in the work in order to better and brighter show the idea of ​​unity of man with environment. Various natural phenomena in the poem seem to come to life, the author ascribes human features to them. Thunder is compared to a kid who plays and frolics, a cloud, having fun and laughing, spills water, and the stream runs.

The poem is written in the form of a monologue of the protagonist, it consists of four stanzas. First, the image of a thunderstorm is introduced, then the main events unfold, at the end the author refers us to ancient Greek mythology, uniting nature with the divine principle, showing the cyclical nature of our world.

The sound content of the verse

An analysis of the poem "Spring Thunderstorm" by Tyutchev shows how the poet managed, with the help of pyrrhic, to fill the work with melody and light sound. The author used cross rhyming, alternating between feminine and masculine rhyme. Fedor Ivanovich revealed it with the help of various artistic means.

To make the picture sound, the poet used a huge amount and alliteration "p" and "g". He also resorted to gerunds and personal verbs, which created movement, the development of action. Tyutchev managed to achieve the effect of rapidly changing frames, in which a thunderstorm is depicted in various manifestations. Well-chosen metaphors, epithets, inversion, personifications also played a significant role in giving expressiveness and brightness to the verse.

Analysis of work from a philosophical point of view

An analysis of the poem "Spring Thunderstorm" by Tyutchev shows that the poet in the work described only one of the many moments of life. To make him cheerful full of strength, cheerful, the author chose a May day with a downpour and a rumbling thunderstorm. The verse must be considered from a philosophical point of view, because this is the only way to reveal the whole gamut of feelings, to understand what exactly Fyodor Ivanovich wanted to convey to the reader.

A thunderstorm is not just a natural phenomenon, but a person’s desire to break out of the shackles, run forward, open up new horizons, and come up with various ideas. Warm May rain, as it were, finally awakens the earth from hibernation, cleans it, updates it. Why a spring thunderstorm, and not a summer or autumn one? Perhaps Tyutchev wanted to show exactly the impulsiveness and beauty of youth, to convey his own feelings, because when he first sat down to write a poem, the poet was still quite young. He made adjustments to his work in more adulthood, looking at the irrevocably past days from the height of life experience.

The emotional content of the poem

“I love a thunderstorm in early May ...” - how many indescribable emotions are contained in this short line. The author associates spring thunder with a young man who is just spreading his wings, preparing to set out on a free voyage. The young man has just escaped from parental care, he is ready to move mountains, so he is experiencing such a surge of emotions. The stream running down the mountain is also compared with young people who have not decided what they will do, what business they will devote their lives to, but stubbornly rushing forward.

Youth passes, and then the period of rethinking one's actions begins - this is what the author says in the poem "Spring Thunderstorm". F. I. Tyutchev regrets his past youth, when he was healthy, strong, vigorous, free from obligations.

The main idea of ​​the poet

In this world, everything is cyclical, the same events repeat, people experience similar emotions - this is what Fyodor Ivanovich wanted to warn his descendants about. No matter how many hundreds of years have passed, but every year people will hear the rumble of the May thunder, enjoy the sound of spring rain, watch the brisk streams running along the road. In hundreds of years, young people will still enjoy freedom, think that they are the rulers of the world. Then the time will come for maturity and rethinking of one's actions, but they will be replaced by new youth, who did not know the bitterness of disappointment, who wants to conquer the world.

Tyutchev wanted to focus on what a spring thunderstorm gives a feeling of freedom, peace and inner cleansing. An analysis of the poem suggests that the author was nostalgic for bygone days when he was young. At the same time, Fedor Ivanovich is well aware that the processes of personality formation are inevitable. A person is born, grows, matures, gains life experience and worldly wisdom, grows old, dies - and there is no getting away from this. In tens of years, other people will enjoy the spring thunderstorm and the May rain, make plans for the future and conquer the world. It makes me a little sad, but that's how life works.

The beauty and deep meaning of the verse

You can write a huge work with a beautiful style, but it will not hook the reader, will not leave an indelible mark on his soul. You can write a short poem with a deep philosophical meaning, but it will be too difficult to understand. Fedor Tyutchev managed to find golden mean- his verse is small, beautiful, emotional, with meaning. It is pleasant to read such a work, it remains in memory for a long time and makes you think at least a little about your life, rethink some values. And this means that the poet has achieved his goal.

Great about verses:

Poetry is like painting: one work will captivate you more if you look at it closely, and another if you move further away.

Little cutesy poems irritate the nerves more than the creak of unoiled wheels.

The most valuable thing in life and in poetry is that which has broken.

Marina Tsvetaeva

Of all the arts, poetry is most tempted to replace its own idiosyncratic beauty with stolen glitter.

Humboldt W.

Poems succeed if they are created with spiritual clarity.

The writing of poetry is closer to worship than is commonly believed.

If only you knew from what rubbish Poems grow without shame... Like a dandelion near a fence, Like burdocks and quinoa.

A. A. Akhmatova

Poetry is not in verses alone: ​​it is spilled everywhere, it is around us. Take a look at these trees, at this sky - beauty and life breathe from everywhere, and where there is beauty and life, there is poetry.

I. S. Turgenev

For many people, writing poetry is a growing pain of the mind.

G. Lichtenberg

A beautiful verse is like a bow drawn through the sonorous fibers of our being. Not our own - our thoughts make the poet sing inside us. Telling us about the woman he loves, he delightfully awakens in our souls our love and our sorrow. He is a wizard. Understanding him, we become poets like him.

Where graceful verses flow, there is no place for vainglory.

Murasaki Shikibu

I turn to Russian versification. I think that over time we will turn to blank verse. There are too few rhymes in Russian. One calls the other. The flame inevitably drags the stone behind it. Because of the feeling, art certainly peeps out. Who is not tired of love and blood, difficult and wonderful, faithful and hypocritical, and so on.

Alexander Sergeevich Pushkin

- ... Are your poems good, tell yourself?
- Monstrous! Ivan suddenly said boldly and frankly.
- Do not write anymore! the visitor asked pleadingly.
I promise and I swear! - solemnly said Ivan ...

Mikhail Afanasyevich Bulgakov. "Master and Margarita"

We all write poetry; poets differ from the rest only in that they write them with words.

John Fowles. "The French Lieutenant's Mistress"

Every poem is a veil stretched out on the points of a few words. These words shine like stars, because of them the poem exists.

Alexander Alexandrovich Blok

The poets of antiquity, unlike modern ones, rarely wrote more than a dozen poems during their long lives. It is understandable: they were all excellent magicians and did not like to waste themselves on trifles. Therefore, behind every poetic work of those times, a whole Universe is certainly hidden, filled with miracles - often dangerous for someone who inadvertently wakes dormant lines.

Max Fry. "The Talking Dead"

To one of my clumsy hippos-poems, I attached such a heavenly tail: ...

Mayakovsky! Your poems do not warm, do not excite, do not infect!
- My poems are not a stove, not a sea and not a plague!

Vladimir Vladimirovich Mayakovsky

Poems are our inner music, clothed in words, permeated with thin strings of meanings and dreams, and therefore drive away critics. They are but miserable drinkers of poetry. What can a critic say about the depths of your soul? Don't let his vulgar groping hands in there. Let the verses seem to him an absurd lowing, a chaotic jumble of words. For us, this is a song of freedom from tedious reason, a glorious song that sounds on the snow-white slopes of our amazing soul.

Boris Krieger. "A Thousand Lives"

Poems are the thrill of the heart, the excitement of the soul and tears. And tears are nothing but pure poetry that has rejected the word.

I love the storm in early May,
When spring, the first thunder,
as if frolicking and playing,
Rumbles in the blue sky.

The young peals are thundering,
Here the rain splashed, the dust flies,
Rain pearls hung,
And the sun gilds the threads.

An agile stream runs from the mountain,
In the forest, the din of birds does not stop,
And the uproar of the forest and the noise of the mountains -
Everything echoes cheerfully to the thunders.

You say: windy Hebe,
Feeding Zeus' eagle
A thundering cup from the sky
Laughing, she spilled it on the ground.

Analysis of the poem "Spring Thunderstorm" by Tyutchev

Tyutchev is rightfully considered one of the best Russian poets who sang nature in his works. His lyrical poems are characterized by amazing melody. Romantic admiration for the beauty of nature, the ability to notice the most insignificant details - these are the main qualities of Tyutchev's landscape lyrics.

The work was created in 1828 abroad, but in the mid-50s. has undergone significant revision.

The poem "Spring Thunderstorm" is an enthusiastic monologue of a lyrical hero. This is an example of an artistic description of a natural phenomenon. For many poets, spring is the happiest time of the year. It is associated with the revival of new hopes, the awakening of creative forces. In a general sense, a thunderstorm dangerous phenomenon associated with the fear of being struck by lightning. But many people are waiting for the first spring thunderstorm, which is associated with the final victory over winter. Tyutchev was able to perfectly describe this long-awaited event. The formidable natural element appears to the reader as a cheerful and joyful phenomenon, carrying the renewal of nature.

Spring rain washes away more than just the dirt left over from a harsh winter. It cleanses human souls from all negative emotions. Probably, everyone in childhood tried to get under the first rain.

The first thunderstorm is accompanied by "spring ... thunder", reverberating in the mind of the lyrical hero with beautiful music. The murmur of streams and the singing of birds are added to the sounding natural symphony. All flora and fauna triumph at these sounds. A person also cannot remain indifferent. His soul merges with nature in a single world harmony.

The size of the verse is iambic tetrameter with cross rhyme. Tyutchev uses a variety of expressive means. Epithets express light and joyful feelings("first", "blue", "agile"). Verbs and participles enhance the dynamics of what is happening and are often personifications (“frolicking and playing”, “a stream runs”). The poem as a whole is characterized a large number of verbs of movement or action.

In the finale, the poet turns to ancient Greek mythology. This emphasizes the romantic orientation of Tyutchev's work. The use of the epithet "high" style ("boiling") becomes the final solemn chord in a natural piece of music.

The poem "Spring Thunderstorm" has become a classic, and its first line "I love a thunderstorm at the beginning of May" is often used as a catch phrase.

Hebe and the loud-boiling goblet (about three texts of the “spring thunderstorm” by F. I. Tyutchev)

Outstanding literary texts, becoming the pillars of national culture, are invariably simplified and schematized. They seem to be known to everyone, partly untouchable, and serious critical study of them is even contraindicated. In addition, any well-developed models, by definition, should be reduced synonyms. "Spring Thunderstorm" - Tyutchev's exhibition poem - shared the fate of all consistently textbook texts. The line “I love a thunderstorm at the beginning of May ...” is known to everyone, but very few know about Hebe and the loud-boiling goblet. Meanwhile, the last stanza of the poem was obviously precious for Tyutchev, since he transferred it without change to the updated text rewritten many years later. Commentators on Spring Thunder (see, for example, Tyutchev's recent six-volume edition) carefully note difficult passages and white spots in the history of the text, but some important questions still remain in the background and look as if they do not exist.

What are these questions? The first one is related to the need to consider close-up, to understand the degree of significance, meaning and place in the body of Tyutchev's lyrics of the early edition of "Spring Thunderstorm", consisting of three stanzas. There is reason to talk about a change in the status of the poem (hereinafter - VG1), excluded from the corpus according to the generally accepted rules of textual criticism, when the latest edition cancels the previous one, but here, perhaps, a special case. Recognizing the usefulness of the text VG1, can be compared on an equal footing with the second step VG1 with the classic text of "Spring Thunderstorm" (hereinafter - VG2) and, since their differences are obvious, to make a hypothetical reconstruction of the process of reworking the original text of the poem by Tyutchev: hacking, introducing a new stanza, fitting the surrounding stanzas to it, assembling in four quatrains with transferring Hebe with a thundering goblet unchanged. Finally, last question: what shifts and shifts have occurred in composition and sense VG2 as a result of processing and how it affected the fate of the final mythological stanza.

Let's start with the state of things around VG1. The poem was published in the first issues of the Galatea magazine in 1829. In the Tyutchev family archive, a list has been preserved that coincides with the text of Galatea. Thus, VG1 textually provided more reliably than VG2, having neither an autograph nor a list and printed as if from nowhere. However, appearing a quarter of a century later VG2 became a classic text, and VG1 did not get into the collection of Tyutchev's lyrics, turning into a kind of rough sketch. It is usually believed that the original version is always worse than the text modified by a genius, and therefore VG1 accordingly, it is certified by the most prominent Tyutchevists. So, K. V. Pigarev, comparing both poems, writes about VG1:“... how far these verses (VG1. - Yu. Ch.) from the famous “Spring Thunderstorm” familiar to us! Reading them, we seem to see in front of us an imperfect sketch for a picture we know well - a great master. (.) A comparison of them shows how a poem, secondary in its artistic qualities, turned into one of the masterpieces of Russian poetry through processing.

The judgments of K. V. Pigarev are absolutely legitimate, because it is customary to think so, because they are based on the ancient belief in progress and, finally, because they strengthen the apologetic attitudes in our culture. However, the unanimity was sometimes broken, and some of those who wrote about Tyutchev, implicitly and in various ways, made it clear that they did not agree with the general opinion. We note three such cases. In 1933–1934 G. P. Chulkov, commenting on the collection of Tyutchev's poems, actually prefers the original text of "Galatea" (VG1) before the edition of 1854, but forced to publish the latter: "We do not dare to refute this traditional text for lack of an autograph, although it does not coincide with the first printed text." Noticing that I. S. Turgenev, who edited Tyutchev’s collection of poems in 1854, would hardly have dared to compose a whole stanza that is not in Galatea, G. P. Chulkov concludes: “Nevertheless, giving great importance to the original printed text, here, in a note, we give it in full. A. A. Nikolaev in "The Poet's Library" (1987) expressed his attitude to the problem VG1 / VG2 defiant lack of notes to the traditional edition, despite the fact that the commentary on his eccentric textual solutions is quite voluminous. For clarity, we comment on VG2 entirely. It occupies at least two and a half lines: “G. 1829, No. 3. Pech. on C-3. Hebe(Greek myth.) - the goddess of eternal youth, carrying nectar to the gods. Zeus the eagle. The eagle was the symbol of the supreme god Zeus." This is all! In "Other editions and variants" VG1 filed as follows: the stanzas are numbered 1, 2, 3 according to VG2, but stanza 2 is indicated by a large space, inside which we read: absent. The manner of A. A. Nikolaev, most likely, is explained by a hidden polemic with K. V. Pigarev and implicit support of G. P. Chulkov.

Another indication of poetic features VG1 without any derogation, we find in the article by M. L. Gasparov "The composition of the landscape at Tyutchev" (1990), when he refers to the analysis of the text VG2. Distinguishing the structure of both editions, M. L. Gasparov writes about VG1, that it "was a picture of gradually increasing thunder and noise, crowned with a mythological ending", "such a poem would not survive the cutting off of the last stanza and would fall apart." Updated by the reprint (1994), G. P. Chulkov’s commentary closed his eyes on the texts VG1 And VG2 with later assessments by A. A. Nikolaev and M. L. Gasparov, thereby creating a precedent that allows you to more thoroughly return to the comparison of the considered two, or even three texts VG.

Let's move on to the monographic description VG1. Here is the text printed in Galatea:

spring thunderstorm

I love the storm in early May:

How fun spring thunder

From edge to edge

Rumbles in the blue sky.

An agile stream runs from the mountain,

In the forest, the din of birds does not stop,

And the voice of the birds and the spring of the mountain -

Everything echoes joyfully to the thunders!

You say: windy Hebe,

Feeding Zeus' eagle

A thundering cup from the sky

Laughing, she spilled it on the ground.

Before us is a poem that reads like a standard of Tyutchev's early poetics. He, along with others, is distinguished by "a striking regularity of construction." It belongs to the type of so-called. "dogmatic fragment" small form in the monumental style of the 18th century. The text is built in a three-part composition, organized by three steps in the movement of the lyrical theme. Such constructions, odd and even, usually reveal the logical foundation of Tyutchev's lyrical idiogenres. Form-forming trinity in the 1820s. met with many poets, and Tyutchev could well have been influenced by D. Venevitinov, S. Raich as his teacher, and many others. others. Tyutchev could also be influenced by the three-term ways of thinking characteristic of the philosophy of Schelling and Hegel.

One more thing about VG1. This is not a landscape painting, and least of all a description of a natural phenomenon, but a picturesque and resonant mythopoetic image of the universe at the moment of rhythm-forming and life-giving shaking. Not a thunderstorm, although a thunderstorm too, but "a sign of universal life." The imaginary coldness of the poem depends on its task, on the didactic-allegorical duality, "which always forces us to look for another row behind the images of nature." Mythical animation is embedded from the first lines into the depth of meaning, it implicitly moves in the second number, and the more effective it is, as it were, a personification in the last stanza, where the thesis and antithesis of the two previous ones are resolved.

However, the logic of meaning, characteristic of Tyutchev's classical manner, does not appear openly: most often it is dissolved in the spatial patterns of his lyrics. The lyrical space is dominated by the vertical dimension. According to M. L. Gasparov, the vertical is predominantly directed “from top to bottom”, according to Yu. M. Lotman - “from bottom to top”, although counter and alternating directions are empirically observed, less often horizontal, as well as removals and approximations, changes in points of view, angles their inclination, etc. VG1 the vertical from top to bottom dominates so much that even the trivial arrangement of quatrains one below the other adjusts to the pattern of a twice repeated fall: the first time - from heaven to earth, the second - “from the heavens” (M. L. Gasparov), from where Hebe spills a loud boiling goblet. At the same time, additional vectors are added to the vertical, which remains the axis of the text, creating a spatial volume. The poem begins with a rhetorical-emphatic figure (v. 1), and the gaze rushes up towards the thunderous action. The sky is open height and distance, but its beginning. The beginning because it motivates the heavenly game and responds to it, and besides, it is a force majeure repetition of the situation, since the excess of the elements falls from above downward again. It should be noted that the rhetorical You'll say introduces an additional modus into poetic reality, giving it a shade of possibility, probability, vacillation of the “explanation” itself. However, this complication does not weaken the aesthetic onslaught of the poem with its emphatic leitmotif that sounds in every stanza: cheerful, joyful, laughing,– with his music of jubilant shock.

In conclusion of an analytical commentary on VG1 Let us repeat that this is not a descriptive-lyrical landscape. We read a poem in the genre of "anthological ode", where the lyrics are mixed with rhetoric and monumental style. Late Derzhavin and the poets of Derzhavin's era wrote in this genre, but Tyutchev increased the lyrical concentration to the degree of classical brevity, which can be called nineteenth-century minimalism. VG1 not a “sketch for a future masterpiece”, not a “secondary poem”, which is not a pity to disassemble into rough and approximate outlines. VG1- a stylistically complete and impeccable poem, whose place is in the canonical collection of Tyutchev's lyrics. We have considered a text actually declared non-existent.

Before proceeding to the reconstruction of Tyutchev's poetic actions in the process of processing VG1 V VG2, let us briefly dwell on the general features of his re-addressing his own texts, as well as on the date of the transformation of the original edition into the second. It is unlikely that Tyutchev, with rare exceptions, deliberately and purposefully altered his texts. It is most likely that on various occasions he copied or dictated poems from memory, and, naturally, changed some places. Time intervals did not matter: Tyutchev could reproduce his texts and poetic techniques both at close range and after many years. It seems that the lyrical principle worked continuously in Tyutchev's subconscious, there was something like a matrix device, which, in particular, generated doublet compositions. Tyutchev, as you know, had a rather limited range of motives, but their scale and multi-layered combinatorics contributed to their wide-ranging lyrical content. Tyutchev is like a chess player playing with himself: there are relatively few pieces, but their combinations are limitless, although the opening moves and the strategic deployment of the middle of the game may coincide in a general way. Thus, the lyrical trajectory of A Glimpse (1825) is repeated almost 40 years later in the ad hoc poem “Sometimes like summertime…” (1863), where the same rising intonational rise, reaching its highest point, suddenly falls short of the end. An interval of 30 years separates the early poem "Tears" (1823) from the classic VG2, in which Tyutchev resumes a spectacular syntactic pattern: I love ... when ... as it were, absent in VG1. On the other hand, the rhyming structure of the octet line "Poetry" (1850) precedes a similar construction with a distant rhyme in the first decim of the poem "The feast is over, the choirs are silent ..." (1850), written almost nearby. In this regard, there is a temptation to bring the time of transformation of VG1 into VG2 closer, but other factors prevent this. In particular, the presence of new motifs in the second stanza inscribed by Tyutchev: rain, flying dust, sun - makes us think about the approach of VG2 to the time of writing the "thunderstorm" poem "Reluctantly and timidly ..." (1849), most likely later than this date. We will return to further motivations, but now we will say that, perhaps, the alteration of VG1 into VG2 does not belong to those rare exceptions when Tyutchev rewrote a thing based on some settings. The work proceeded, as in most cases with poets, on the whole spontaneously. It is unlikely that Tyutchev could clearly answer why he changed this or that word, but we see purposefulness in his actions and will try to show it. Now let's move on to a hypothetical model of the author's alteration of "Spring Thunderstorm".

For the sake of clarity of our reconstruction, we did not just put two texts side by side, but depicted them as if in the process of already begun processing:

Spring Thunder 1 (1829)

I love the storm in early May:

How fun spring thunder

From edge to edge

Rumbles in the blue sky!

Spring Thunder 2 (1854)

I love the storm in early May,

When spring, the first thunder,

As if frolicking and playing,

Rumbles in the blue sky.

The young peals are thundering,

Rain pearls hung,

And the sun gilds the threads.

An agile stream runs from the mountain,

In the forest, the din of birds does not stop,

And the voice of birds, and the mountain key -

Everything echoes joyfully to the thunders!

An agile stream runs from the mountain,

In the forest, the din of birds does not stop,

And the noise of the forest and the noise of the mountains -

Everything echoes cheerfully to the thunders.

You say: windy Hebe,

Feeding the Zeves Eagle

A thundering cup from the sky

Laughing, she spilled it on the ground.

The proposed scheme for correlating two texts by itself, without additional commentary, clearly demonstrates several stages of transformation of one text into another. Tyutchev really made a break, one might say, of a firmly cemented structure, pushed in a new stanza, different in style, violating the logic of poetic thought and shifting the compositional balance. Then he transferred the last stanza to the updated text without any changes and scattered the text no longer needed separately. It is very difficult to talk about the reasons for such a radical intervention: one can only make a number of assumptions. Perhaps Tyutchev decided to revise the old texts more carefully (for example, "Oleg's shield") in connection with the intention of N.V. Sushkov to publish a collection of his poems. However, in the "Sushkovskaya Notebook" there is no "Spring Thunderstorm". Perhaps the poet became interested in the thunder theme, and he duplicated it twice in the poems of this time (“Reluctantly and timidly ...” and “How cheerful the roar of summer storms ...” - 1849, 1851) in extremely effective variations. Or he suddenly decided to test the strength of the completed three-part construction and, as an experiment, convert odd to even, likening VG2 the scheme of strophic composition worked out by him more than once according to the type 3 + 1? Or maybe he was incited by the desire to enrich the last stanza, carefully preserved by him, with landscape details? There are, of course, other reasons as well.

Let us now move on from the general impression to particulars and, first of all, to the consideration of the stanza embedded in the text, which became the second:

The young peals are thundering,

Here the rain splashed, the dust flies,

Rain pearls hung,

And the sun gilds the threads.

Most notably new motives: rain, flying dust, wind(unnamed) Sun. Admire the absence of clouds. The first three motives, together with the "young peals", greatly enhance the dynamism of the lyrical plot, pedaling the vector of time and the kinetics of nature itself. At the same time, attention is drawn to the change natural phenomena, noted by M. L. Gasparov: first it rains, and only then dust flies. What if this inversion triggers reverse time? In any case, with the participation of the sun, the last two lines slow down the run-up of the elements or even stop it. This clash of half lines is magnificent here, where direct naming (with the exception of the epithet) contrasts with a downright baroque and luxurious metaphor: precious pearls and golden threads, into which drops and streams of rain turn. A sharp stylistic breakdown not only does not harm the integrity of the stanza and meaning, but, on the contrary, makes both of them multidimensional and inscrutable, manifesting the world in its variability and inertness. In connection with this idea, the term kinetics. Movement is replaced by light, and all this is separate and one. Tyutchev's poetic effort almost reaches the bottom of the oxymoronism of Genesis.

Naturally, the ingenious stanza with its non-classical style introduced a complete perturbation into the compositional structure. VG1 and really ruined the poem, which can be clearly seen in the diagram. The stanza differed stylistically from the manner and tone of the first period. New motifs have emerged and old ones have been recombined or removed, as always happens in the process of creativity, in the movement of culture and in many other areas. These innovations, by the way, once again indicate the estimated time of processing VG1 V VG2(1850–1851). It is enough to quote the penultimate stanza from the poem "Reluctantly and timidly ..." to see this:

More often raindrops

A whirlwind of dust flies from the fields,

And thunder rolls

All angry and bold.

This is remarkably similar to the draft of the second stanza VG, assuming that the 1849 poem predates the revision. In the space of the first half-line, every single motif is condensed, and even the inversion is preserved, where rain and whirlwind have changed places. Yes, and the motives of the sun and radiance conclude "Reluctantly and timidly ..." in the same order and with the same pathos. Very similar to VG2 and a poem from 1851:

How cheerful is the roar of summer storms,

When, picking up the flying dust,

Thunderstorm, surging cloud,

Confused sky blue.

At least five motifs are repeated here: fun, roar, flying dust, thunderstorm, azure sky. The picture is complemented by a whirlwind, again not named, rain, hidden in the metonymy “surging cloud”, summer instead of spring, the form When with adverb. All this allows us to assert that thunderstorm images really owned Tyutchev's imagination at the turn of the 1850s. and even that the rewriting of The Spring Storm took place between the poems of 1849 and 1851. or somewhere nearby.

The appearance of an extra stanza obliged Tyutchev to fit the broken quatrains to it, that is, to establish a different compositional order, to build stylistic bridges, linking the text into a new semantic unity. Of particular concern was the connection of the landscape triad with the mythological scene on Olympus. To do this, he, firstly, had to strengthen the shadowy presence of the mythological plan at the very beginning of the poem due to the increase in the volume of the text. Tyutchev redesigned the entire first stanza, updating its entire rhetorical-syntactic figure. He used a stanza from the early poem "Tears" (1823), where this unforgettable triple syntactic move I love - when - as if, which set the growing emphaticity of the introduction, had already been experienced for the first time. This drastically changed Art. 2, 3: How fun the spring thunder turned into When the first spring thunder. Two words from the beginning were removed, while cheerfully went into the last verse of the third stanza, displacing the word joyfully from the text; the word spring has moved to the left along the line, and the repetition weight - weight has fallen out. But the new word with the first sound r supported the motive of thunder and thunder. The verse From end to end disappeared completely, and instead a significant gerund copula appeared, As if frolicking and playing, retaining thunderous consonantism and compositionally and grammatically preceding the gerund turn of the mythological stanza Feeding Zeves' eagle, which stands in the same position on the third verse from the end, and the gerund laughing in the closing verse. More importantly, the personification of thunder already lays the invisible presence of Hebe: it is she who frolics and plays. At the same time, the entire Olympian heaven is, as it were, compressed in the word frolicking, since it is an anagram of Zeus, Zeus's eagle, and another sound-semantic layer of the ring mythologeme appears, uniting the entire poem. Finally, we note the greater diversity of the iambic rhythm, compared with the stanza VG1.

The third stanza (the former second) underwent an equally radical, although not so noticeable, editing. Leaving the verse unchanged In the forest, the bird din is not silent (VG2- Art. 10), Tyutchev corrected one word at the beginning and end of the stanza (vv. 9, 12). Of particular importance is the replacement stream on flow. With the exception of rhyme and conjunctions "and", the penultimate verse (11) has been completely renewed. At first glance, despite the substitutions, it seems that the stanza VG1 hasn't changed much. With the preserved imagery, slightly shifted, the intonational-syntactic pattern and the final rhetorical pressure remained the same. However, we have another line before us. IN VG1 visible details of the landscape are given: Creek and his double key,- mountains that revived the massif twice in relief. Stanza VG2 predominantly audible rather than visible. In this direction, it is necessary to explain Tyutchev's work on the stanza. Commentary on the six-volume edition, adding to the replacements bird talk, interprets them as follows: “In the second stanza, the figurative components were more specific (...). The generalized images more corresponded to the detached and elevated position of the author, who turned his gaze primarily to the sky, felt the divine-mythological basis of what was happening and, as it were, was not inclined to look at the particulars - “stream”, “birds”. It is said correctly, even beautifully, but the wording misses Tyutchev's local tasks. She herself is loosely raised above the text, being, rather, its interpretation, fixing a fragment of the poet’s worldview or a trait main myth Tyutchev (OMT), according to Yu. I. Levin. The explanation becomes a generalization.

Oddly enough, but another generalized characteristic of Tyutchev's work makes it easy to get to the real problems of editing. L. V. Pumpyansky in the article “The Poetry of F. I. Tyutchev” (1928) convincingly argued the thesis that the poet indirectly assimilated the baroque tradition of German literature of the 17th century: “the phenomenon of acousticism, i.e., the interpretation of sound themes (thunder, roar, crackling, collapse, stomping, jumping, but also rustling, rustling, whispering, etc.). The mediating figure and "the greatest creator of Russian acousticism was Derzhavin." Tyutchev deeply absorbed the acoustic heritage of Derzhavin, and L. V. Pumpyansky uses the “Spring Thunderstorm” to confirm his idea. He writes: “A masterful acoustic work is presented by Spring Storm; Derzhavin himself did not create anything better.” If it were not for the fundamental inaccessibility of poetic impulses for discursive analysis, one could confidently say that the path to understanding Tyutchev's intentions is open.

Third stanza VG2 demanded from Tyutchev maximum intensity of sound in comparison with the second stanza, quietly echoing the sky VG1. The poet achieved the acoustic effect in an original way: relying on the relationship of lexical, phonetic and rhetorical factors, he avoided forcing thunderous poetics and even dispensed with two “roaring” words (stream, joyfully). The large orchestra of mountain and forest was created primarily by lexical means, lexemes with the meaning of sound: din, noise, even flow makes noise louder than a stream, although the sound images are also supported phonetically. Combination the flow is nimble even introduces a new alliteration. epithet taken from stream, in terms of meaning, it does not fit too well with the flow, but we are not allowed to judge “over the boot”. In a rhetorical figure, especially expressive forest din: repetition-junction with the rearrangement of the epithet into a postposition, replacing the quiet bird talk. With these changes, Tyutchev widened the space of the stanza, and thanks to his resonance, what echoed in an undertone now burst out fortissimo.

Tyutchev needed all this not so much for the stylistic correction of neighboring stanzas, but in order to give the old stanza a new compositional function. IN VG1 space is cut vertically from top to bottom, from the sky to the earth. Accordingly, the lyrical plot, understood as the dynamic side of the composition, goes through two logical stages, creating a conflict between the thesis and antithesis. The grandiose thunder symphony, resonating in the sky "from end to end", resonates with a more restrained suite of mountain and forest. The scale and volume is incomparably smaller. The stanza of Hebe, the third stage of the plot, lifts us up again, to an even higher point than before, in the heavens, from where thunder, lightning and downpour, already in a mythical guise, fall on the earth. There is an interesting parallel to the plot-compositional device of "Spring Thunderstorm"-1. This is a poetic dramatic experience of Pushkin's "The Miserly Knight". There alternate upper, lower and middle points of view in space: a tower, a cellar and a palace. This is the same spatial course, only rotated by 1800, and therefore the semantic paths of the drama are different than in The Thunderstorm. In the drama, the collision turns to balance, albeit an imaginary one, in the poem, one-sided aspiration takes over. From all this it follows that the second stanza VG1 is in a weaker logical, intonational and even rhythmic position, compared with the third stanza VG2, and it is not at all surprising that she echoes much more modestly. Her compositional place is different.

Now the third stanza VG2(the former second) occupies an important place in the four-part compositional construction 3 + 1. This means that the poem unfolds its meaning in three more or less even steps, sometimes slightly ascending, and then, with a fourth energetic jerk, it hits, as it were, on an elevation that collects previous efforts or switches them to a different plan (see the articles “Madness”, “And the coffin has already been lowered into the grave ...”, “Look how in the open space of the river ...”, etc.). The fourth stanza is thus a kind of capstone holding the entire vault. In a four-part compositional structure of this type special meaning acquires the third stanza, which should be a support in the preparation of the last step, and therefore no reduction, loss of scale, energy of action, intonation weakening, delay in particulars, etc., cannot be allowed in it. You cannot stumble on it. Tyutchev's work went in this direction. Transferring without change the stanza about Hebe and the loud-boiling goblet into his favorite form, Tyutchev wanted to bring liveliness, new colorful shades and a luxurious frame for images dear to him. On this path, the poet was expected to have great creative success and considerable surprises.

However, this will become clear later. And now that we have completed the experiment of reconstructing the filigree alteration VG, carried out by Tyutchev at the very beginning of the 1850s, it remains to take another look at the finale he did not touch, for the sake of which, most likely, an entire stanza was incorporated into the text. It inevitably had to shift the former meaning - and this happened. IN VG1 the appearance of Hebe connected the thesis and antithesis of heaven and earth. In the structure of the dogmatic fragment, the plot moved in two layers, and the mythical plan from the depths allegorically shone through natural pictures. IN VG2 the case is different. Previously, Tyutchev could have thought that the return semantic waves at a short distance would associatively transfer Hebe to the beginning of the poem, but in the later version the plot was extended by a whole stanza, and it was necessary to designate the implicit myth of Hebe noticeably. Or maybe he wanted to concentrate both the stormy and the mythical worlds around Hebe, to make her image, reviving, jubilant, young and passionate, the focus of the entire poem. To this end, Tyutchev scattered throughout the text signs of the presence of Hebe, revealed and hidden at the same time. What he built as parallel plans or even as following one after another and only then combined (see, for example, “Silence in the stuffy air ...”, where, almost for the first time, a thunderstorm is playing out and the girl’s condition are clearly compared as similarities) - V VG2 acquired the structure of a kind of bilateral identity, where thunderstorms and Hebe with a loud-boiling goblet are, in essence, one and the same. Creating this interpenetration, Tyutchev, as in other cases, used his entire poetic arsenal, from which we present only a lexical chain. Spring, frolicking and playing, in the blue sky, young peals,(unnamed wind- To windy Gebe), rain pearls(instead of a drop of rain in other poems) the sun gilds the threads, the stream is nimble, din, din and noise, fun- all the shadowy presence of Hebe is collected in the final with a creative phrase You'll say(this is auto-communication, not an appeal to the interlocutor!) into a relief-plastic panorama with the heroine in the center. As a result, Tyutchev, who did not change a single sign in the stanza about Gebe, extremely complicated the network of its dependencies on the rest of the text, enlarged and deepened the semantic valency of the finale. "Spring Thunderstorm" has become a cluster of natural and cosmic elements, in which the human element, festive and catastrophic, is dissolved.

It would seem that on this major note it is most convenient to complete the consideration VG1 And VG2. However, our topic is not yet exhausted. The poetics of the "Spring Thunderstorm", as it is known in the later version, makes an even more compelling impression in that it transcended its time, stepping straight into the 20th century. Features of multi-layered and complicated semantics, which she acquired after Tyutchev built into VG1 a new stanza, shifted the original logic of the unfolding of the text, terminated the previously former bundles, introduced non-linear relationships and excited centrifugal forces in the structure. Having increased the dynamics at the beginning of a new stanza and then abruptly slowed it down, Tyutchev shook the sequence of poetic images. If we add here the “displacement of the word characteristic of Tyutchev to an unparalleled degree, the tilt of its axis, the barely noticeable degeneration of semantic weight”, noted by L. V. Pumpyansky, or, as we would like to put it, the transformation of the main meaning of the word into a tangle of fluctuating connotations, then, right , it can be said about Tyutchev that long before Mandelstam he already had a premonition of his poetics. In any case, Mandelstam himself 80 years later followed the same path: "Any word is a bundle, and the meaning sticks out of it in different directions, and does not rush to one official point." If Tyutchev already knew this, then once again you will understand why the "inclinations" of his words were accepted and assimilated by the Symbolists.

Genius is genius. Does this mean that when we analyze his things, we are left with nothing but delight? Of course not. A critical eye is also needed here, because Tyutchev, when creating the deafening poetics of his masterpiece, did not use small and unfinished sketches, but cracked an excellent text with a stable, strong and balanced construction. Involuntarily, the thought arises about the costs and consequences of the experiment, about the price paid for obvious success. The stylistic diversity, dynamics, coloring and radiance of the new second stanza, the extrapolation of its enriched poetics on both sides, the rallying of the triptych into a panorama of roaring nature - this is the splendor, luxury of poetic means, their richness and excess tilted to some extent the compositional assembly of the entire four-part poem. Without touching this overcomplicated structure, which, in fact, was mentioned above, we expose only the most important thing - the displacement of the composition VG2.

The second stanza turned out to be too significant a component in the movement of the lyrical plot from beginning to end. She did not fit into the sequence of links leading to the final finale, where it was necessary to obey the progressive course of the poem. It is enough to refer to the second stanzas of Tyutchev's four-part idio-genres, built according to the example of 3 + 1 (“Madness”, “And the coffin has already been lowered into the grave ...”, “Look how it is in the open space of the river ...”, etc.) to see the difference. Second stanza VG2, leaving behind a certain amount of autonomy and self-sufficiency, it now claims the status of the second compositional center, attracting the surrounding stanzas and thereby weakening the position of the finale with Hebe and the loud-boiling goblet. The ending, of course, retains the function of an architectonic support and ending, but an extra floor is built on top of it, which slightly tilts the whole building. Under the influence of the second stanza, the “reinforced” third stanza diverts part of the semantic beam aimed at the finale, trying to slip past the target. There is a struggle of oncoming forces within the compositional centers, the distance between which is too small. It seems that the rhetorical energy and pathos of the rising intonation breaks off in the verse Everything echoes merrily thunders, and the finale reluctantly sounds in a lowered tone of a summarizing mythological judgment. As a result, we observe the compositional imbalance of the thing and, as a result, the tendency of the stanza about Hebe and the loudly boiling goblet to flake off from the thunder triptych. Whether Tyutchev himself realized the danger of the compositional inclination or neglected it, we do not know. Perhaps he, as in many other cases, committed a brilliant violation of the rules, and, as always, it turned out well. "Spring Thunderstorm" has become a semblance of the Leaning Tower of Pisa. Did Tyutchev just assume that he personally provoked future editors to repeatedly cut off his favorite stanza?

So far, we have relied on the hypothesis that Tyutchev, for the sake of the final stanza about Hebe, lengthened and embellished the old poem, having previously broken it and composed a new stanza. However, one can assume an inversion of Tyutchev's poetic thought: he wrote a stanza, being prone to thematic doublets, and then, for the sake of this stanza, which was not specially intended for any text, he built it into an old poem. However, for one purpose or another, Tyutchev used the same move: he converted the three-part device into a four-part one. The consequences were also the same, and two alternating compositional centers pulled the remaining stanzas on themselves. The new stanza was more fortunate, and the situation that we have described arose. Due to the weakening of the position of the final VG2 and by incompletely adjoining it to the previous text, we intend here to consider the third, "editor's" version of "Spring Thunderstorm" (VG3), putting aside for some time unacceptable interference and, due to this, aesthetic inferiority.

The artistic existence of "Spring Thunderstorm" develops in three stages. At first VG1("Galatea", 1829). Then this text is actually canceled (or so we think) by Tyutchev himself, and there is VG2("Contemporary", 1854). Even later comes the "editor's" text VG3, which operates in parallel with VG2 and in the minds of the mass reader, in turn, partially cancels it. Thus, we have three texts of the "Spring Thunderstorm" available, each of which claims to have a real presence in different segments of poetic culture. We will try to understand this difficult situation and place identification marks of value over the texts in the common cultural space.

For a long time I did not want to admit VG3. In a recent work, we named as many as seven reasons for the “abuse” of a masterpiece, but then realized that the presence VG3- this is the price paid by Tyutchev for his extreme step. In addition, we realized that a masterpiece on the way to becoming a cult mark often adapts to the tastes of an undemanding public, and we reconciled. Here is a well-known text:

spring thunderstorm

I love the storm in early May,

When the first spring thunder

As if frolicking and playing,

Rumbles in the blue sky.

The young peals are thundering,

Here the rain splashed, the dust flies,

Rain pearls hung,

And the sun gilds the threads.

An agile stream runs from the mountain,

In the forest, the din of birds does not stop,

And the noise of the forest and the noise of the mountains -

Everything echoes cheerfully to the thunders.

We will escape detailed characteristics it's text. We exhausted it when describing the second stanza and its reflexes to neighboring ones. We only note that cutting off the last stanza VG2 not only deprived the poem of the anthological ode genre, turning it into a landscape composition, but rejected the switch to the Olympic scene and pulled out the entire mythological layer from the subtext. The impression, frankly, is bleak, and the loss of meaning is irreversible. However, everything is not so simple, so for the final decision, we will turn to two of the most authoritative specialists.

M. L. Gasparov in the article “Landscape Composition at Tyutchev’s” already shows by the title what aspects of the text will attract his attention. Therefore, three stanzas from VG2 he considers first. In the composition of M. L. Gasparov, its dynamic side is of interest (this can be called a lyrical plot). Movement is added to the composure of the text, to its mirror symmetry. It is expressed by the motif of rain. Tyutchev introduces a motif only in the new second stanza, but at the same time a whole plot is built up (thus, we are talking about VG3): before the rain, the rain, the cessation of the rain. Speaking about the features of this motive, M. L. Gasparov notes its uncertainty, because the rain starts to fall, and then slows down only in the second stanza, and in the third the movement occurs in other forms. At first, he nevertheless admits that “rain splashes are replaced by a continuous stream”, but then he nevertheless says that the moment “after the rain” (...) is impossible to prove (...).

From the side of the composition as such, that is, the inertness of the thing, M. L. Gasparov saw a mirror-symmetric construction created by Tyutchev when introducing a new stanza into the text. At first, a sound is heard (thunder peals), then there is movement (rain, wind), then the movement stops (pearls and threads hang), later the movement resumes (the flow is nimble), and everything ends with a sound (everything echoes cheerfully to the thunders, before that din And noise). The result was a scheme that tightly combined three stanzas (VG3): sound - movement - motionless radiance - movement - sound. Such an elegant reflection!

However, showing the poetics of a stormy landscape, M. L. Gasparov does not forget Hebe with a goblet. Here a small gap creeps into his judgment. Positively commenting on what we called VG3, he writes that without the fourth stanza, the poem loses its most "sweeping vertical". It's worth remembering. M. L. Gasparov also names the continuous motif of cheerfulness that permeates the entire poem: frolicking And playing - having fun - laughing. Then he notes that "the ending simile echoes the previous stanzas not only with the thunder of the epithet 'boiling', but also with the ambiguity of the word 'windy'". Here, M. L. Gasparov speaks even more categorically about the consequences of cutting off the fourth stanza: “When the “Spring Thunderstorm” is usually printed in anthologies without the last stanza, this takes away not only the second mythological plan, but also the exquisite mismatch of the figurative (“hung. threads. “) and stylistic climaxes” (“loud-boiling.” - YU. Ch.). Having expressed his “yes” and “no”, M. L. Gasparov returns to his original positions: “Nevertheless, the poem retains its artistic effectiveness and completeness, thanks to the strict symmetry of the three remaining stanzas.”

Let's finish the presentation of the views of M. L. Gasparov with an excerpt, part of which we have already quoted: “Such a poem (we are talking about VG1. - YU. Ch.) would not have survived the cutting off of the last stanza and would have collapsed. This once again reveals the semantic climactic role of the completed II stanza - with its oncoming vertical movements and with its merging of heaven and earth. M. L. Gasparov, in our opinion, in his cursory remarks touched on almost all the issues that were developed and explicated here in detail. In essence, what we called above are light gaps in its characteristics. VG2, in fact, there are no gaps. His judgments are connected with the controversies that Tyutchev himself put into the altered text. The task of M. L. Gasparov was to study the dynamics of the Tyutchev landscape, and he deliberately did not touch on issues that could lead him astray. The more valuable is the range of his passing remarks, which imply a certain autonomy of the text VG3.

Another evidence of VG2 left us a brilliant writer, poet and theorist Andrei Bely. Guided by a sensitive reader's perception, he read VG2 as follows: "The first three stanzas are an empirical description of the May thunderstorm, the last one turns the action of the thunderstorm into a mythological symbol." Then he talks about the semantic charge of the image of nature with the properties of an animated being. One might be surprised at the obvious aberration of perception in such a reader as A. Bely, but it is hardly like a trivial reaction to a text. Most likely, A. Bely's intuition grasped the mismatch between the thunderstorm triptych and the mythological finale, the compositional dissonance introduced by the complex reconstruction of the text. It follows from this that A. Bely indirectly confirmed the possibility of understanding VG3 as a self-organized text that, as it happens, regains its integrity despite violent truncation.

As an example of the formation of a lost meaning, let us turn to participle turnover frolicking and playing. The surviving residual features of the mythological plan no longer allow us to notice the implicit presence of Hebe: she will not appear in the text. But, instead of Hebe, the same words frolicking and playing can serve as a guide to the Heraclitean saying: “Eternity is a playing child!” Ancient philosophy, replacing ancient mythology, will still orient VG3 on the natural-cosmic plane, without which Tyutchev could hardly present his text. But he himself could no longer correct him; this did the poem, reconfiguring semantic intentions.

Our analytical commentary has come to an end. It remains to summarize the ways out of the problems posed and to name further prospects for analytics. Some of these have already been implied in the preceding description.

Tyutchev's "Spring Thunderstorm" is presented here in three equally worthy texts. The first one (VG1) is a kind of prologue to the definitive text (VG2), and the third (VG3) arose, in addition to Tyutchev, as an adapted version that paved VG2 path to cult status in Russian poetic classics. Such a formulation of the problem excludes the study of the so-called creative concept, does not raise the question of turning an imperfect text into a perfect one, does not condemn "blasphemous interference" in the author's will, but aims to compare texts in a compositional and functional plan, where shifts and shifts in the structural interior are fixed. In short, everything that is added, subtracted, or looks different.

Tyutchev, most likely, rewrote VG1 on any occasion around 1850-1851. He did not have to refine the perfect and balanced structure of the poem, but spontaneously there was a desire to write something. A new stanza took shape, for which he made room in the middle of the thing. However, it could have been different: the poem pulled out a stanza from itself, being excited by the sharp creativity of the author, his personal and transpersonal tension, the radiations of the nearby poetic context, etc. After that, Tyutchev had to solve the given problems more consciously.

The result of the kurtosis was the emergence of a virtually new text capable of branched self-expansion of meaning. VG2 does not cancel the preceding text, does not turn it into a set of draft lines, does not take its place in 1829. Tyutchev redesigned VG1 from a three-part to a four-part text, having corrected something, and transferred the mythological stanza from one poetics to another without changes. He left VG in its classical completeness and did not include the poem in his collections only because it was not accepted then. However, in our time, when various versions of the text are quietly printed side by side (for example, by Mandelstam, etc.), there is no reason, following outdated rules, to impoverish Tyutchev's corpus of lyrics, depriving it of complicating correspondences. Two "Spring Thunderstorms" are doublets-twos, and doublets, as you know, are a fundamental quality of Tyutchev's poetics. Both poems should be printed together in the collections of the poet, VG1 under 1829, and VG2 under 1854. This must be done as soon as possible, in the first authoritative edition.