The outstanding minds of classical Russian literature spoke about him. For Leo Tolstoy, he was a favorite poet, Nekrasov called his creations a brilliant phenomenon of Russian poetry, and Pushkin simply admired his works. Over the years of his activity, he did not write countless collections, his works are not a multi-volume edition, but only 250 poems and several journalistic articles. His works are considered philosophical lyrics. Tyutchev Fedor Ivanovich- it is about his work and will be discussed.

A little about the poet

Tyutchev was born into a noble family, descended from an old family. He spent his childhood in the family estate in the Oryol province. His first teacher was the poet Semyon Yegorovich Raich, it was he who instilled in the future poet a love of poetry, introducing little Tyutchev to the best works of world literature.

Since 1819, Fedor has been studying at the verbal department of Moscow University. In 1822 he began to serve in the Ministry of Foreign Affairs. In the same year, thanks to connections, he receives workplace in Munich, but only after 6 years will be able to slightly increase his official position. However, Tyutchev never wanted to make a career, although additional financial opportunities would not be superfluous for him. Fedor spent 22 years abroad, was married twice and was fluent in French. He even corresponded in French, but he never lost touch with his native Russia.

The power of mother tongue

The Russian language was a kind of sacred thing for the poet. An invisible, mental totem whose power was not to be wasted. And he kept his native language exclusively for poetry.

When analyzing the philosophical lyrics of Tyutchev, we can say that as a poet he took place on the border of the 1820s and 1830s. For the first time they started talking about him when the first collection "Poems sent from Germany" was published, which included 24 works. The second time Tyutchev as an outstanding poet was revealed to the world by Nekrasov, dedicating an article to his work, in which he called Fedor "a paramount poetic talent." So what is she philosophical lyrics Tyutchev?

With a taste of philosophy

Tyutchev's works are mainly philosophical in nature, although in his arsenal there were poems of political and historical content. But as Turgenev said: “Tyutchev is a poet of thought. Each of his poems begins with a thought, and it flashes like a fiery beacon.

Of course, it is foolish to consider his works through the prism of current philosophical schools and concepts. It is much more important to understand what thoughts and feelings are hidden behind these theses. For Russia, Tyutchev was a poet of the future: what had long become commonplace in Europe was just beginning to emerge in his native country. But it is worth giving him his due: he, who came from a backward country, became his own in this new world, that he had already recovered from the French Revolution and was building a new bourgeois society. Unlike his brothers in writing, Tyutchev did not imitate anyone, did not reproduce auxiliary illustrations for other authors. He had his own view and his own thought, which are so clearly traced in his lyrics.

mountain spring

So why is Tyutchev's lyrics called philosophical? As Ivan Aksakov once correctly noted, for Tyutchev to live meant to think. And what, if not thought, gives rise to philosophy? With Tyutchev, this idea was often framed in rhymed lines and became a strong symbol. Such works say much more than the poet himself wanted to sing. For example, in the images of the rock and the sea (the poem " The Sea and the Cliff") the author just wanted to show how powerless the revolutionary movements against the Russian people are. But the reader can interpret these symbols in his own way, and the poem will not lose its original charm from this.

Tyutchev's philosophical lyrics are based on thought, a sound perception of everything that happens, but at the same time the poet manages to put an unconscious attitude into his works. Thanks to unsurpassed creative intuition, this notorious "unconscious" is the mountain spring that penetrates and nourishes his poetry.

Main motives

The features of Tyutchev's philosophical lyrics lie in the motives of a fragile and ghostly being. All that has passed is nothing more than a ghost. This is a common image of the past in Tyutchev's work. The poet is sure that nothing remains of a lived life but memories, but even they will eventually disappear, be erased from memory and crumble into thousands of invisible particles. And even the present Tyutchev considered a ghost, since it disappears so quickly and inexorably.

Such feelings are clearly expressed in the work "Day and Night", in which the world is just an illusion that it is above the pitch abyss. The day fades, and a person opens real reality- total darkness and complete loneliness, where there is no spark, no support. These lines are nothing more than the words of a person cut off from the world, who lives his days outside of society, watching him and thinking about the eternal. But there is another side to Tyutchev's philosophical lyrics.

Space, chaos, eternity, man

In Tyutchev, the Universe and man are inextricably linked. The themes and motifs of Tyutchev's philosophical lyrics are based on the sense of the integrity of the surrounding world, but this integrity is impossible without the confrontation of bipolar forces. The motives of eternity, the universe, the origins of life acquire special significance in the poet's lyrics.

Order and chaos, light and darkness, day and night - Tyutchev speaks about them in his works. He characterizes the day as a "brilliant cover", and the night seems to him the abyss of the human soul. The peculiarity of Tyutchev's lyrics lies in the fact that he sees a certain attraction and beauty in chaos. The poet believes that such a disorder is the factor that is responsible for the development and creation. Chaos is eternal. Light arises from it, the Cosmos is formed from light, and it turns into cold darkness, where chaos is born, from which light will again begin to flow...

nature and man

Those poems that were dedicated to landscapes are priceless copies in the poet's work. Forever in his heart the outlines of his native expanses were imprinted, and no matter what the weather was when he came to his homeland, Tyutchev always admired the primordial beauty of the world. Let for someone autumn is just a chilly wind and roads washed out by rains, but the poet saw much more: “The whole day stands as if crystal, And the evenings are radiant.”

But more attention should be paid to man and nature in Tyutchev's lyrics. Their unity is described by an unimaginable contradiction. On the one hand, a person is a part of this world and must live with it in harmony, merging with physical nature. On the other hand, a person is a whole unknown world that is fraught with chaos, and such a merger is dangerous.

In itself, nature in the poet's work is endowed with human characteristics. The surrounding world is a living organism capable of feeling, thinking and enjoying. If you endow the world with such features, nature begins to be perceived as a living person. This trend is easy to trace in the works "Summer Evening", "Autumn Evening", where nature is not only endowed with certain features inherent in people - it is completely humanized.

Radiance of the Mind

Magnificent philosophical lyrics, Tyutchev's poems about different facets of life have become an invaluable asset of classical Russian literature. The poet touches on topics not only of nature, society or feelings, but also of the human mind. Tyutchev firmly believed that knowledge of the surrounding world occurs only after a person realizes his nature. In the poem "Silence" he exclaims: "Only know how to live in yourself!"

The human soul, feelings, desire to learn and create are beautiful in themselves, only they come across a cruel reality that is so illusory and fleeting. And the poet writes about this, and yearns that everything is fleeting, but his main sadness is that all this is predetermined.

"We can't predict"

The best example of the poet's philosophical lyrics can be called a poem, consisting of only one stanza, but at the same time having a complete thought. The poem “We Cannot Predict” can be figuratively divided into two parts. In the first, the poet speaks of human unpredictability. He does not know how society will perceive his work (and this problem has always been relevant when it comes to Russian poetry). And at the same time, this can be understood, as well as the fact that a person should also think about his daily communication. Tyutchev believes that no words will be enough to express everything that is going on in the soul, to describe your inner world to someone, and there are no words that will make the interlocutor truly understand you.

The second part of the poem describes the result, that is, the reaction to the spoken words. Tyutchev writes that for a person there is nothing better than good relations surrounding him in particular and to the words uttered by someone. But it is not known whether there will be such a reaction or not. And all this says only one thing: it is impossible to achieve harmony in human communication.

love lyrics

Tyutchev's love poems also speak of this duality of human communication. Philosophical lyrics penetrate even into the farthest corners of intimate works. One has only to remember the poem "Oh, how deadly we love." Here the poet describes how limited the human limits of love are. But even in this work there are opposing forces: “... rather, we destroy what is dear to our heart!”

Happiness and suffering, sublime feelings and pain, tenderness and fatal passion - this is how the poet sees love, this is how he loves and writes about it.

His words

Tyutchev's lyrics have a huge impact not only on the average reader - it affects the works of writers completely different eras. The philosophical motives of Tyutchev can be traced in the works of Fet, Tolstoy, Dostoevsky, Akhmatova, Brodsky and many others.

This poet could briefly say a lot. It would seem impossible to create from a few words that creative force that will make a person thoughtfully think and think. But as practice has shown, this is quite real. Tyutchev's work is a whole universe squeezed into one sentence, and the center of this universe, of course, is a person, his thoughts, his feelings, his bright and eternal soul.

Time has no power over his words. As long as this world exists, there will be chaos and duality, nature and man, the Universe and the Cosmos. And indeed, it is not given to us to predict what will happen in the distant future, but one thing is certain: as long as a person is alive, he will constantly find many answers and even more questions in Tyutchev's works. This is where his eternal philosophy manifests itself.

Features of creativity
“Tyutchev was not prolific as a poet (his legacy is about 300 poems). Starting to print early (from the age of 16), he was rarely published, in little-known almanacs, in the period 1837-47. wrote almost no poetry and in general cared little about his reputation as a poet. (Mikhailovsky, 1939, p. 469.)
“Longing,” testified I.S. Aksakov, - constituted, as it were, the main tone of his poetry and his entire moral being ... As often happens with poets, torment and pain became the strongest activators for Tyutchev. The poet, silent for fourteen years, not only returned to literary activity, but it was after the death of E.A. Denisyeva, in his seventies, when poets finally run out of steam, created his best poems ... He did not have "creative ideas", hours allotted for work, notebooks, drafts, blanks, in general, everything that is called creative work. He didn't tinker with poetry. He wrote down his insights on invitations, napkins, postcards, in random notebooks, just on scraps of paper that fell under his arm. P.I. Kapnist testified: “Tyutchev thoughtfully wrote a sheet at a meeting of the censorship council and left the meeting, leaving it on the table.” If Kapnist had not picked up what was written, they would never have known "No matter how hard the last hour ...". Unconsciousness, intuitiveness, improvisation are the key concepts for his work.” Garin, 1994, vol. 3, p. 324, 329, 336-337, 364.)

Although Tyutchev's poetry is divided thematically into political, civil, landscape, love lyrics, it is often stipulated that this division is conditional: behind different thematic layers there is a single principle of seeing the world - philosophical.

F. I. Tyutchev as a poet-philosopher

He has not only thinking poetry, but poetic thought; not a reasoning, thinking feeling, but a feeling and living thought. Because of this, the external artistic form is not put on his thought, like a glove on his hand, but has grown together with it, like a cover of skin with a body, it is the very flesh of thought. (I.S. Aksakov).

Each of his poems began with a thought, but a thought that, like a fiery point, flared up under the influence of a deep feeling or a strong impression; as a result of this, Mr. Tyutchev's thought never appears naked and abstract to the reader, but always merges with the image taken from the world of the soul or nature, is penetrated by it, and itself penetrates it inseparably and inseparably. (I.S. Turgenev).

Political lyrics by F. I. Tyutchev

The poet, without whom, according to Leo Tolstoy, “one cannot live,” until the end of his days he was and realized himself as a politician, diplomat, and historian. He was constantly at the center of the political, public life Europe, the world, Russia, even on his deathbed he asked: "What political news came?" The politician Tyutchev observed and evaluated the events, the poet spoke of his time as a fatal era.

Blessed is he who visited this world In its fatal moments!
"Cicero", 1830

At the same time, Tyutchev the poet does not have poems about specific historical events. There is a philosophical response to them, detachment, transcendence of their vision, the view of not a participant, but a contemplator of events.

He was not a supporter of revolutions, any coups, did not sympathize with the Decembrists:

O victim of a reckless thought, You hoped, perhaps, That your blood would become meager, To melt the eternal pole! Barely, smoking, she sparkled

On the age-old mass of ice, Iron winter died - And there were no traces left.

Perhaps the very life of the poet, the eternal desire to combine opposite principles, determined his vision of the world. The idea of ​​duality, the dual existence of man and nature, the discord of the worlds underlies the philosophical lyrics, reflections of Tyutchev the poet.

The feeling of a person being on the edge, on the border of two worlds, expectation and a sense of catastrophe became the main theme of Tyutchev's philosophical lyrics.

landscape lyrics

Man and nature, according to Tyutchev, are one and inseparable, they live according to general laws being.

Thought after thought; wave after wave
Two manifestations of the same element:
Whether in a tight heart, in a boundless sea,
Here - in prison, there - in the open, -
The same eternal surf and rebound,
The same ghost is disturbingly empty.
"Wave and Thought", 1851.

Man is a small part of nature, the universe, he is not free to live according to his will, his freedom is an illusion, a ghost:

Only in our ghostly freedom
We are aware of our discord.
“There is melodiousness in the waves of the sea”, 1865.

Discord, created by man himself, leads to disharmony of his being, inner world, to the discord of man with the outside world. Two opposing principles are created: one is the embodiment of darkness, chaos, night, abyss, death, the other is light, day, life. darkness, life and death.

But the day fades - the night has come;
Came from the fatal world
The fabric of the fertile cover,
Tearing off, throwing away
And the abyss is naked to us
With your fears and darkness
And there are no barriers between her and us -
That's why we are afraid of the night!
"Day and Night", 1839

The lyrical hero of Tyutchev is constantly on the verge of the worlds: day and night, light and darkness, life and death. He is afraid of the gloomy abyss, which every moment can open before him, swallow him up.

And a man, like a homeless orphan,
It stands now and is weak and naked,
Face to face before the dark abyss.
"Holy night ascended the sky", 1848-5o-s

During the day, even in the evening light, the world is calm, beautiful, harmonious. About this world, many landscape sketches by Tyutchev. There are in the autumn of the original
Short but wonderful time -
The whole day stands as if crystal,
And radiant evenings
1857
Is in the lordship of autumn evenings
Sweet, mysterious beauty
1830

Darkness comes in the night, it's exposed

The horror of the abyss, death, tragedy

The vault of heaven, burning with star glory,
Mysteriously looks from the depths, -
And we swim in the burning abyss
Surrounded on all sides.
"How the Ocean Embraces the Globe", 1830.

The theme of man as a small particle of the universe, which is unable to resist the power of universal darkness, fate, fate, originates from poetry

Lomonosov, Derzhavin, will be continued in the poems of poets of the early twentieth century..

Enchanted winter
Bewitched, the forest stands
And under the snowy fringe,
Motionless, dumb
He shines with a wonderful life.
1852

Love lyrics. Destinations of love lyrics

Addressees of Tyutchev's love lyrics

The first wife of the poet was Eleanor Peterson, nee Countess Bothmer. From this marriage there were three daughters: Anna, Daria and Ekaterina.

Having been widowed, the poet married in 1839 Ernestine Dernberg, nee Baroness Pfeffel. Maria and Dmitry were born to them in Munich, and their youngest son Ivan was born in Russia.

In 1851 (he was already familiar with Denisyeva), Tyutchev wrote to his wife Eleanor Feodorovna: "There is no creature smarter than you in the world. I have no one else to talk to ... I, who speaks to everyone." And in another letter: "... although you love me four times less than before, you still love me ten times more than I'm worth it."

Two years after the death of her husband, Eleonora Fyodorovna accidentally found in her album a sheet with a signature in French: "For you (to make it out in private)." Next came the verses written in the same 1851:

I don't know if grace will touch
Of my painfully sinful soul,
Will she be able to rise and rise,
Will spiritual fainting go away?

But if the soul could
Here on earth find peace
You would be a blessing to me -
You, you, my earthly providence! ..

Tyutchev's love for Elena Denisyeva brought the poet both great happiness and great grief. Tyutchev's feeling was subject to the laws of his being, creativity. Love connected life and death, happiness and sorrow, was the roll call of the worlds.

Most clearly, the "double being" of the split human soul is expressed in Tyutchev's love lyrics.

In 1850, 47-year-old Tyutchev met twenty-four-year-old Elena Aleksandrovna Denisyeva, a friend of his daughters. Fourteen years, until the death of Denisyeva, their union lasted, three children were born. Tyutchev left a confession of his love in verse.

“No one created such a deep female image, endowed with individual psychological traits, in lyrics before Tyutchev,” says Lev Ozerov. “By its nature, this image echoes Nastasya Filippovna from Dostoevsky’s Idiot and Anna Karenina from Tolstoy.”

For fourteen years Tyutchev led double life. Loving Denisyev, he could not part with his family.

In moments of passionate feelings for Denisyeva, he writes to his wife: "There is no creature in the world smarter than you and I have no one else to talk to."
The sudden loss of Elena Alexandrovna, followed by a series of losses that followed her death, sharpened the feelings of the frontier, the boundaries of the worlds. Love for Denisyeva is death for Tyutchev, but also the highest fullness of being, “bliss and hopelessness”, a “duel of fatal” life and death:

Here I am wandering along the high road
In the quiet light of the fading day
It's hard for my legs to freeze
My dear friend, do you see me?

Everything is darker, darker above the ground -
The last gleam of the day has flown away
This is the world where we lived with you,
My angel, do you see me?

Genre originality of the lyrics of F. I. Tyutchev

The literary critic Y. Tynyanov was the first to notice, and many researchers agreed with him, that the division of poems into genres is not typical for the lyrics of F. Tyutchev. A genre-forming role is played by a fragment, “the genre of an almost non-literary passage”.

A fragment is a thought, as if snatched from a stream of thoughts, a feeling - from surging experiences, from a continuous stream of feelings, an action, an act - from a series of human deeds: “Yes, you kept your word”, “So, I saw you again”, “The same thing happens in God’s world.”
The shape of the fragment emphasizes the endless flow, the movement of thought, feeling, life, history. But all of Tyutchev's poetics reflects the idea of ​​universal endless movement, at the heart of the poem is often fleeting, instantaneous, fleeting in the life of man and nature:

And how, vision, the outside world is gone.
Century after century passed by.
How unexpected and bright
On the wet blue sky
aerial arch erected
In your momentary triumph.

Features of the composition of lyrical poems

Tyutchev's idea of ​​opposition and, at the same time, of the unity of the worlds of nature and man, the outer and inner worlds, is often embodied in the two-part composition of his poems: "Predestination", "Cicero", "The earth still looks sad" and many others.

Another compositional technique of the poet is a direct depiction of feelings - such is the Denisiev cycle, some landscape sketches.

Sand flowing to the knees
We eat - late - the day is fading,
And pines, along the way, shadows
The shadows have already merged into one.
Blacker and more often deep forest -
What sad places!
The night is gloomy, like a stout-eyed beast,
Looks from every bush!

Lyric style

Tyutchev's lyrics are characterized by the utmost conciseness of the space of the verse, hence its aphorism.

Russia cannot be understood with the mind,
Do not measure with a common yardstick:
She has a special become -
One can only believe in Russia.

November 28, 1866 Under the influence of the classical poets of the 18th century, Tyutchev's lyrics contain many rhetorical questions and exclamations:

Oh, how many sad minutes
Love and joy killed!

Where, how did the discord arise?
And why in the general choir
The soul does not sing like the sea,
And the thinking reed grumbles?

Perhaps, under the impression of classes with S. Raich, in verses Tyutchev often turns to mythological, antique images: "forgetfulness like

Atlas, presses the land ... ", windy Hebe, feeding Zeves' eagle"

Speaking of Tyutchev's poetic manner, the term "pure poetry" will later be used.
(Philosophical lyrics are a rather relative concept. This is how it is customary to call deep reflections in verses about the meaning of being, about the fate of man, the world, the universe, about the place of man in the world. It is customary to refer to philosophical lyrics the poems of Tyutchev, Fet, Baratynsky, Zabolotsky ...)

"Pure Poetry"

In all poets, next to direct creativity, one can hear doing, processing. Tyutchev has nothing done: everything is going on. That is why some external negligence is often visible in his poems: words come across outdated, out of use, irregular rhymes are encountered, which, with the slightest external decoration, could easily be replaced by others.

This defines and partly limits his significance as a poet. But this also gives his poetry some special charm of sincerity and personal sincerity. Khomyakov - himself a lyric poet - said, and, in our opinion, rightly, that he does not know other verses, except Tyutchev's, which would serve as the best image of the purest poetry, which would be imbued with poetry to such an extent, durch und durch. I.S. Aksakov.

Characteristics of Tyutchev's creativity, Tyutchev's creativity, features of Tyutchev's creativity, Tyutchev's creativity

Wrote not so many works. Possessing a gift for writing, he did not consider literary creativity his profession and wrote involuntarily. At the same time, many of his works remained on a sheet of paper, and only at the insistence of friends, some of them got into print and became available to the general public. But even these few creations become a worthy legacy and a kind of contribution that F.I. Tyutchev.

Features of Tyutchev's lyrics

To understand the features of Tyutchev's lyrics, it is enough to plunge into the world of his poetry. Tyutchev writes his poems only under the influence of a certain insight, when he feels the need to express his thoughts on paper. So it turns out that Tyutchev's lyrics are filled with the intimacy of personal inner experiences and are more like a diary, where he captures his thoughts and reflections.

The value of the poet's poems is that in these small works the author creates sincere and original images. In addition, the artistic feature of Tyutchev's poetry is that they are filled with deep philosophical content.

Features of love lyrics

Revealing the topic artistic feature Tyutchev's poetry, it is worth talking about the features of the poet's love lyrics. It is represented by a few works that were dedicated to different women. In life, Tyutchev was a loving, passionate and enthusiastic person. So, his early poems were dedicated to his first love, a woman he met in Munich. It was Amalia. The poems were called or I met you. But fate separated them, and a year later he falls in love with Eleanor Peterson, who became his wife. However, here fate was cruel to the poet. Death takes his beloved. Already posthumously, the writer dedicated poems to Eleanor Peterson In the hours when it happens and I still yearn for longing desires. The next will be a meeting with Ernestine Dernberg and marriage. This woman became the Muse for Tyutchev, under the influence of which the poem appears She was sitting on the floor.

But the most famous poems of the poet were the works that were included in the Denisyev cycle. Elena Denisyeva became the last hobby of the writer. Their connection was illegal, and the most famous verse of that period was the work Last Love.

If the first poems of Tyutchev's love lyrics depict love as a passion. In them, the poet shares his emotions and describes the emotions of his beloved. Then in the later works of the poet one can feel the motives of the transience of happiness, his guilt before his beloved. Now love is associated with hopelessness, and romance is dying under the influence of a society that rejected everything beautiful with its misunderstanding. The writer's love is not only passion, but also hopelessness, suffering and struggle. A feature of Tyutchev's lyrics was that in his works he displayed real, not invented feelings.

Features of the image of nature

Fedor Tyutchev is rightfully considered a singer of nature. As he said, the advantage of Tyutchev's landscape lyrics was that his nature was different, lively and graceful. The writer especially liked spring and autumn nature. During these periods of revival and decay, the author had unique images. At the same time, nature could be calm, as in the poem Autumn Evening, and violent, as in the work Spring Thunderstorm.

Tyutchev loved to humanize nature, endow it with human characters and traits. And this is the peculiarity of Tyutchev's nature. The writer compares every natural phenomenon with the human mood.

The appearance of Fyodor Tyutchev was unobtrusive: a man of asthenic physique and short stature, clean-shaven with disheveled hair. He dressed rather casually, he was absent-minded. However, the diplomat was strikingly transformed during salon communication.

When Tyutchev spoke, those around him fell silent, the words of the poet were so reasonable, figurative and original. The impression on those around him was made by his spiritual high forehead, brown eyes, thin lips, folding 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 told about his attitude to his poems: "You can't live without Tyutchev."

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

Tyutchev's personality

This poet seemed to live in two parallel and different worlds. The first is the successful and brilliant sphere of a diplomatic career, authority in high society. The second is a dramatic story of Fedor 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 illustrate this idea. This is what he wrote about himself:

Isn't it very frank lines?

The contradictory nature of the poet

Fedor Ivanovich belonged to those people who, without breaking the law, brought a lot of suffering to others. The diplomat was once even transferred to another duty station in order to avoid a scandal.

Among the mental features of Fedor Ivanovich noticed by contemporaries are lethargy and indifference to one's appearance, behavior with the opposite sex, which brings 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.

Esotericists in this case, perhaps, would remember the ancestral karma. His grandfather Nikolai Andreevich Tyutchev, a petty nobleman, went to wealth on slippery paths and pretty much sinned in life. This ancestor was the lover of the famous atrocities of the landowner Saltychikha. There were stories of his rampage among the people. 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: becoming the leader of the nobility, he immorally ruined his neighbors and bought up land, increasing his fortune by 20 times in a quarter of a century.

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

It was not easy for his chosen ones.

Childhood, youth

Fedor's upbringing was mostly done by his mother, nee Tolstaya Ekaterina Lvovna, a representative of the family that later gave birth to Leo and Alexei Tolstykh.

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

In 1821, Fedor Tyutchev received a diploma from Moscow University and the title of candidate of verbal 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 the re-education of the rebel son, who at the age of 14 began to write seditious poems, which are imitations in their form.

Thanks to family ties with General Osterman-Tolstoy, he is assigned to the diplomatic service (away from free-thinking) - to Munich as a freelance attaché of the diplomatic mission.

By the way, there was one more moment why the mother hastened to change the fate of her son: his passion for the yard girl Katyusha.

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

The first impression is the strongest

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

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

Tyutchev was permeated by the feeling of something irretrievably lost, and he created poignant poetic lines, the level of Pushkin's "wonderful moment":

Surprisingly bright were the feelings of this man, 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, they had three more daughters. However, Tyutchev's life and work were already dramatic in his first marriage.

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

Russian diplomat in Germany

Let's imagine what kind of environment Fyodor Tyutchev got into in Germany. Hegel, Mozart, Kant, Schiller had already ceased to create there, while 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 intimately acquainted with Heinrich Heine and Friedrich Schelling. He admired the poems of the first and gladly translated his poems into Russian. With the second, Fedor Ivanovich liked to talk, sometimes disagreeing and debating desperately.

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

These lines have become a favorite for many people, including Leo Tolstoy.

Rethinking Western Philosophy

Fedor 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:

Thought spoken is a lie;
happy who visited this world in its fateful moments ...

Fedor Tyutchev is considered the founder of the Russian philosophical poetry. He managed to combine eastern and western poetic traditions in his rhymes.

The poet saw his beloved homeland being raped political regime"whip and rank", "offices and barracks". His joke is widely known: "Russian history before Peter the Great is a solid memorial service, and after Peter the Great - one criminal case." Even schoolchildren studying Tyutchev's work (grade 10) may notice: only in the future tense does he speak of the greatness of Russia.

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

Second marriage

His wife, Emilia Peterson, having learned about her husband's connection, tried to kill herself with a saber, but she was saved. To save the career of a diplomat, he is transferred to Turin. When the family sailed to his new place of work, the ship on which they sailed 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, learning about this, turned gray in one night.

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

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, filling their lives with meaning.

Love, love - says the legend -
The union of the soul with the soul of the native -
Their union, combination,
And ... a fatal duel ...

In the understanding of the poet, 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, this topic was not empirically familiar, he experienced a lot in it personally.

Poems about nature

The adornment 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 to nature. In their understanding, it is, as it were, multidimensional, that is, it is described both in landscape and psychologically. Through pictures of nature, these authors convey the state of the human soul. In particular, nature in Tyutchev's work has many faces, like "chaos" and "abyss".

Not what you think, nature:

Not a cast, not a soulless face.

It has a soul, it has freedom,

It has love, it has language.

But if the lyrical hero Fet feels like an organic part of nature, then the separated character of Tyutchev 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".

social lion

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

His witticisms 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 on French: “Absolute abuse of a foreign language. She would simply not be able to say so many stupid things in Russian.”
  • About the Chancellor Prince G, who granted the title of chamber junker to the husband of his mistress: "Prince G. is like the ancient priests, gilding their victims' horns."
  • On his arrival in Russia: "Not without regret, I said goodbye to this rotting West, filled with conveniences and cleanliness, in order to return to the promising native mud."
  • About a certain Mrs. A: "Indefatigable, but very tiring."
  • About the Moscow City Duma: "Any attempts to make political speeches in Russia are like attempts to strike a fire out of a bar of soap."

In addition to the service, he had a stormy personal life, and only at his leisure was he occupied with creativity.

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

Second love triangle

The diplomat arranged for two daughters from his marriage with the late Emilia to study at the Smolny Institute. Elena Denisyeva studied with them, becoming the mistress of a diplomat who was 23 years her senior. Petersburg rejected Elena, even renounced her own father, but she "loved and appreciated" Tyutchev like no other in the world.

At this time, the legal spouse of the diplomat preferred to retire to the family estate of Fyodor Ivanovich in Ovstug and engage in raising children.

The secular circle was perplexed: the poet, diplomat and secular lion Tyutchev and some kind of 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 Denisiev cycle. They traveled around Europe, reveling in their love, but Elena, falling ill with consumption, died. Two more children of Denisyeva also died of tuberculosis. The third was taken up by Ernestina. Fedor Ivanovich was shocked by the collapse of this civil marriage.

The last love triangle

It is difficult to call Fedor Ivanovich an exemplary family man. IN last years Tyutchev had two more connections: with Elena Bogdanova, a friend of Denisyeva and his second civil wife Hortense Lapp.

The last of them and their two common sons, Fedor Ivanovich bequeathed his general's pension, which rightfully belonged to Ernestine Pfeffel and her children. Fedor Ivanovich died after a stroke and paralysis on 07/15/1873 in Tsarskoe Selo.

Instead of a conclusion

Tyutchev's work could well remain a secret for us if Nikolai Alekseevich Nekrasov did not publish an article about him in the Sovremennik magazine, "Russian Minor Poets", containing 24 poems. And at this time, its author is already 60 years old! There are not so many hitherto unknown masters of the pen, who became famous at such a venerable age. Perhaps only one comes to mind - prose writer Pavel Petrovich Bazhov.

Tyutchev, a Russian classical poet, wrote only about 300 poems in half a century. They can all be placed in only one collection. So they write not for sale, but for the soul. In them, the beginning, which Pushkin called the "Russian spirit", is palpable. No wonder a person who knows a lot about poetry, Afanasy Afanasyevich Fet, said that such a compactly published work of Tyutchev is worth many volumes.

Tyutchev perceived his poetic gift as something secondary. He could scribble verses absently on a napkin and forget it. His colleague on the censorship council, P. I. Kapnist, recalled how once he, being thoughtful at a meeting, sketched something on a piece of paper and left, leaving him. If Pyotr Ivanovich had not picked it up, then the descendants would not have recognized the work “No matter how hard the last hour ...”.

The fate of Tyutchev the poet was peculiar. For a long time in reader circles, his name was simply not noticed, or they considered him, therefore, “for the elite”. Meanwhile, among these "chosen ones" were Pushkin, Nekrasov, Turgenev, Dostoevsky, Fet, Chernyshevsky, Dobrolyubov. Already one list of names of such connoisseurs, so different in their literary and aesthetic views, indicates that Tyutchev's poetry was destined for a great future.

Once Turgenev assured that "there is no arguing about Tyutchev - whoever does not feel him, thereby proves that he does not feel poetry." But poetry has many faces. Love for this or that poet depends primarily on deeply subjective, individual reasons, and it cannot be imposed. It is impossible to demand from the same reader that he equally “felt” Tyutchev and, say, Nekrasov - poets very dissimilar to each other (which did not prevent Nekrasov from “discovering” Tyutchev in 1850). It is indisputable, however, that one who simultaneously finds an echo for his thoughts and feelings in the poetry of Tyutchev and Nekrasov shows a greater poetic sensitivity than one who recognizes one and rejects the other.

Fet once referred Tyutchev to the "greatest lyricists on Earth." At that time, this judgment could seem both exaggerated and defiant. But years have passed ... And now the name of Tyutchev among the "greatest lyricists of the world" is firmly established. This is evidenced by the growing interest in him from year to year in our country, in the poet's homeland, and the increased interest in him abroad.

Tyutchev's first poem was published in 1819, when the author was not yet 16 years old. From the second half of the 1820s, his creative talent flourished. Russian and Western European romanticism was a kind of poetic school of Tyutchev. And not only poetic, but also philosophical, because, along with Baratynsky, Tyutchev is the largest representative of Russian philosophical lyrics. Romanticism as a literary trend developed in an aesthetic atmosphere saturated with idealistic philosophical ideas. Many of them were accepted by Tyutchev, but this does not mean that his lyrics turned into a poetic presentation of some - alien or his own - philosophical system. Tyutchev's poems are, first of all, the most complete expression of the poet's inner life, the tireless work of his thought, the complex confrontation of feelings. Everything thought over and felt by him invariably clothed in his poems in an artistic image and rose to the height of philosophical generalization.

Tyutchev is usually called the "singer of nature." Author " spring nature” and “Spring Water” was the finest master of poetic landscapes. But in his inspired poems, singing pictures and phenomena of nature, there is no thoughtless admiration. The nature of the poet is always reflections on the mysteries of the universe, on the age-old questions of human existence. The idea of ​​the identity of nature and man runs through all of Tyutchev's lyrics, defining some of its main features. For him, nature is the same animated, "reasonable being" as man:

It has a soul, it has freedom,

It has love, it has language.

Usually, nature is portrayed by the poet through the deeply emotional perception of a person who seeks to merge with it, to feel like a part of a great whole, to taste the “grace” of “earthly self-forgetfulness”. But Tyutchev was also aware of moments of painful consciousness that there is a tragic difference between nature and man. Nature is eternal, unchanging. Such is not the case with a man - "the king of the earth" and at the same time a "thinking reed", a quickly withering "cereal of the earth". Man comes and goes, nature remains...

Harmony is found by the poet in nature even in "spontaneous disputes." After storms and thunderstorms, “calm-peace” invariably comes, illuminated by sunshine and overshadowed by a rainbow. Storms and thunderstorms also shake the inner life of a person, enriching it with a variety of feelings, but more often leaving behind the pain of loss and spiritual emptiness.

The philosophical background does not make Tyutchev's lyrics of nature abstract. Ne-Krasov also admired the poet's ability to recreate a "plastically correct" image outside world. Whether Tyutchev uses all the colors of his poetic palette, whether he resorts to verbal halftones and shades, he always evokes in our imagination accurate, visible and true to reality images.

The best creations of Tyutchev include not only poems about nature, but also love poems, imbued with the deepest psychologism, genuine humanity, nobility and directness in revealing the most complex emotional experiences. Least of all in them is purely biographical, although we almost always know the names of the poet's inspirers.

So, we know that at the dawn of his youth, Tyutchev loved the "young fairy" Amalia Lerchenfeld (married Baroness Krudener). Subsequently, after many years of separation, he met her again when he was already sixty-seven years old, and she was six or twenty-two years old. An unexpected meeting made the poet for a moment with the same strength to survive the feeling dormant in his soul, and the memory of this was the poem "I met you, and all the past ...".

We also know that the octoline “I am still languishing with longing for desires ...” is dedicated to the memory of the poet’s first wife, and the poem “December 1, 1837” is dedicated to Ernestine Dern Berg, who later became his second wife. We also know that in his declining years Tyutchev experienced, perhaps, the greatest feeling in his life - love for E. A. Denisyeva, which inspired the poet to create poems “Don’t tell me: he, as before , love-bit ... "," She lay in oblivion all day ... "," The breeze subsided ... breathes easier ... "," On the eve of the anniversary of August 4, 1864 " and others. Taken together, all these poems form the so-called "Denisiev cycle", which, in its penetrating power and tragic power in conveying a complex and subtle range of feelings, has no analogues not only in Russian, but also in world love lyrics. When reading these poems, we do not need to remember at all under what specific biographical circumstances they were created. The best examples of Tyutchev's love lyrics are remarkable because in them the personal, individual, experienced by the poet himself, is raised to the universal.

The fact that Tyutchev wrote about nature, about love, gave an external reason to refer him to the priests of "pure poetry." But it was not for nothing that the revolutionary democrats Chernyshevsky and Dobrolyubov, struggling with the theory and practice of "pure art", did not find its expression in Tyutchev's lyrics. Moreover, Dobro-lyubov appreciated in the poet's work "sultry passion", "severe energy" and "a deep soul, excited not only by natural phenomena, but also by moral issues, the interests of public life."

There were not many political poems by Tyutchev then published, and Dobrolyubov could not sympathize with the Slavophile idea contained in them. But it is known that in one of his articles, Dobrolyubov fully cited the poem "Russian Woman", seeing in it a true reflection of Russian reality. But, in all likelihood, the words of the critic about the echo of public interests in Tyutchev's lyrics allow for a broader interpretation. The breath of time, the historical era in which Tyutchev lived, is felt even in poems that are far from direct social and political topics.

Tyutchev's poetry is a kind of lyrical confession of a man who visited "this world in its fatal moments", in the era of the collapse of age-old social foundations, moral dogmas and religious beliefs. The poet recognizes himself as a “fragment of the old generations”, forced to give way to the “new, young tribe”. And at the same time, he himself - the child of the new century - bears in his soul a "terrible split." No matter how sad it is for him to wander "with exhaustion in the bones towards the sun and movement", he does not experience a dreary yearning for the past, but a passionate attraction to the present. Tyutchev wrote:

Roses sigh not about the past

And the nightingale sings in the night;

Fragrant Tears

Aurora pours not about the past, -

And the fear of inevitable death

Not a leaf shines from the tree;

Their life is like a boundless ocean,

All in the present spilled.

These lines explain a lot in Tyutchev's lyrics. The desire to live in the “present” was inherent in the poet until the end of his days. But the real one was restless. Every now and then he was blown up by social "storms and anxieties." The same "storms and anxieties" shook the moral structure of modern man, and Tyutchev felt them primarily in his own soul, in his own consciousness. That is why the poet's lyrics are so full of inner anxiety.

Of all the Russian poets contemporary to him, Tyutchev, more than anyone else, can be called a lyricist in the full sense of the word. He never tried himself in epic genres, did not turn to dramaturgy. His element is a lyrical poem, usually short, devoid of any genre features.

In his lyrical masterpieces, Tyutchev outwardly proceeds, as it were, not from a predetermined thought, but from a feeling or impression that suddenly captured him, inspired by the phenomena of the outside world, the surrounding reality, a momentary emotional experience.

The poet sees a rainbow and immediately sketches a small, only eight lines, “landscape in verse,” as Nekrasov aptly called his poetic paintings of nature. But the process of creating a poem does not end there. In the creative imagination of the poet, the brightness and transience of the "rainbow vision" entails a different image - a bright and fleeting human happiness. A new stanza appears, and the “landscape in verse” acquires the meaning of a philosophical allegory (“How unexpected and bright ...”).

Another example. The hopeless rain inspires the poet with the idea of ​​an equally hopeless human grief, and he writes poems not about rain, but about tears. However, the entire intonation, the entire rhythmic structure of the poem is imbued with the unceasing sound of falling raindrops (“Tears of people, oh tears of people ...”).

One of the sorcerers of the Russian poetic language, a master of verse, Tyutchev was extremely demanding of every written word. In his famous poem "Silentium" the poet confessed:

How can the heart express itself?

How can someone else understand you?

Will he understand how you live?

Thought spoken is a lie.

However, in the verses of Tyutchev himself, the idea was expressed with the utmost precision. That is why his poems serve as the best proof not of immortality, but of the power of the word. And no matter how complex the system of “mysterious magical thoughts” is in the poet’s soul, they, contrary to his own doubt, more and more find their way to the heart of the reader.