Report on the work of f and tyutchev. Life and service

Name: Fedor Tyutchev

Age: 69 years old

Activity: poet, publicist, politician, diplomat, translator

Family status: was married

Fedor Tyutchev: biography

A prominent representative of the golden age of Russian poetry, Fyodor Tyutchev skillfully concluded his thoughts, desires and feelings in the rhythm of iambic tetrameter, allowing readers to feel the complexity and inconsistency of the reality around them. To this day, the whole world reads the poems of the poet.

Childhood and youth

The future poet was born on November 23, 1803 in the village of Ovstug, Bryansk district, Oryol province. Fedor is the middle child in the family. In addition to him, Ivan Nikolaevich and his wife Ekaterina Lvovna had two more children: the eldest son, Nikolai (1801–1870) and the youngest daughter, Daria (1806–1879).

The writer grew up in a calm, benevolent atmosphere. From his mother, he inherited a fine mental organization, lyricism and a developed imagination. In essence, the entire old noble patriarchal Tyutchev family possessed a high level of spirituality.

At the age of 4, Nikolai Afanasyevich Khlopov (1770–1826), a peasant who redeemed himself from serfdom and voluntarily entered the service of a noble couple, was assigned to Fedor.

A literate, pious man not only earned the respect of the gentlemen, but also became a friend and comrade for the future publicist. Khlopov witnessed the awakening of Tyutchev's literary genius. It happened in 1809, when Fyodor was barely six years old: while walking in a grove near the village cemetery, he stumbled upon a dead turtledove. The impressionable boy gave the bird a funeral and composed an epitaph in verse in her honor.

In the winter of 1810, the head of the family realized his wife's cherished dream by buying a spacious mansion in Moscow. The Tyutchevs went there during the winter cold. Seven-year-old Fyodor really liked his cozy bright room, where no one bothered him from morning to night to read poetry by Dmitriev and Derzhavin.

In 1812, the Patriotic War violated the peaceful order of the Moscow nobility. Like many members of the intelligentsia, the Tyutchevs immediately left the capital and went to Yaroslavl. The family remained there until the end of hostilities.

Upon returning to Moscow, Ivan Nikolaevich and Ekaterina Lvovna decided to hire a teacher who could not only teach their children the basics of grammar, arithmetic and geography, but also instill in the restless children a love of foreign languages. Under the strict guidance of the poet and translator Semyon Egorovich Raich, Fedor studied the exact sciences and got acquainted with the masterpieces of world literature, showing a genuine interest in ancient poetry.

In 1817, the future publicist, as a volunteer, attended lectures by the eminent literary critic Alexei Fedorovich Merzlyakov. The professor noticed his outstanding talent and on February 22, 1818, at a meeting of the Society of Lovers of Russian Literature, he read Tyutchev's ode "For the New Year 1816". On March 30 of the same year, the fourteen-year-old poet was awarded the title of member of the Society, and a year later his poem "Horace's Message to the Maecenas" appeared in print.

In the autumn of 1819, a promising young man was enrolled at Moscow University at the Faculty of Literature. There he became friends with the young Vladimir Odoevsky, Stepan Shevyrev and Mikhail Pogodin. Tyutchev graduated from University three years ahead of schedule and graduated from the educational institution with a Ph.D.

On February 5, 1822, his father brought Fedor to St. Petersburg, and already on February 24, the eighteen-year-old Tyutchev was enrolled in the Foreign Affairs Board with the rank of provincial secretary. In the northern capital, he lived in the house of his relative, Count Osterman-Tolstoy, who subsequently procured him the position of a freelance attaché of the Russian diplomatic mission in Bavaria.

Literature

In the capital of Bavaria, Tyutchev not only studied romantic poetry and German philosophy, but also translated works into Russian and. Fedor Ivanovich published his own poems in the Russian magazine Galatea and the almanac Northern Lyre.

In the first decade of his life in Munich (from 1820 to 1830), Tyutchev wrote his most famous poems: “Spring Thunderstorm” (1828), “Silentium!” (1830), “How the ocean embraces the globe of the earth ...” (1830), “Fountain” (1836), “Winter is not angry for nothing ...” (1836), “Not what you think, nature ... "(1836)," What are you howling about, night wind? .. "(1836).

Fame came to the poet in 1836, when 16 of his works were published in the Sovremennik magazine under the heading "Poems sent from Germany". In 1841, Tyutchev met Vaclav Ganka, a figure in the Czech national revival, who had a great influence on the poet. After this acquaintance, the ideas of Slavophilism were vividly reflected in the journalism and political lyrics of Fyodor Ivanovich.

Since 1848, Fedor Ivanovich was in the position of senior censor. The absence of poetic publications did not prevent him from becoming a prominent figure in the St. Petersburg literary society. So, Nekrasov spoke enthusiastically about the work of Fyodor Ivanovich and put him on a par with the best contemporary poets, and Fet used Tyutchev's works as evidence of the existence of "philosophical poetry".

In 1854, the writer published his first collection, which included both old poems of the 1820–1830s and new creations of the writer. The poetry of the 1850s was dedicated to Tyutchev's young lover, Elena Denisyeva.

In 1864, Fyodor Ivanovich's muse died. The publicist very painfully experienced this loss. Salvation he found in creativity. Poems of the "Denisiev cycle" ("All day she lay in oblivion ...", "There is also in my suffering stagnation ...", "On the eve of the anniversary of August 4, 1865", "Oh, this South, oh, this Nice! ..”, “There is in the autumn of the original ...”) - the top of the poet's love lyrics.

After the Crimean War, Alexander Mikhailovich Gorchakov became the new Minister of Foreign Affairs of Russia. The representative of the political elite respected Tyutchev for his perspicacious mind. Friendship with the chancellor allowed Fyodor Ivanovich to influence Russia's foreign policy.

The Slavophil views of Fyodor Ivanovich continued to strengthen. True, after the defeat in the Crimean War, in the quatrain "Russia cannot be understood with the mind ..." (1866), Tyutchev began to call on the people not for political, but for spiritual unification.

Personal life

People who do not know Tyutchev's biography, having briefly familiarized themselves with his life and work, will consider that the Russian poet was windy in nature, and will be absolutely right in their conclusion. In the literary salons of that time, legends were made about the amorous adventures of a publicist.

The first love of the writer was the illegitimate daughter of the Prussian king Friedrich Wilhelm III - Amalia Lerchenfeld. The beauty of the girl was admired by both, and, and Count Benckendorff. She was 14 years old when she met Tyutchev and became very interested in him. Mutual sympathy was not enough.

The young man, living on the money of his parents, could not satisfy all the requests of a demanding young lady. Amalia preferred material prosperity to love and in 1825 she married Baron Krüdner. The news of Lerchenfeld's wedding shocked Fedor so much that the envoy Vorontsov-Dashkov, in order to avoid a duel, sent the unfortunate gentleman on vacation.

And although Tyutchev submitted to fate, the soul of the lyric poet throughout his life was languishing from an unquenchable thirst for love. For a short period of time, his first wife Eleanor managed to put out the fire raging inside the poet.

The family grew, daughters were born one after another: Anna, Daria, Ekaterina. Money was sorely lacking. With all his mind and insight, Tyutchev was devoid of rationality and coldness, which is why promotion went by leaps and bounds. Fyodor Ivanovich was burdened by family life. He preferred noisy companies of friends and secular affairs with ladies from high society to the society of children and his wife.

In 1833, Tyutchev was introduced to the wayward Baroness Ernestine von Pfeffel at a ball. The entire literary beau monde spoke about their romance. During another quarrel, the wife, exhausted by jealousy, in a fit of desperation, grabbed a dagger and stabbed herself in the chest area. Fortunately, the wound was not fatal.

Despite the scandal that broke out in the press and the general censure from the public, the writer failed to part with his mistress, and only the death of his legal wife put everything in its place. 10 months after the death of Eleanor, the poet legalized his relationship with Ernestina.

Fate played a cruel joke with the Baroness: the woman who destroyed the family, for 14 years, shared her lawful husband with a young mistress, Elena Alexandrovna Denisyeva.

Death

In the mid-60s and early 70s, Tyutchev reasonably began to lose ground: in 1864, the writer’s beloved, Elena Alexandrovna Denisyeva, died, two years later, the creator’s mother, Ekaterina Lvovna, died, in 1870, the writer’s beloved brother Nikolai and his son Dmitry, and three years later the daughter of a publicist Maria went to another world.

The string of deaths had a negative impact on the health of the poet. After the first stroke of paralysis (January 1, 1873), Fyodor Ivanovich almost did not get out of bed, after the second he lived for several weeks in excruciating suffering and died on July 27, 1873. The coffin with the body of the lyricist was transported from Tsarskoye Selo to the cemetery of the Novodevichy Convent in St. Petersburg.

The literary heritage of the legend of the golden age of Russian poetry has been preserved in collections of poems. Among other things, in 2003, based on the book by Vadim Kozhinov, “The Prophet in His Fatherland, Fyodor Tyutchev,” the series “Love and Truth of Fyodor Tyutchev” was filmed. The film was directed by the daughter. She is familiar to the Russian audience by her role in the film Solaris.

Bibliography

• "The Skald's Harp" (1834);
• "Spring Thunderstorm" (1828);
• "Day and Night" (1839);
• “How unexpected and bright ...” (1865);
• "Answer to the address" (1865);
• "Italian villa" (1837);
• "I knew her back then" (1861);
• "Morning in the mountains" (1830);
• "Fires" (1868);
• “Look how the grove is turning green ...” (1857);
• "Madness" (1829);
• "Sleep on the Sea" (1830);
• "Calm" (1829);
• Encyclica (1864);
• "Rome at night" (1850);
• “The feast is over, the choirs are silent ...” (1850).

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

Whose lines are these? What poet was able to overhear the play of young thunder in the May blue sky? Who caught in the general spring chorus of nature the voice of streams - these "messengers of young spring"? Who managed to notice the "brilliant cobweb hair" on the "idle furrow" of the resting field? Fedor Ivanovich Tyutchev is the name of this singer of nature.

The poet lived a long and interesting life, rich in events and meetings. In 1819 he became a student at Moscow University. In the same years, his first poems appeared in print. But two years later, after graduating from the university course, the young Tyutchev chose for himself not a literary, but a diplomatic career. He left on a Russian mission to Munich. Abroad, in the service, the poet spent almost 22 years. There, in communication with remarkable people of that time: the poet Heine, the philosopher Schelling, Tyutchev's philosophical worldview is formed, his very special relationship to nature. For Tyutchev, nature has always been a source of inspiration. His best poems are poems about nature. His landscapes in verse: “How cheerful the roar of summer storms...”, “What are you bowing over the waters, willow, your crown...”, “Clouds are melting in the sky...” and many others - rightfully entered the golden fund of Russian and world literature.

But Tyutchev is alien to thoughtless admiration of nature - the poet's mind is intensely looking for in nature that which makes her related to man. Tyutchev's nature is alive: she breathes, smiles, frowns, sometimes dozes, sometimes she is sad about something, she complains about something. She has her own language and her own love. It is characterized by much that is characteristic of the human soul, therefore, many of Tyutchev's poems about nature are poems about a person, about his moods, worries and anxieties (“There is silence in the stuffy air ...”, “The stream thickened and grows dim ...”, “ The view of the earth is still sad ... ", etc.).

For the first time, lovers of Russian poetry met with a whole cycle of Tyutchev's poems in 1836 - then they were published by the St. Petersburg magazine Sovremennik. Pushkin, the publisher of the magazine, accepted Tyutchev's poems with "amazement and delight", and literary criticism appreciated them only 14 years later. By this time the poet was already living in Russia. After retiring, he and his family moved to St. Petersburg in 1844. A wit, well versed in matters of politics and public life, Tyutchev became in these years the adornment of all literary St. Petersburg salons. But only a few knew about Tyutchev the poet. It was “discovered” by Nekrasov in 1850. Flipping through the old issues of Sovremennik, he found Tyutchev’s poems printed in it and in one of his articles he gave a detailed analysis of them, ranking Tyutchev himself among the “primary poetic talents”.

After 4 years, the first poetic collection of the poet was published. It contained both the best landscapes in verse and poetic reflections on the eternal problems that trouble the human mind. The clear depth of thought was harmoniously combined in them with the expressive originality of the form. The poet clothes his observations, reflections and feelings in vivid, memorable images for a long time.

At that time, I. S. Turgenev, the inspirer and editor of Tyutchev's first edition, wrote: "... the poet can tell himself that he created speeches that are not destined to die."

The first collection turned out to be small - only 119 poems, but A. Fet once said very correctly:

Muse, observing the truth,
She looks, and on the scales she has
This is a small book
Volumes are much heavier.

Connoisseurs of Tyutchev's poetry were right. The poems of this brilliant Russian lyric poet have withstood the most severe test - the test of time. Tyutchev is very sincere in his poems, and therefore, after a hundred years, when reading them, you again experience that storm of moods with which the prophetic soul of the poet was full. His poems live, delight people, bring great aesthetic pleasure to new generations of readers. L. N. Tolstoy once said to one of his contemporaries: “It is impossible to live without Tyutchev.” These words can be repeated by anyone to whom Russian poetry is dear, to whom Tyutchev's lyrics have revealed their unique charm and originality.

Fedor Ivanovich Tyutchev (1803-1873) is one of the famous Russian poets who made a huge contribution to the development of the lyrical poetic direction.

The poet's childhood takes place in the family estate of the Orel province, where Tyutchev receives home education, studying with a hired teacher Semyon Raich, who instills in the boy a desire to study literature and foreign languages.

At the insistence of his parents, after graduating from Moscow University and defending his Ph.D. thesis in linguistics, Tyutchev enters the diplomatic service, to which he devotes his whole life, working at the State Collegium of Foreign Affairs.

Tyutchev spends more than twenty years of his life abroad, being at diplomatic work in Germany, where he enters into his first marriage with Eleanor Peterson, who gives him three daughters. After the death of his wife, Fedor Ivanovich marries into a second marriage, where he has several more children, but has love affairs on the side, dedicating numerous poems to his beloved women.

The poet composes his first poems as early as his youth, imitating the ancient authors. Having matured, Tyutchev reveals himself as a love lyricist who used the techniques inherent in European romanticism.

Returning to his homeland with his second family, Tyutchev continues to work as a privy councillor, but does not give up his poetic passion. However, in the last years of his life, the poet's work was aimed at creating not lyrical works, but those with political overtones.

Genuine fame and recognition come to the poet already in adulthood when he creates numerous poems that convey landscape and philosophical lyrics, which he composes after retiring from public service and settling in the estate of Tsarskoye Selo.

Tyutchev passes away after a long illness at the age of seventy in the suburbs of St. Petersburg, leaving after his death a legacy of several hundred poems, distinguished by the poet's favorite theme in the form of images of natural phenomena in various forms, as well as love lyrics, which showcase the entire gamut emotional human experiences. Before his death, Tyutchev, by the will of fate, manages to meet with Amalia Lerchenfeld, the woman who was his first love, to whom he dedicates his famous poems entitled "I met you ..."

Option 2

Fedor Ivanovich was born on November 23, 1803 on the territory of the Ovstug estate, located in the small Oryol province.

The beginning of education was laid at home, parents and experienced teachers helped him to study poetry written in ancient Rome, as well as Latin. After he was sent to the University of Moscow, where he studied at the Faculty of Literature.

In 1821, he graduated from an educational institution and immediately began to work as an official holding a position in the Collegium of Foreign Affairs. As a diplomat, he is sent to work on the territory of Munich. He lives on the territory of a foreign country for 22 years, where he met his true and only love, with whom he lived happily in a marriage in which he had three daughters.

The beginning of creativity

Tyutchev begins to create in 1810, and the early period ends ten years later. This includes poems written in youth that are similar to the works of the last century.

The second period begins in the 20th year and ends in the 40th. He begins to use the features of European romanticism, and also turns to native Russian lyrics. Poetry at this moment acquires the features of originality and its inherent relationship to the outside world.

In 1844 the author returned to his historical homeland. There he worked for a sufficient time as a censor. In his free time, he talked with colleagues in the Belinsky circle, which also includes Turgenev, Nekrasov and Goncharov.

The works written during this period never go to print, he tries to write on political topics, so he tries not to show creativity to others. And the last collection is published, but does not gain much popularity.

The number of troubles suffered leads to a deterioration in health and general condition, so the author dies in Tsarskoye Selo in 1873. During this time, he experienced many difficulties, which he shared with his beloved wife.

The general lyrics of the poet has about 400 poetic forms, there are many museums in Russia that tell about the author's work and his difficult life, as well as the time spent abroad.

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1. Brief biographical information.
2. Philosophical outlook of the poet.
3. Love and nature in Tyutchev's poetry.

F. I. Tyutchev was born in 1803 into a well-born noble family. The boy received a good education. Tyutchev showed interest in poetry quite early - already at the age of 12 he successfully translated the ancient Roman poet Horace. The first published work of Tyutchev was a free arrangement of the "Messages of Horace to the Maecenas". After graduating from St. Petersburg University, Tyutchev entered the diplomatic service. As an official of the Russian diplomatic mission, he was sent to Munich. It should be noted that Tyutchev spent a total of more than 20 years abroad. He married twice - for love, and both the relationships preceding marriage and Tyutchev's subsequent family life were quite dramatic.

The career growth of Tyutchev, who received the post of diplomatic envoy and the title of chamberlain, stopped due to the fault of the poet himself, who, during a period of stormy passion for Baroness E. Dernheim, who became his second wife, he arbitrarily resigned the service for some time, and even lost the documents entrusted to him. Having received his resignation, Tyutchev still lived abroad for some time, but after a few years he nevertheless returned to his homeland. In 1850 he met E. Denisyeva, who was half his age and who soon became his lover. This connection lasted 14 years, until the death of Denisiev; at the same time, Tyutchev retained the most tender feelings for his wife Eleanor. Love for these women is reflected in the poet's work. Tyutchev died in 1873 after losing several close people: his brother, his eldest son and one of his daughters.

What did this man bring to poetry that his Poems immortalized his name? Literary critics have come to the conclusion that Tyutchev introduced motifs and images that were practically not used in the poetry of the 19th century before him. First of all, this is the universal, cosmic scope of the poet's worldview:

The vault of heaven, burning with star glory,
Mysteriously looks from the depths -
And we are sailing, a flaming abyss
Surrounded on all sides.

Such a scale would later often be reflected in the work of poets of the 20th century. But Tyutchev lived in the 19th century, so in some way he anticipated the development of poetic tendencies, laid the foundations of a new tradition.

It is interesting to note that for Tyutchev such philosophical categories as infinity and eternity are close and tangible realities, and not abstract concepts. Human fear of them stems from the impossibility of rationally comprehending their essence:

But the day fades - the night has come;
Came - and, 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!

However, Tyutchev, of course, is the heir to the poetic tradition that developed before him. For example, the poems "Cicero", "Silentium!" written in an oratory-didactic style, which was widely used in the 18th century. It should be noted that these two poems reveal some important elements of the poet's philosophical worldview. In the poem "Cicero", Tyutchev refers to the image of an ancient Roman speaker in order to emphasize the continuity of historical eras and to convey the idea that the turning points of history are the most interesting:

Happy is he who visited this world
In his fatal moments!
He was called by all the good
Like an interlocutor at a feast.

He is a spectator of their high spectacles,
He was admitted to their council -
And alive, like a celestial,
I drank immortality from their cup!

A witness of major historical events is regarded by Tyutchev as an interlocutor of the gods. Only they can understand the deep feelings of the creative soul. As for people, it is extremely difficult to convey your thoughts and feelings to them, moreover, often this should not be done, as the poet writes about in the poem “Silentium!”:

How can the heart express itself?
How can someone else understand you?
Will he understand how you live?
Thought spoken is a lie.
Exploding, disturb the keys, -
Eat them - and be silent.

The use of mythological images in Tyutchev's poetry is also based on a tradition that already existed in Russian literature. The bizarre world of myth allows the poet to abstract from everyday life, to feel complicity with some mysterious forces:

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

It is necessary to pay attention to the composition of Tyutchev's poems. Often they consist of two interrelated parts: in one of them the poet gives something like a sketch, shows this or that image, and the other part is devoted to the analysis and comprehension of this image.

Tyutchev's poetic world is characterized by a pronounced bipolarity, which is a reflection of his philosophical views: day and night, faith and unbelief, harmony and chaos ... This list could be continued for a long time. The most expressive opposition of two principles, two elements in Tyutchev's love lyrics. Love in Tyutchev's poems appears either as a "fatal duel" of two loving hearts, or as a mixture of seemingly incompatible concepts:

Oh, last love!
You are both bliss and hopelessness.

Nature in Tyutchev's lyrics is inextricably linked with the inner life of the lyrical hero. Note that Tyutchev often shows us not just pictures of nature, but transitional moments - twilight, when the light has not yet completely gone out and complete darkness has not come, an autumn day that still vividly conveys the charm of the past summer, the first spring thunderstorm ... As in history , and in nature, the poet is most interested in these “threshold”, turning points:

Shades of gray mixed,
The color faded, the sound fell asleep -
Life, movement resolved
In the unsteady dusk, in the distant hum ...

The theme of "mixing", interpenetration, often sounds in those lines that are devoted to the perception of nature by man:

An hour of longing inexpressible!..
Everything is in me and I am in everything!
... Feelings of darkness of self-forgetfulness
Fill over the edge!..
Let me taste destruction
Mix with the dormant world!

Tyutchev's perception of nature, as well as all the poet's lyrics, is characterized by polarity, duality. Nature can appear in one of two guises - divine harmony:

Is in the lordship of autumn evenings
A touching, mysterious charm! ..

or elemental chaos:

What are you howling about, night wind?
What are you complaining about so madly? ..

Nature for Tyutchev is a huge living being, endowed with reason, with which a person may well find a common language:

Not what you think, nature:
Not a cast, not a soulless face -
It has a soul, it has freedom,
It has love, it has a language...

LITERATURE REPORT

PERFORMED BY A STUDENT OF 10 "K" CLASS

SCHOOL-LYCEUM №43

EHILEVSKY ALEXANDER

FEDOR IVANOVICH TYUTCHEV

O my prophetic soul!

O heart full of anxiety,

Oh how you beat on the threshold

As if a double existence!..

F.I. Tyutchev

Yutchev is probably one of the most quoted poets along with Pushkin.
His poems “Russia cannot be understood with the mind ...” and “I love a thunderstorm in early May ...” are known, perhaps, to everyone. Turgenev's prophecy is coming true:
"Tyutchev created speeches that are not destined to die." Fedor's poems are close
Ivanovich Tyutchev and my heart.

Although he was not a universally recognized poet during his lifetime, in our time he occupies an important place in Russian literature. Well, among the majority of his contemporaries, Tyutchev's poems were considered far from the spirit of the times, and in form they seemed either too archaic or too bold. Yes, and he himself did not seem to value the fame of the poet, showing a surprising indifference to the publication and editing of his works.

Fedor Ivanovich Tyutchev was born on December 5 (November 23), 1803 in the village of Ovstug, Oryol province, in the family of a hereditary Russian nobleman I.N. Tyutchev. Tyutchev early discovered extraordinary talents for learning. He received a good education at home, which since 1813 was led by S.E. Raich, a poet-translator, a connoisseur of classical antiquity and Italian literature. Under the influence of the teacher, Tyutchev early joined the literary work and already at the age of 12 successfully translated
Horace.

In the poetic field, Tyutchev began to shine from the age of fourteen, when in the Society of Lovers of Russian Literature, the most authoritative scientist Merzlyakov read his poem "The Nobleman", though very imitative, but full of civil indignation against
"son of luxury":

... And you still dared with your greedy hand

Take away daily bread from widows and orphans;

To expel a family from their homeland is desolate! ...

Blind! the path of riches leads to destruction!…

In 1819 a loose transcription of the Epistle
Horace to the Maecenas ”- the first speech of Tyutchev in print. In the autumn of 1819, he entered the verbal department of Moscow University: he listened to lectures on the theory of literature and the history of Russian literature, on archeology and the history of fine arts.

After graduating from the university in 1821, Tyutchev went to St. Petersburg, where he received a position as a supernumerary officer of the Russian diplomatic mission in Bavaria. In July 1822 he went to Munich and spent 22 years there.

Abroad, Tyutchev translates Schiller, Heine, and this helps him to acquire his own voice in poetry, to develop a special, inimitable style. In addition, there he became close friends with the romantic philosopher
Friedrich Schelling and freedom-loving poet Heinrich Heine.

A significant event in the literary fate of the poet was a selection of his poems in Pushkin's "Contemporary" (24 poems) published in 1836 under the title "Poems sent from
Germany".

Then there is a long pause in Tyutchev's publications, but it is at this time that his political outlook is finally formed. IN
1843-1850 Tyutchev speaks with political articles "Russia and
Germany", "Russia and the Revolution", "The Papacy and the Roman Question", conceives the book "Russia and the West".

In the autumn of 1844, Tyutchev finally returned to his homeland. In 1848, he received the position of senior censor at the ministry, and in 1858 he was appointed chairman of the "Foreign Censorship Committee".

From the end of the 40s, a new upsurge in Tyutchev's lyrical creativity began. N.A. Nekrasov and I.S. Turgenev put him on a par with Pushkin and Lermontov. 92 poems by Fyodor Ivanovich were published as an appendix to the Sovremennik magazine. In one of the issues of the journal, an article by I.S. Turgenev "A few words about the poems of F.I. Tyutchev" was published, containing a prophecy: Tyutchev "created speeches that were not destined to die." Further appreciation of poetry
Tyutchev will be expressed by writers and critics of various literary groups and trends. All this meant that fame came to Tyutchev.

However, among all his contemporaries - from Pushkin and
Lermontov to Nekrasov and Dostoevsky, Chernyshevsky and Leo Tolstoy
- he was the least professional writer. From the age of twenty until his death, that is, half a century, he was in the officials, while quite carelessly referring to his official duties. But all his life he was inflamed by the political upheavals of the time.

Changes and failures in his personal life, disappointment in the viability of the Russian state (after the defeat in the Crimean War of 1853-1856) led to the fact that the second collection of his poems, published in 1868, did not already evoke such a lively response in Russian life. At the end of 1872, the poet's health deteriorated sharply, and a few months later he was gone.

The second "resurrection" of Tyutchev began at the turn of the 19th-20th centuries, when the established school of Russian symbolists proclaimed him their predecessor. The era of symbolism consolidated the perception of Tyutchev as a classic of Russian literature.

Tyutchev's comprehension took place as the connection between the most intimate, individual human experiences with the unstoppable search for social thought, with the unceasing movement of history became more and more realized. Tyutchev became indispensable to the reader as a new, universal and complex human personality took shape in the cleansing storms of the early 20th century.

V.I. Korovin in his book "Russian poetry of the XIX century" writes:
“Tyutchev thinks in terms of chaos and space, he is attracted by the tragic states of the world. He conveys eternity through the instantaneous, the general - through the special and exceptional. The specificity of Tyutchev's artistic thinking lies in the fact that the struggle between the eternal and the perishable is understood by him as a law of motion and is equally applicable to all historical, natural, social, psychological events and phenomena without exception. This gives Tyutchev's lyrics the highest significance, since in any phenomenon a universal philosophical meaning is revealed.

The artistic fate of the poet is unusual: this is the fate of the last Russian romantic, who worked in the era of the triumph of realism and still remained faithful to the precepts of romantic art. Romanticism
Tyutchev develops, first of all, in the image of nature.
The predominance of landscapes is one of the hallmarks of his lyrics. At the same time, the image of nature and the thought of nature are united by Tyutchev: his landscapes receive a symbolic philosophical meaning, and the thought acquires expressiveness.

Tyutchev's nature is changeable, dynamic. She does not know peace, everything is in the struggle of opposing forces, she is many-sided, saturated with sounds, colors, smells. The poet's lyrics are imbued with delight before the grandeur and beauty, infinity and diversity of the natural kingdom.

Nature in Tyutchev's poems is spiritualized, humanized. Like a living being, she feels, breathes, rejoices and is sad. In itself, the animation of nature is usually in poetry. But for Tyutchev, this is not just a personification, not just a metaphor: he “accepted and understood the living beauty of nature not as his fantasy, but as truth.” The landscapes of the poet are imbued with a typically romantic feeling that this is not just a description of nature, but dramatic episodes of some continuous action.

One of the clearest examples of Tyutchev's skill as a landscape painter is the poem "Autumn Evening". The poem is clearly generated by domestic impressions, the sadness caused by them, but at the same time it is permeated with Tyutchev's tragic thoughts about the lurking storms of chaos:

Is in the lordship of autumn evenings

A touching, mysterious charm:

The ominous brilliance and variegation of trees,

Crimson leaves languid, light rustle,

Foggy and quiet azure

Over the sadly orphaned earth

And, like a premonition of descending storms,

A gusty, cold wind at times,

Damage, exhaustion - and on everything

That gentle smile of fading,

What in a rational being do we call

Divine bashfulness of suffering.

A short, twelve-line poem is not so much a description of the originality of an autumn evening as a generalized philosophical reflection on time. It should be noted that not a single point interrupts the excitement of thought and observation, the whole poem is read in prayerful reverence for the great sacrament, for the "divine bashfulness of suffering."

The poet sees in everything a meek smile of fading. The mysterious charm of nature absorbs both the ominous brilliance of trees and the dying crimson of autumn foliage; the earth is sadly orphaned, but the azure above it is foggy and quiet, a cold wind rushes by with a premonition of storms.

Behind the visible phenomena of nature invisibly "chaos stirs" - the mysterious, incomprehensible, beautiful and fatal depth of the primordial. And in this single breath of nature, only man is aware of
the "divinity" of her beauty and the pain of her "shameful suffering".

A year before writing Autumn Evening, Tyutchev created
"Summer evening". These poems are closely related, though written in different keys:

The hot ball of the sun

The earth rolled off its head,

And a peaceful evening fire

The sea wave swallowed.

The bright stars have risen

And gravitating over them

Heavenly vault lifted

With their wet heads.

The airy river is fuller

Flowing between heaven and earth

The chest breathes easier and more freely,

Freed from the heat.

And sweet thrill, like a jet,

Nature ran through the veins,

How hot her legs

Key waters touched.

I want to compare these two poems. First of all, I would like to draw attention to the fact that in the poem "Autumn Evening" the sky is almost not mentioned. On the contrary, it talks about the earth and everything connected with it: about trees, leaves. Only once Tyutchev speaks of azure, but "foggy and quiet." She looks like she's about to fall
"orphaned" earth, the sky is tired. In the poem “Summer Evening”, the author practically does not mention the earth, but speaks more about the sky and stars. Everything tends to rise, to break away from the earth. I highlighted all concepts related to the sky in bold type. The stars “raise” the vault of heaven (in “Autumn Evening” he “fell”, in the same poem he is raised even higher than he was). The entire poem "Summer Evening" is written in halftones: the stars "raised" the sky, "a thrill ran through the veins", the earth "rolled" the sun. There are no sharp movements in the poem, everything is smooth, slow. In "Autumn Evening" the opposite is true: gusts of wind, storms. The poet is tormented by forebodings and anxieties, while in "Summer Evening" everything is peaceful, "the chest breathes easier and more freely." Light, calm colors predominate in this poem, while dark, blurry, gloomy colors prevail in "Autumn Evening".

Contradictions are generally characteristic of Tyutchev's work.
He often created works that were opposite in mood and thought, as happened with the poems "Autumn Evening" and
"Summer evening". They can outline several directions of antithesis: top-bottom; light-dark; life death; peace-storm. It seems to me that by comparing these poems I have been able to show how
Tyutchev was perfectly able to depict completely different landscapes, different states of nature and through them the variability of human states.

The man in Tyutchev's poetry is twofold: he is weak and majestic at the same time. Fragile as a reed, doomed to death, powerless in the face of fate, he is great in his craving for the infinite. For the poet, there is no doubt the greatness of a person who turned out to be a participant or at least a witness to decisive historical events.

In Tyutchev's lyrics, a person realizes a previously unthinkable and frightening freedom: he realized that there is no God above him, that he is one on one with nature - the hope for "sympathy from heaven" has been lost. A person "craves faith, but does not ask for it," since "there is no point in praying." Tyutchev often expresses the motives of humanistic despair - he mourns over the fragility of the human race. But his poetry is always dominated by the voice of a fighter who defies fate.

Tyutchev is looking for a solid and real support for the human soul - an understanding of life as a whole, its general meaning, general laws. He does not accept a mechanical description of the world, the poet perceives nature and man as a living unity:

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.

Nature, like man, lives, according to Tyutchev, by its own forces. Tyutchev constantly compares man with nature - and often, it would seem, not in favor of man: human life is fragile, insignificant - nature is eternal, imperishable; nature is characterized by inner harmony, “an imperturbable order in everything” - a person is bifurcated, contradictory. However, the poet's verses do not just state the weakness of a person - they give rise to a lingering feeling of his discord with the outside world and a restless thought:

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?

Tyutchev's nature helps a person to understand himself, to appreciate in himself the significance of purely human qualities: consciousness, will, individuality, to see that the spiritual elements depend on them. Consciousness itself seems to increase the “helplessness” of a person, but the disharmony generated by thought does not humiliate, but elevates him. Consciousness awakens the need for a "higher life", a thirst for an ideal.

One of the central themes in Tyutchev's lyrics was the theme of love.
Love for him is “both bliss and hopelessness”, a tense, tragic feeling that brings suffering and happiness to a person, a “fateful duel” of two hearts. “A blissfully fatal feeling that requires the highest tension of mental strength, love has become for the poet a prototype, a symbol of human existence in general. Tyutchev is not a singer of ideal love - he, like Nekrasov, writes about her "prose" and about the amazing metamorphosis of feelings: addiction to the most expensive unexpectedly turns into torment. But he affirms with his lyrics the high standards of relationships: it is important to understand a loved one, to look at oneself through his eyes, to live up to one’s hopes, awakened by love, to be afraid of not only low, but even mediocre actions in relations with a loved one:

Oh, do not disturb me reproach fair!

Believe me, of the two of us, your part is more enviable:

You love sincerely and ardently, and I -

I look at you with jealous annoyance.

This poem belongs to the "Denisiev" cycle - a cycle of poems written by Tyutchev, as a response to his romance with
E.A. Denisyeva. In this poem, one can see the poet's torment because of this "illicit" love. In "Denisiev's" verses, readers were presented with a suffering woman and a hero "without faith", due to the circumstances of life, feeling ashamed of himself. The poet shudders before the emptiness of his own soul. First of all,
Tyutchev was afraid of manifestations of selfishness, which he considered the disease of the century. In the poem “Oh, don’t disturb me with a fair reproach! ..” a woman loves
“sincerely and ardently”, and the man recognizes himself only as a “lifeless idol” of her soul. Thus, in the intimate lyrics of the late Tyutchev, the ethical pain, so inherent in the advanced art of the 19th century, sounded. “Shame in front of oneself” turned out to be generated by pain for the fate of another person, pain for a woman who pays with suffering for her reckless love. In the intimate lyrics of Tyutchev, a painful recognition of the incompatibility of beauty with the evil of being is born. As V.I. Korovin said, “... in it
[in Tyutchev's love lyrics] the feeling of compassion for the beloved woman exceeds selfish desires and rises high above them.

All the poetic activity of Tyutchev, which lasted half a century, with
20s to 70s, was closely connected with political events that were rich in the life of Russia and Western Europe. Tyutchev was engaged in politics as a diplomat, but he had an unofficial passion for politics. Russia appeared to him as an unshakable cliff, opposing the waves of the "revolutionary" West. He writes poetry promoting the union of the Slavs under the leadership of the Russian Tsar and the Orthodox Church. The Crimean War shattered this utopia. Lost and faith in the Russian Tsar. But until the end of his days, the poet remained hope for Russia, faith in its special historical role:

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.

And Tyutchev believed ... He believed that Russia would bring unity and brotherhood to the world, he believed in the huge forces and huge potential of his people.
Many of Tyutchev's poems are imbued with ardent love for the Motherland and for the people.
Everyone remembers his piercing lines about the native land of long-suffering, about the Russian woman, whose life "will pass invisibly", about human tears - inexhaustible and numerous.

A manifestation of the search for a way out of the confusion of history, an attempt to assess the current fatal situation and can serve as a poetic response
Tyutchev for the promulgation of the verdict in the case of the Decembrists. Already in this topical political poem, Tyutchev appears as a "poet of thought", that is, a poet-philosopher. Hence, some difficulty in deciphering the deep meaning of his creation.

The first line of the poem already seems mysterious: "You have been corrupted by Autocracy." Permeated with the pathos of condemnation, the line is essentially ambiguous. Judging by the fact that the word "Autocracy" begins with a capital letter, it would be natural to assume that the autocracy, according to the poet, is to blame for the tragedy on Senate Square, because it "corrupted" the people. The question arises: what. Either by the vicious nature of their state system, or by complacent connivance. By "autocracy" one can also understand the audacity of the plans of the rebels, their arbitrariness.

More certainty can be seen in the following lines:

The people, shunning treachery,

Swears your names -

And your memory is from posterity,

Like a corpse buried in the ground.

The emotional coloring of these phrases seems to indicate a protective and loyal condemnation of the enemies of the throne. But in these lines we no longer see a direct appeal, the author's assessment - they seem to be impersonal. And again, the ambiguity: it is not the Decembrists who are "treacherous", but the people shy away from what the law declares perfidy, betrayal, is subject to oblivion - the memory of the fallen is "buried from posterity."

O victim of reckless thought,

You hoped maybe

What will become scarce of your blood,

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.

Here we see a slightly different assessment of autocracy. It
"eternal pole", "mass of ice"; insane, but by no means
“Treacherous”, but rather heroic, appears to us an attempt to melt the dead mass of ice with the “meager blood” of a handful of doomed daredevils.
The result is tragic: the "iron winter" is unrestrained. However, I would like to pay special attention to the phrase "eternal pole". I highlighted it in bold on purpose. This line is extremely important for understanding Tyutchev's position. Yes, he wants changes, but he does not believe, does not want and opposes the change of the autocratic system. For him it is a symbol of greatness.
Russia, Tyutchev sincerely believes that Russia can exist only under a monarchy. Therefore, he represents autocracy as the "eternal pole"
- you can change the shape of the ice, but the pole will never disappear. Hence the duality of Tyutchev's position in this poem.

The condemnation of Decembrism in December 14, 1825 turned out to be so ambiguous that the outwardly protective poem, written on the topic of the day, was published only 56 years after its creation, eight years after the death of its author, when the movement of noble romantic revolutionaries had long since faded into history, and the revolutionary spirit of the nobility was exhausted.

It seems to me that, unlike the revolutionary movement, poetry
Tyutchev will never be exhausted, because everyone, reading his poems, discovers something of his own. G.K. Shchennikov in an article about Tyutchev said: “Tyutchev's poetry is a living heritage that serves people even today.
Tyutchev is especially close to our contemporaries with his belief in the limitless possibilities of man. Tyutchev's lyrics give rise to a tension of feelings and thoughts.

And I would like to end my report with a statement
Yu.M. Lotman, who surprisingly accurately identified the difference between F.I. Tyutchev and A.A. Fet, with whom he is often compared: “Using cinematic terms, Fet’s lyrics can be likened to stopped frames or panoramic shooting, while Tyutchev loves editing points of view."

LIST OF USED LITERATURE:

1. Gorelov A.E.
Three fates.-L .: Soviet writer, 1980. - 625 p.

2. Tyutchev F.I.
Collected works / Compilation of the preface by G.K. Shchennikov.

Sverdlovsk: Middle Ural book publishing house, 1980. - 224 p., illust

3. Korovin V.I.
Russian poetry of the XIX century.-M.: Knowledge, 1983.- 128 p.

4. Literature: Student's Handbook
/Comp. N.G.Bykovoy.-M.:Philological Society
"Word", 1995.- 576 p.

5. Lotman Yu.M.
About poets and poetry. - St. Petersburg: Art-St. Petersburg, 1996. -848 p.

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FEDOR IVANOVICH TYUTCHEV.

LIFE AND ART

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