What connects the work of Fet and Tyutchev. Lyrics of Tyutchev and Fet (Comparative analysis). Another sad look of the earth
NATURE IN THE CREATIVITY OF A. FET AND F. TYUTCHEV. The work of Tyutchev and Fet, these two wonderful Russian poets, is the second half of XIX century, interconnected. It is impossible not to recall that Tyutchev and Fet deeply respected and valued each other. Tyutchev spoke highly of the poetic gift of his youngest
contemporary:
Beloved by the Great Mother,
A hundred times more enviable is your destiny:
More than once under the visible shell
You saw her the most.
In turn, Fet deeply revered Tyutchev, saw in him an example of a creative spirit. In one of the messages to Tyutchev, Fet addresses him: "My adored poet." In the poem "On the book of Tyutchev's poems" the author writes:
Here the spirit of powerful domination,
Here is a refined color of life.
There are many reasons for this mutual sympathy of poets. Fet and Tyutchev professed the doctrine of "pure art", with which the democratically minded poets of the Nekrasov school argued at that time. In the work of both poets, nature occupies a large place. Both poets are distinguished by an inner closeness to nature, harmony with it, a subtle understanding of natural life.
Traditional for Russian literature is the identification of pictures of nature with a certain mood and state of the human soul. This technique of figurative parallelism was widely used by Zhukovsky, Pushkin and Lermontov. The same tradition is continued in their poems by Fet and Tyutchev. So, Tyutchev in the poem "Autumn Evening" compares fading nature with a tormented human soul. The poet managed to convey with amazing accuracy the painful beauty of autumn, causing both admiration and sadness. Especially characteristic of Tyutchev are bold, but always true epithets: “ominous brilliance and variegation of trees”, “sadly orphaned land”. And in human feelings ah, the poet finds a correspondence with the mood reigning in nature:
Damage, exhausted - and on everything
That gentle smile of fading,
What in a rational being do we call
Divine bashfulness of suffering.
This poem clearly echoes Pushkin's "Autumn", where the "dull time" is compared with the "consumptive maiden", meek and beautiful in her illness.
We also meet the method of figurative parallelism in Fet. Moreover, Fet most often uses this technique as if in a hidden form, relying primarily on associative connections, and not on an open comparison of nature and the human soul. As an example, we can cite the poem “A bonfire blazes with a bright sun in the forest! ..”. First of all, this, of course, is a masterpiece of Fet's "impressionistic" lyrics. The spruce forest in the poem staggers, reminding the poet of "a crowded choir of drunken giants." Of course, in fact, the fir trees stand motionless, but the poet manages to accurately convey what they seem to be in the wrong reflections of the fire. The poem uses a "ring" composition: it begins and ends with the image of a burning fire. Many details of the poem are symbolic, and this allows us to see some hidden meaning in the description of the fire, dying out during the day and flaring up at night. Indeed, what kind of fire is this, in the light of which even trees come to life, the warmth of which penetrates “to the bones and to the heart”, driving away all worldly anxieties? Isn't this a symbol of the fire of creativity, which, even under the yoke of everyday life, "will glimmer sparingly, lazily" in the poet's soul?
The technique of figurative parallelism is used very interestingly in another poem by Fet "Whisper, timid breathing ...". Here the poet depicts a love date, which, as it were, is intertwined with pictures of a night garden, nightingale trills and a flaring dawn. Nature in the poem appears as a participant in the life of lovers, it helps to understand their feelings and gives them a special poetry and mystery.
Along with figurative parallelism in the depiction of nature, Fet and Tyutchev also have common motifs of natural elements. This is primarily a description of the stars, the sea and fire. In the image of the starry sky for Tyutchev and Fet, the mysterious power of nature, its greatness and strength are most clearly manifested. Therefore, in Tyutchev we read the following lines:
The vault of heaven, burning with star glory,
Mysteriously looks from the depths ...
And the choir shone, lively and friendly,
Spread around, trembling.
This is not the only example of such a roll call of motives. The understanding of nature as a mighty force, as a community of elements, we find both in Tyutchev and Fet. Among the recurring motifs, one can single out a conversation about the sea, water. Everyone knows Tyutchev's lines:
How good you are, O night sea!
Either radiant, then gray-dark ...
Fet has one of his books of poems dedicated to the sea. However, for Fet, water remained "an alien element", while Tyutchev's water is one of his favorite motifs. It was in this element that the poet saw the beginning and end of the world, "the dark root of world existence." This motif permeates almost all of Tyutchev's poems.
And finally, along with the general techniques and motives of the poets, they are united by a similar attitude towards nature in general. For Tyutchev and Fet, nature is the bearer of the highest wisdom, harmony and beauty. It is to her that a person should turn in difficult times, seek inspiration and support from her. "Great Mother" calls nature Tyutchev. The same comparison occurs in another of his poems, where the poet exclaims:
Not what you think, nature:
Not a cast, not a thoughtless face -
It has a soul, it has freedom,
It has love, it has a language...
In turn, Fet in his poem “Learn from them - from the oak, from the birch ...” suggests looking for examples to follow in nature itself, in its ability to endlessly reborn to a new life.
However, in the depiction of nature, Tyutchev and Fet also have a profound difference. It is due primarily to the difference in the poetic temperament of these authors.
Tyutchev is a poet-philosopher. It is with his name that the current of philosophical romanticism, which came to Russia from German literature, is associated. And in his poems, Tyutchev seeks to understand nature, including it in the system of his philosophical views by making it part of your inner world. Perhaps this desire to fit nature into the framework of human consciousness is dictated by Tyutchev's passion for personifications. Let us recall at least the well-known poem "Spring Waters", where streams "run and shine, and speak." Sometimes this desire to "humanize" nature leads the poet to pagan, mythological images. So, in the poem "Noon", the description of the dormant nature, exhausted by the heat, ends with the mention of the god Pan. And in the poem "Spring Thunderstorm" a brilliant, joyful picture of the awakening of the forces of nature is crowned with the following lines:
You say: windy Hebe,
Feeding Zeus' eagle
A thundering cup from the sky
Laughing, she spilled it on the ground.
However, the desire to understand, comprehend nature only leads to the fact that the poet feels cut off from it. Therefore, in many of Tyutchev's poems, especially of the later period, the desire to dissolve in nature, "to merge with the boundless" sounds so vividly. In the poem "How good you are, O night sea ..." we read:
In this excitement, in this merging,
All, as in a dream, I'm lost standing -
Oh, how willingly in their charm
I would drown my whole soul ...
In more early poem"Shadows are gray" this desire appears even more clearly.
So, an attempt to unravel the mystery of nature leads the curious to death. The poet writes about this with bitterness in one of his quatrains:
Nature - Sphinx. And the more she returns
With his temptation, he destroys a person,
What, perhaps, no from the century
There is no riddle, and there was none.
By the end of his life, Tyutchev realizes that man is "only a dream of nature." Nature is seen by him as "an all-consuming and peaceful abyss", which inspires the poet not only fear, but almost hatred. His mind, "the spirit of powerful domination," does not dominate her.
So throughout life, the image of nature changes in the mind and work of Tyutchev. The relationship between the poet and nature is more and more reminiscent of a "fateful duel." But this is how Tyutchev himself defined true love.
Fet has a completely different relationship with nature. He does not seek to "rise" above nature, to analyze it from the standpoint of reason. Fet feels like an organic part of nature. In his poems, a sensual, emotional perception of the world is conveyed. Chernyshevsky wrote about Fet's poems that a horse could write them if he learned to write poetry. In fact, it is the immediacy of impressions that distinguishes Fet's work. He often compares himself in verse with "the first inhabitant of paradise", "the first Jew at the turn of the promised land." This self-perception of the “discoverer of nature”, by the way, is often characteristic of the heroes of Tolstoy, with whom Fet was friendly. Let us recall at least Prince Andrei, who perceives birch as "a tree with a white trunk and green leaves." In Fet, in the poem "Spring Rain" we read:
And something came to the garden
Drumming on fresh leaves.
This “something”, of course, is rain, but for Fet it is more organic to call it just such an indefinite pronoun. Tyutchev, perhaps, could not afford such a thing. For Fet, nature is indeed the natural environment for life and creativity. A creative impulse comes to him along with the awakening of nature. In the poem “I came to you with greetings”, the unity of those forces that encourage birds to sing and create a poet is especially clearly felt:
…From everywhere
Joy blows over me
I don't know what I will
Sing - but only the song matures.
We do not know such a lyrical spring feeling of nature in all Russian poetry! - critic Vasily Botkin said about this poem. Perhaps this statement can be applied to all of Fet's poetry.
So, we examined the image of nature in the work of such two major Russian poets as Tyutchev and Fet. Being close to the ideology of "pure art", both poets made nature one of the central themes in their work. For Tyutchev and Fet, nature is a powerful force, the bearer of some higher wisdom. In their poems, the general motifs of natural elements are repeated: stars, sky, sea, fire, dawn, and so on. Often, with the help of pictures of nature, these poets convey the state of the human soul. However, for Tyutchev, the attitude to nature from the standpoint of reason is more characteristic, and for Fet, from the standpoint of feeling. But it is indisputable that both poets are the greatest masters of landscape lyrics, and their work became decisive for many literary movements of the Russian Silver Age. It is unlikely that without Fet the phenomenon of Blok and Mandelstam in Russian literature would have been possible. Tyutchev also became a kind of "teacher" of Russian symbolists. This is how the tradition of landscape lyrics, coming from Zhukovsky and Pushkin, was refracted over a century.
Project work on literature on the topic: "Comparison of nature in the works of Tyutchev and Fet"
Prepared by a student of 10 "B" class
Novokharitonovsk school №10
Popikhina Anastasia.
Head: Kozulitsyna Svetlana Gennadievna, teacher of Russian language and literature
Goals and objectives of the project:
- Highlight the existing features of the poetics of Tyutchev and Fet.
- Determine the originality of the poetics of the authors.
- Develop the ability to analyze.
- Cultivate the aesthetic taste of the reader.
Introduction:
The nineteenth century has generously endowed us with spiritual treasures. Among the remarkable poets and authors of this “golden age”, a worthy place belongs to A.A. Fet and F.I. Tyutchev.
Over the years of a long literary life, Tyutchev became the largest representative of Russian philosophical lyrics. Everything he experienced and rethought was embodied in his poems.
Fet's remarkable artistic talent was the essence of his essence, the soul of his soul. Already from childhood, he was "greedy for poetry", experienced incomparable pleasure, reading Pushkin.
A little biography...
Tyutchev Fedor Ivanovich (1803-1873).
Born and spent his childhood on his father's estate in the Oryol province. At the age of 15 he entered Moscow University, at the age of 17 he graduated from it and went to serve abroad. In 1836, Pushkin got a notebook with poems by an unknown poet, signed "F.T." Pushkin liked the poems very much and he published them in Sovremennik. Later, Nekrasovsky's contemporary published a selection of Tyutchev's poems and his name immediately became famous.
Fet Afanasy Afanasyevich (1820-1892) .
Born in the village of Novoselki, Mtsensk district, Oryol province. 14 years after his birth, an unpleasant event occurred: an error was discovered in the birth record, which deprived him of his noble title. In 1837, Fet graduated from the private boarding school of Krimmer in the city of Verro (Estonia). The first poems were written by him in his youth. Fet's poetry is published for the first time in the collection "Lyrical Pantheon", after which they were published regularly. All his life, Fet tried to regain his title, and he succeeded only in 1873.
Menu:
- Signs of the poetics of Tyutchev and Fet.
- The originality of the poetics of Afanasy Afanasyevich and Fyodor Ivanovich.
- Poems of the Great Lyricists.
- Output
Tyutchev and Fet entered literature as poets of "pure art", expressing in their work a romantic understanding of the spiritual life of man and nature.
For further consideration of the features of the poetics of the two the greatest poets, we need to introduce the concept of a lyrical hero.
Lyrical hero - this is the image of that hero in a lyrical work, whose experiences, thoughts and feelings are reflected in it.
“... The holy night ascended into the sky,
And a pleasant day, a kind day,
Like a golden veil, she twisted,
A veil thrown over the abyss.
And, like a vision, the outside world is gone...
And a man, like a homeless orphan,
It stands now and is weak and naked,
Face to face before the dark abyss…”
F.I. Tyutchev
“... The earth, like a vague dumb dream,
Passed away without knowing
And I, as the first inhabitant of paradise,
One in the face saw the night.
I rushed to the midnight abyss,
Or did the stars rush towards me?
It seemed as if in a powerful hand
Over this abyss I hung ... "
A.A. Fet
The originality of the poetics of F.I. Tyutchev
Tyutchev is a poet-philosopher. In his poems, he seeks to understand nature, including it in a system of philosophical views, turning it into a part of his inner world. Tyutchev does not have a "dead nature" - it is always full of continuous and eternal movement. organic world Fedor Ivanovich is always many-sided and diverse. It is presented in constant dynamics, in transitional states: from winter to spring, from day to night:
"Shadows of gray mixed,
The color faded, the sound fell asleep -
Life, movements resolved
In the unsteady dusk, in the distant rumble ... "
Fedor Ivanovich Tyutchev is a singer of the elements, that is, the stable components of nature. The peculiarity of Tyutchev's nature is that not specific persons live and act in it, but superpersonal forces and patterns. The “lightness” of autumn evenings and the “melodiousness” of sea waves, the “fiery azure” of the sky and the “prophetic slumber of the forest are pure manifestations of nature, isolated from a specific landscape and presented not only to the gaze, but also to thoughts.
"The hot ball of the sun is already
The earth rolled off its head,
And a peaceful evening fire
The sea wave swallowed.
The bright stars have risen
And gravitating over us
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.
F.I. Tyutchev "Summer Evening"
The originality of the poetics of A.A. Feta
Unlike Tyutchev, Fet does not seek to "rise" above nature, to analyze it from the standpoint of reason. He needs to capture the moment. Fet's nature is unusually humanized, it seems to dissolve in the feeling of the lyricist. The lyrical hero feels himself an organic part of it. Chaos, abyss, orphanhood are unknown to him. On the contrary, the beauty of nature infuses the soul with a sense of the fullness and joy of being.
The robins are ringing in the bushes
And from the whitened apple trees of the garden
A sweet fragrance wafts.
Flowers look with longing in love,
As pure as spring,
Dropping with fragrant dust
Fruit ruddy seeds.
Sister of flowers, friend of roses,
Look into my eyes,
Navei life-giving dreams
And sing a song in your heart.
A.A. Fet "Flowers"
Is in the autumn of the original
Short but wonderful time
Clear air, crystal day,
And radiant evenings ...
Where a peppy sickle walked and an ear fell,
Now everything is empty - space everywhere -
Only cobwebs of thin hair
Shines on an idle furrow ...
The air is empty, the birds are no longer heard,
But far from the first winter storms
And pure and warm azure pours
On the resting field…
F.I. Tyutchev
He showered the forest on his peaks,
The garden bared its brow
September died, dahlias
The breath of the night burned.
But in a breath of frost
Alone among the dead
Only you alone, queen rose,
Fragrant and opulent.
In spite of cruel trials
And the malice of the fading day
You are the shape and breath
In the spring you blow on me.
A.A. Fet
The earth still looks sad
And the air is already breathing in spring,
And the dead stem in the field sways,
And the oil branches move.
Nature has not woken up yet
On through thinning sleep
She heard spring
And she involuntarily smiled ...
F.I. Tyutchev
The summer evening is quiet and clear;
See how the willows doze;
The west of the sky is pale red,
And the rivers shine meanders.
From peaks to peaks,
The wind is creeping up the forest heights.
Do you hear the neighing through the valleys?
That herd rushes at a trot.
A.A. Fet
Output:
So, we examined the image of nature in the works of such two Russian poets as F.I. Tyutchev and A.A. Fet. Both poets made nature one of the central themes in their work. Often, with the help of pictures of nature, these poets convey the state of the human soul. However, for Tyutchev, the attitude to nature from the position of reason is more characteristic, and for Fet, from the position of feeling. But it is indisputable that both poets are the greatest masters of landscape lyrics, and their work became decisive for many literary movements of the Russian Silver Age.
The disclosure of this topic involves an appeal to the lyrical works of F. Tyutchev and A. Fet, reflecting the peculiar perception of nature, its influence on the spiritual world, thoughts, feelings, moods of each of the authors.
In an effort to fully and deeply disclose the topic, it is necessary to pay attention to the general direction of the creative searches of poets, as well as their individuality and originality.
The lyrics of nature became the greatest artistic achievement of F. Tyutchev. The landscape is given by the poet in dynamics, movement. V.N. Kasatkin in the monograph “The Poetic Worldview of F.I. Tyutchev": "Movement in nature is conceived by Tyutchev not only as a mechanical movement, but also as an interconnection, a mutual transition of phenomena, a transition from one quality to another, as a struggle of contradictory manifestations. The poet captured the dialectic of movement in nature. Moreover, the dialectic of natural phenomena reflects the mysterious movements of the human soul. Concretely visible signs of the external world give rise to a subjective impression.
V.N. Kasatkina emphasizes: “For Tyutchev, nature is a living organism that feels, feels, acts, has its own passions, its own voice and shows its own character, just as it happens with people or animals.”
A.A. Fet writes about Tyutchev’s poems: “By the nature of his talent, Mr. Tyutchev cannot look at nature without the corresponding bright thought arising in his soul at the same time. To what extent nature is spiritualized before him, he best expresses himself.
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...
Nature for Tyutchev is always young. Autumn and winter do not bring her senile death. The poet expressed in his poems the triumph of Spring as youth. In the 1930s, he dedicated seven poems to spring: “Spring Thunderstorm”, “Napoleon’s Grave”, “Spring Waters”, “Winter is angry for a reason”, “Even the earth looks sad, but the air already breathes in spring”, “Spring”, “ No, my addiction to you ... ". “In the last program poem of the poet, where he poetically formulated his attitude to the earth as the attitude of a son to his mother, he created the image of the spring earth. Spring for him is a beautiful child, full of life, all manifestations of which are filled with high poetry. The poet loves the young peals of the first thunder in early May, he is fascinated by the noisy spring waters - the messengers of a young spring, the spring breath of air:
What is the joy of paradise before you,
It's time for love, it's time for spring
Blooming bliss of May,
Ruddy light, golden dreams? ... "
“The existence of Mother Earth is full of joy: “The blue of heaven laughs, washed with dew at night”, spring thunder “as if frolicking and playing rumbles in the blue sky”, the heights of the icy mountains play with the azure of the sky, nature smiles at spring, and spring drives away winter with laughter May days, like a "ruddy light round dance", crowd merrily after spring.
Belinsky wrote to Tyutchev: “Your springs do not have wrinkles, and, as the great English poet says, the whole earth smiles at this morning hour of the year and life as if it did not enclose graves.”
Indeed, Tyutchev's poetry is optimistic; it affirms a beautiful future, in which a new, happiest tribe will live, for the freedom of which the sun "live and will warm hotter." The whole worldview of the poet reflects the love and thirst for life, embodied in the jubilant lines of "Spring Waters" ("Snow is still whitening in the fields ...") and "Spring Thunderstorm". Consider the poem "Spring Waters":
Snow is still whitening in the fields,
And the waters are already rustling in the spring -
They run and wake up the sleepy shore,
They run and shine and say ...
They say all over the place:
Spring is coming, spring is coming!
We are messengers of young spring,
She sent us ahead!”
Spring is coming, spring is coming!
And quiet, warm, May days
Ruddy, bright round dance
Crowds merrily after her.
Spring is perceived by the poet not only as a wonderful time of the year, but also as a victory of life over death, as a hymn to youth and human renewal.
Gennady Nikitin in the article “I love a thunderstorm in early May ...” says that the images, pictures, feelings contained in the poem “Spring Waters” “... appear to be genuine and alive, they affect the reader directly and deeply, apparently, because they resonate in subconscious. Consistency and fusion of meaning, words and music enhance this effect, manifesting itself not as a static, but as a moving, dynamic unity.
... Tyutchev's lyrics are mostly not colored, but voiced and set in motion. Nature is depicted by him in open and hidden transitions and determines the typology of his poems. In this case, the dynamism of the piece is achieved by two methods, which are carried out both in parallel and mixed up: firstly, these are verbal repetitions (“running”, “going”), creating the illusion of water movement and a spring flood of feelings, and, secondly, this is a system sound recordings imitating the gurgling and overflowing of streams.
The poem "Spring Waters" is not large in size, but it contains a voluminous and panoramic picture of awakening vast world, its changes over time. “The snow is still whitening in the fields,” and before our mind’s eye, the “ruddy, bright round dance” of the “May days” is already unfolding. The word "round dance" is not accidental here. It is very old, dense and sacred. It is designed to revive our childhood, a game, a fairy tale and something else, irrational. It includes us in a poetic carnival, in a spontaneous action ... "
According to Tamara Silman, “there is almost no “neutral colloquial” element in this poem, it is entirely a figurative embodiment of the spring awakening of nature, and in three of its stages: in the form of the remnants of the outgoing winter ..., in the form of a stormy, unrestrained flood of rivers and streams ... and, finally, in the form of May days foreshadowing the warm summer season ... ".
This poem became a romance (music by S. Rachmaninov), went into epigraphs for various works in prose and verse, part of the line “Spring Messengers” became the title famous novel E. Sheremetyeva.
In the poem “Spring Thunderstorm”, not only a person merges with nature, but also nature is animated, humanized: “spring, the first thunder, as if frolicking and playing, rumbles in the blue sky”, “rain pearls hung, and the sun gilds threads”. The spring action unfolded in the higher spheres and met with the exultation of the earth - mountains, forests, mountain streams - and the delight of the poet himself.
“Since childhood, this poem, its images and its sound have merged for us with the image and sound of a spring thunderstorm. The poem has long been the most capacious and poetically accurate expression of a thunderstorm - over a field, forest, garden, over the green expanses of a beginning spring in Russia "- we read in a critical article by Lev Ozerov" I love a thunderstorm in early May ... (History of one poem) "-" Sixteen Diamond lines of Russian lyrics Tyutchev kept in his soul for a quarter of a century. And isn’t that a miracle of concentrated skill!”
In the process of studying critical materials, we saw that in scientific papers There are two opposite views on the poem "Spring Thunderstorm". So, for example, Lev Ozerov in his work “Tyutchev's Poetry” says that “in the poet's poems, inspired by Russian nature, it is not difficult to catch a deep feeling of the native landscape. But even those verses in which signs of a real area are not given are perceived as a landscape of Russia, and not of any other country. “I love a thunderstorm in early May ...” - perhaps we are talking not about the Russian thunderstorm? Isn't the poem "Spring Waters" talking about Russian nature?
Somehow, the “ruddy, bright round dance” does not fit with the landscape of Italy or Germany. It is not necessary to mention local names in verses or put the place of their writing under the date. Our feeling in this case does not deceive us. Of course, these are poems about Russian nature.
We find a refutation of this opinion in the above-mentioned article by G. Nikitin: “The poet tells someone not about a specific thunderstorm, not about living contemplation, but about his impression, about the music that left a mark on his soul. This is not a thunderstorm, but a certain myth about it - beautiful and sublime. A certain play of natural forces, in which the acoustic beginning exceeds the visual, which is facilitated by alliteration, onomatopoeia. Through the whole poem flowing, rattling, booming-roaring sounds "g", "l", "r" pass. Geographical and "national" signs fade into the background. Errors and inaccuracies in the image ("Here the rain splashed, the dust flies", "The din of birds does not stop in the forest") have no meaning and are drowned in the general din and noise. Everything is subject to the general mood, celebration and the play of light and joy. And so that we do not make a mistake, the poet tells us a summary:
You will say: windy Hebe.
Feeding Zeus' eagle.
A thundering goblet from the sky.
Laughing, she spilled it on the ground.
The assertion that these verses are about Russian nature is the same myth ... ”- and the author does not say another word in support of his statement, no argument.
G.V. Chagin, like Lev Ozerov, believes that Tyutchev's poems are about Russian nature. Here is what he says about this: “It is not for nothing that Tyutchev is called the singer of nature. And of course, he fell in love with her not in the living rooms of Munich and Paris, not in the foggy twilight of St. Petersburg, and not even in the patriarchal Moscow full of flowering gardens in the first quarter. 19th century. The beauty of Russian nature from a young age entered the heart of the poet precisely from the fields and forests that surrounded his dear Ovstug, from the quiet, shy meadows near the Desna River, the boundless blue skies of his native Bryansk region.
True, Tyutchev wrote his first poems about nature in Germany. There was born, which became famous, his "Spring Thunderstorm". Here is how it looked in the "German" version, first published in 1829 in Raich's magazine "Galatea":
I love the storm in early May:
How fun spring thunder
From edge to edge
Rumbles in the blue sky!
And this is how this first stanza sounds already in the “Russian” edition, that is, revised by the poet after returning to his homeland:
I love the storm in early May,
When spring, the first thunder,
As if frolicking and playing,
Rumbles in the blue sky.
“The nature of the revision, in particular the second stanza additionally introduced into the text, indicates that this edition arose no earlier than the end of the 1840s: it was at this time that Tyutchev’s work saw increased attention to the transfer of direct impressions from paintings and natural phenomena,” - wrote K.V. Pigarev in his monograph on the poet. And Tyutchev's poems, which describe pictures of nature when traveling from Moscow to Ovstug, confirm these words:
Reluctantly and timidly
The sun looks down on the fields.
Chu, it thundered behind the cloud,
The earth frowned….
In Tyutchev's cycle of poems about spring there is one, so called "Spring", amazing in the depth and strength of the feeling invested in it, forever new:
No matter how the hand of fate oppresses,
No matter how deceit torments people,
No matter how wrinkles roam the forehead
And the heart, no matter how full of wounds;
No matter how severe tests
You were not subject, -
What can resist breathing
And the first meeting of spring!
Spring... she doesn't know about you,
About you, about grief and about evil;
Her eyes shine with immortality,
And not a wrinkle on the forehead.
Only obedient to its laws,
At a conventional hour flies to you,
Light, blissfully indifferent,
As befits the deities.
Based on this poem, we can say that for a young poet the world is full of secrets, mysteries that can only be comprehended by an inspired singer. And this world, full of secrets and animated, according to Tyutchev, is revealed to man only in short moments, when a person is ready to merge with nature, to become its particle:
And the life of the divine world
Although for a moment be involved!
Let's turn to the reading of "Spring" by O.V. Orlov:
“The long poem “Spring” (forty lines! A lot for Tyutchev), written in the late 30s, develops the poet’s favorite philosophical theme: the need to merge with the ocean of nature in order to achieve bliss, satisfaction. This idea is expressed in the last eight lines of the work. The previous four stanzas prepare the reader for this conclusion. Their main idea: the divine eternity of spring, its imperishability and equanimity. She flies to people "bright, blissfully indifferent, / As befits deities." There are quite a few tropes and figures in this poem. The author uses comparisons, exclamations, contrasts (highlighting the detail he needs): “A lot of clouds roam the sky, // But these clouds are hers.”
However, what qualities of nature are reflected here? It is said about spring that it is bright, blissfully indifferent, fresh. She sprinkles flowers over the ground ... What kind of "flowers" - is not specified. The former, bygone springs are only called "faded". Therefore, there is no talk of colors here either. But there is a given, though only in a general form, olfactory sign (sometimes essential in Tyutchev): Fragrant tears. This fragrance is completely conditional: only the tears of a deity can smell fragrant; Aurora pours them in a poem.
Such a voluminous, forty-line poem contains no mention of any color or any paint.
According to Gennady Nikitin, “the most complete embodiment of the theme of the awakening of nature should be recognized as the lines of “Spring” (“No matter how the hand of fate oppresses ...”), when reading which Leo Tolstoy once came into such excitement that shed tears. The poem consists of five 8-verse lines and, along with poetic abstractions, contains many living warm-blooded signs of spring. The didactic chill gradually melts from stanza to stanza under the pressure of being, the resurrected forces of renewal - “Their life, like a boundless ocean, / All in the present is spilled.” And the instructive teacher's tone in the final lines can no longer cool the heated imagination, especially when the author is ready to sacrifice his favorite game of feelings, deceit, and pantheism, spilled at the beginning of the poem:
The game and the sacrifice of privacy!
Come, reject the feelings of deceit
And rush, cheerful, autocratic,
Into this life-giving ocean!
Come, with its ethereal jet
Wash the suffering chest -
And the life of the divine-universal
Although for a moment be involved!
Anatoly Gorelov says that “spring for Tyutchev is a stable image of the creative beginning of being, he now enthusiastically accepts her charms, but remembers that she is alien to human grief, evil, because she is “blissfully indifferent, // As befits deities.” And as a continuation of this indifference, there arises, also stable for the poet, the motive of an effective moment, the manifestation of all the forces of the human thirst for life.
In an essay about Tyutchev, Lev Ozerov made the following very subtle remark about Tyutchev's type of perception of natural phenomena: “Turning to her, Tyutchev solves all the most important political, philosophical, psychological issues. Images of nature create not only the background, but the very basis of all his lyrics. And further: "He does not decorate nature, on the contrary, he tears off from her" the cover thrown over the abyss. And he does it with the same decisiveness with which other Russian writers took off the masks from social phenomena.
The images of nature for Tyutchev are not only objects of admiration, but also forms of manifestation of the mysteries of being. His relationship with nature is active, he wants to tear out her secrets, delight in her beauty is combined in him with doubts and rebellion.
In the poem "Winter is angry for a reason..." the poet shows the last fight between the outgoing winter and spring:
Winter is getting angry
Her time has passed
Spring is knocking on the window
And drives from the yard.
Winter is still busy
And grumbles at Spring.
She laughs in her eyes
And it only makes more noise...
This fight is depicted as a quarrel between an old witch - winter and a young, cheerful, mischievous girl - spring. According to Gennady Nikitin, this poem is written in the same vein as "Spring Waters", but the difference is that the latter "is much more complicated in terms of design, ... however, the set of visual techniques is the same."
“The method of putting forward substantivized signs, actions, states to a grammatically dominant place in the syntagma is Tyutchev’s essential element that determines the impressionistic nature of his lyrics. V. Shor defines the fundamental approach to the depicted world, which was called “impressionistic”, as follows: “The object must be reproduced in the same way as it is perceived in a direct sensual collision with it. Those. with all those random, passing features that were inherent in him at the moment of observation. You need to be able to capture its variability, movement. Any phenomenon must be grasped in an absolutely instantaneous aspect.
The poetry of Fyodor Ivanovich Tyutchev is full of lyricism, inner tension and drama. Not only beautiful pictures of nature open before the reader, but he sees “concentrated life”. Tyutchev, like no one else, knew how to convey the colors, smells, sounds of the world around him.
"Nature's idle spy" - so Fet himself semi-ironically defined his attitude to one of the main themes of his work. That is how - as one of the finest masters of landscape lyrics, Fet entered the anthologies and numerous poetry collections of "poets of nature" along with Tyutchev, Maikov, Polonsky.
A. Fet, like F. Tyutchev, reached brilliant artistic heights in landscape lyrics, becoming a recognized singer of nature. Here his amazing visual acuity, loving, reverent attention to the smallest details of his native landscapes, their peculiar, individual perception were manifested. L.N. Tolstoy very subtly captured Fet's unique quality - the ability to convey natural sensations in their organic unity, when "the smell turns into the color of mother-of-pearl, into the glow of a firefly, and moonlight or a ray of morning dawn shimmers into sound." Fet's sense of nature is universal, for he has the richest possibilities of poetic "hearing" and "vision". Fet expanded the possibilities of a poetic depiction of reality, showing the inner connection between the natural world and the human world, spiritualizing nature, creating landscape paintings that fully reflect the state of the human soul. And this was a new word in Russian poetry.
“Fet strives to fix changes in nature. Observations in his poems are constantly grouped and perceived as phenological signs. Landscapes of Fet are not just spring, summer, autumn or winter. Fet depicts more private, shorter and thus more specific segments of the seasons.
“This precision and clarity makes Fet's landscapes strictly local: as a rule, these are landscapes of the central regions of Russia.
Fet likes to describe a precisely defined time of day, signs of this or that weather, the beginning of this or that phenomenon in nature (for example, rain in the poem "Spring Rain").
S.Ya. is right. Marshak, in his admiration for the “freshness, immediacy and sharpness of Fet’s perception of nature”, “wonderful lines about spring rain, about the flight of a butterfly”, “penetrating landscapes”, is right when he talks about Fet’s poems: “His poems entered Russian nature, became an integral part of it."
But then Marshak notices: “Nature with him is exactly on the first day of creation: bushes of trees, a bright ribbon of a river, a nightingale’s peace, a sweetly murmuring spring ... If annoying modernity sometimes invades this closed world, then it immediately loses its practical meaning and acquires a decorative character.
Fetov's aestheticism, "admiration for pure beauty", sometimes leads the poet to deliberate prettiness, even banality. One can note the constant use of such epithets as "magical", "gentle", "sweet", "wonderful", "affectionate", etc. This narrow circle of conditionally poetic epithets is applied to a wide range of phenomena of reality. In general, Fet's epithets and comparisons sometimes suffer from some sweetness: the girl is "a meek seraphim", her eyes are "like flowers fairy tale”, dahlias - “like living odalisques”, heaven - “incorruptible like paradise”, etc.”.
“Of course, Fet's poems about nature are strong not only in concreteness and detail. Their charm is primarily in their emotionality. The concreteness of observations is combined in Fet with the freedom of metaphorical transformations of the word, with a bold flight of associations.
“Impressionism at that first stage, to which Fet’s work can only be attributed, enriched the possibilities and refined the techniques of realistic writing. The poet vigilantly peers into the outside world and shows it as it appeared to his perception, as it seems to him at the moment. He is interested not so much in the object as in the impression made by the object. Fet says so: “For the artist, the impression that caused the work is more precious than the thing itself that caused this impression.”
“Fet depicts the outside world in the form in which the mood of the poet gave it. With all the truthfulness and concreteness of the description of nature, it primarily serves as a means of expressing a lyrical feeling.
“Fet values \u200b\u200bthe moment very much. He has long been called the poet of the moment. “... He captures only one moment of feeling or passion, he is all in the present ... Each Fet song refers to one point of being ...” - Nikolai Strakhov noted. Fet himself wrote:
Only you, poet, have a winged word sound
Grabs on the fly and fixes suddenly
And the dark delirium of the soul and herbs an indistinct smell;
So, for the boundless, leaving the meager valley,
An eagle flies beyond the clouds of Jupiter,
A sheaf of lightning carrying instantaneous in faithful paws.
This fixation “suddenly” is important for the poet, who appreciates and expresses the fullness of organic being, its involuntary states. Fet is a poet of concentrated, concentrated states.
Such a method required an extraordinarily sharpened gaze into reality, the finest, most meticulous fidelity to nature, when all the senses were strained: eye, ear, touch. Fet's nature strikes us with the truth of life, ”N.N. Fet described the landscape lyrics in this way. Strakhov. And further: “Fetov's poetry of momentary, instantaneous, involuntary states lived at the expense of direct pictures of being, real, surrounding. That is why he is a very Russian poet, very organically absorbing and expressing Russian nature.”
This morning, this joy
This power of both day and light,
This blue vault
This cry and strings
These flocks, these birds,
This voice of water...
There is not a single verb in the narrator's monologue - Fet's favorite trick, but there is also not a single defining word here, except for the pronominal adjective "this" ("these", "this"), repeated eighteen times! Refusing epithets, the author seems to admit to the impotence of words.
The lyrical plot of this short poem is based on the movement of the narrator's eyes from the vault of heaven to the earth, from nature to the dwelling of man. First we see the blue of the sky and flocks of birds, then the sounding and blooming spring land - willows and birches covered with delicate foliage (“This fluff is not a leaf ...”), mountains and valleys. Finally, words about a person are heard (“... a sigh of a night village”). In the last lines of the look lyrical hero turned inward, into his feelings (“darkness and heat of the bed”, “night without sleep”).
For a person, spring is associated with the dream of love. At this time, creative forces awaken in him, allowing him to “soar” above nature, to recognize and feel the unity of all that exists.
Fet's nature:
Fet's natural lyrics, embodied in such poems as "I came to you with greetings", "Whisper. Timid breathing", "What sadness! End of the alley", "This morning, this joy" and others. For Fet, nature is primarily a temple. Temple where love lives. Nature in Fet's lyrics plays the role of special luxurious scenery, against which a subtle feeling of love develops. Nature is also the temple in which inspiration reigns, this place - or even a state of mind - in which you want to forget about everything and pray to the beauty reigning in it.
Beauty and harmony for Fet is the highest reality. F is a great landscape painter. His landscapes are distinguished by their concreteness, the ability to convey the subtlest changes in nature during the day. He is not interested in statics, there is a barely perceptible dynamics. This applies to the verses dedicated to the seasons. Fet's nature is unusually humanized, it seems to dissolve in the feeling of the lyricist. Unlike Tyutchev, the hero F perceives the relation to nature harmoniously. Chaos, abyss, orphanhood are unknown to him. On the contrary, the beauty of nature infuses the soul with a sense of the fullness and joy of being.
1848 - verse "Spring Thoughts"; 1854 - verse "bees"; 1866 - the verse "I came, and everything around is melting"; 1884 - "The garden is all in bloom." In the landscape lyrics, a certain Fetov universe of beauty (philosophy) is born: “on a haystack at a southern night ...”. The image of the universe is majestic and close to man. In communion with the beauty of the universe, salvation for the hero's lyre: "Torn out by life, the treachery of hope." Natural phenomena in F are more detailed, more specific than those of their predecessors. Seeks to capture the phenomena of nature. Basically F uses natural colors, shades. He needs to capture the moment. Favorite season - spring, i.e. it's not static. He likes to describe the evening / morning landscape. The ability to “voice” even silent nature is a remarkable property of the muses of Fet's lyricism: in his poems, she not only shines with beauty, but also sings with it.
Nature at Nekrasov: Nekrasov is the creator of the national Russian landscape as a complete and comprehensively developed artistic system. Through all the work of the poet, the image of a sad, dull earth passes: muddy colors, discolored by rains, the lingering sounds of the wind groaning in the fields, sobbing in the forests. "Kochi, potholes, ate permanent ones! // A raven croaks over a white plain ..." ("Fire", 1863); "September was noisy, my native land // All sobbed in the rain without end ..." ("Return", 1864); "Infinitely dull and miserable // These pastures, fields of meadows, // These wet, sleepy jackdaws, // That sit on top of a haystack..." ("Morning", 1874).
Moisture mixes with the earth and air, forming dirt, slush, hoarfrost, fog - the favorite elements of the Nekrasov landscape. Muddy roads are covered with cakes of wet snow. Dampness penetrates everywhere, as if nature is constantly crying, blowing its nose, suffocating from a cold.
Nekrasov creates a special aesthetics of the "ugly", "disgusting" landscape, directly opposite to the ideal of "beautiful" and "sublime" nature, which dominated poetry for many decades: "An ugly day begins - // Muddy, windy, dark and dirty ... "("About the weather. Part I", 1865). He was one of the first to introduce into Russian poetry the motif of rain - not refreshing, sparkling like A. Fet or A. Maikov, but lingering, mournful, that flows with tears through the windows, between the sky and the eye "like a black net hanging." As a St. Petersburg poet, N. Nekrasov is well acquainted with the atmosphere of dank dampness, condensed water vapor that weighs down the air - he even has "a suffocating wind."
At the same time, Nekrasov also has colorful, festive descriptions of nature, which, with their emotional elation and aesthetics of personification, go back to folklore (spring in Green Noise, winter in Frost, Red Nose).
Among the trees at Nekrasov, gloomy, stern - pine and spruce prevail, among the birds ("a flock of black birds flew after me") - dark jackdaws, ominous, heavy crows, mournful waders with their drawn-out cries-groans (nightingales, swans dominated in previous poetry , larks, swallows, almost absent from Nekrasov). Nekrasov introduces images of exhausted, hackneyed working animals into poetry - not "horses", but "horses" ("Frost, Red Nose", 1863; "On the Weather. Part I"; "Despondency", 1874).
New in Nekrasov is an abundance of meadow and field motifs. For the first time, wheat and rye, ears of corn swaying in the wind and running waves, "the rustle of a golden field" ("Uncompressed strip", 1854; "Noise in the capitals, winds rattle ...", 1857; "Silence", 1857; "Despondency" ).
The poet's attention is so riveted to the earth that the relative rarity of images of the starry sky, moonlight, and generally celestial bodies, so characteristic of Tyutchev's and Fetov's landscapes, becomes an indicative feature of his work (cf., however, "Knight for an hour"). Infrequently, Nekrasov shows the sun, and even then it is mean, dim, clouded ("Unfortunate", 1856). This Nekrasov feature - the inattention of a person working on earth to heaven - was inherited by most poets of the first decades of the Soviet era (including M. Isakovsky, A. Tvardovsky, who were faithful to Nekrasov's traditions).
Nekrasov for the first time poetically comprehends the connection between the originality of nature and the way of national life (“With the poverty surrounding us // Nature itself is at one with here.” “Morning”), as well as the warehouse of national creativity, including his own. The dreary songs of the wind in the fields, the mournful moans of the wolves in the forests - this is the sound prototype of the folk lingering songs, which is echoed by Nekrasov's muse; as the voice of Russian nature itself, the poet realizes his work in the poems "The Beginning of the Poem" (1864), "Return" (1864), "Newspaper" (1865).
Nekrasov, the founder of the urban landscape, for the first time conveyed in verse the stuffy smell of the city air, which absorbed "clubs of thought from colossal pipes", the sight of stagnant water blooming in the canals, in a word, recreated nature in the place of its disastrous interweaving with civilization ("Bad weather"; " About the weather" - parts I and II, 1859-1865). At the same time, he described the village from the point of view of a city dweller, a "summer resident", as a "suburban" area, which, with its free wind, drives away rubbish from the soul, inspired by the capital ("Outside the City", 1852; "The Beginning of the Poem"; "Despondency")
Tyutchev's nature:
Tyutchev is the most natural-philosophical of all Russian poets: about five-sixths of his creative heritage are poems dedicated to nature. The most important theme introduced by the poet into the Russian artistic consciousness is chaos enclosed in the depths of the universe, a terrible, incomprehensible secret that nature hides from man ("What are you howling about, the night wind ...",; "The evening is hazy and rainy .. .", ; "Day and night", )
