Oral reports about the life and work of Tyutchev. Tyutchev - message report briefly

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

The poet's childhood passes on the family estate of the Oryol 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 PhD thesis in linguistics, Tyutchev entered the diplomatic service, to which he devoted his entire life, working at the State Collegium of Foreign Affairs.

Tyutchev spends more than twenty years of his life abroad, while on 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, Fyodor Ivanovich marries 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 in his youth, imitating ancient authors. Having matured, Tyutchev revealed himself as a love lyricist who used techniques inherent in European romanticism.

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

True fame and recognition for the poet came already in adulthood when he created numerous poems conveying landscape and philosophical lyrics, which he composed after retiring from civil service and settling in the estate of Tsarskoe Selo.

Tyutchev passed 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 themes in the form of images natural phenomena V various types, and also love lyrics, which demonstrates the whole gamut of emotional human experiences. Before his death, Tyutchev, by the will of fate, manages to meet Amalia Lerchenfeld, the woman who was his first love, to whom he dedicates his famous poems entitled “I Met You...”

Option 2

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

Education began at home; his parents and experienced teachers helped him study poetry written in Ancient Rome, as well as Latin. Afterwards he was sent to the University of Moscow, where he studied at the Faculty of Literature.

In 1821, he graduated educational institution and immediately begins work as an official holding a position in the College of Foreign Affairs. As a diplomat, he is sent to work in Munich. He has been living 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 works of the last century.

The second period begins in the 20s and ends in the 40s. 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 world around it.

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

Works written during this period are never published; he tries to write in political topics, so he tries not to show his creativity to others. And the latest collection is published, but does not gain much popularity.

The number of misfortunes 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 poet’s overall lyricism includes 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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Biography of Tyutchev.

Life and work of Tyutchev. Abstract

Since childhood, the poetry of Fyodor Ivanovich Tyutchev has entered our lives with the strange, bewitching purity of feeling, clarity and beauty of images:

I love thunderstorms at the beginning of May,

When spring, the first thunder,

How to frolic and play,

Rumbling in the blue sky...

Fyodor Ivanovich Tyutchev was born on November 23 / December 5, 1803 in the Ovstug estate of the Oryol province of Bryansk district into a middle-landowner, old-noble family. Tyutchev received his primary education at home. Since 1813, his Russian language teacher was S. E. Raich, a young poet and translator. Raich introduced his student to works of Russian and world poetry and encouraged his first poetic experiments. “With what pleasure I remember those sweet hours,” Raich later said in his autobiography, “when, in the spring and summer, living in the Moscow region, F.I. and I would leave the house, stock up on Horace, or Virgil by someone else.” from domestic writers and, sitting down in a grove, on a hill, delved into reading and drowned in the pure pleasures of the beauties of brilliant works of poetry.” Talking about unusual abilities of his “naturally gifted” pupil, Raich mentions that “by the thirteenth year he was already translating Horace’s odes with remarkable success.” These translations from Horace 1815-1816 have not survived. But among the poet’s early poems there is an ode “For the New Year 1816”, in which one can see imitations of the Latin classic. It was read on February 22, 1818 by the poet and translator, professor at Moscow University A.F. Merzlyakov at the Society of Lovers of Russian Literature. On March 30 of the same year, the young poet was elected as an employee of the Society, and a year later a free adaptation of Horace’s “Epistle of Horace to Maecenas” appeared in print.

In the fall of 1819, Tyutchev was admitted to Moscow University in the literature department. The diary of these years by Comrade Tyutchev, the future historian and writer M.P. Pogodin, testifies to the breadth of their interests. Pogodin began his diary in 1820, when he was still a university student, a passionate young man, open to the “impressions of life”, who dreamed of a “golden age”, that in a hundred, in a thousand years “there will be no rich people, everyone will be equal.” In Tyutchev he found that “wonderful young man", everyone could check and trust their thoughts. They talked about the “future education” in Russia, about the “free noble spirit of thoughts”, about Pushkin’s ode “Liberty”... 3. The accusatory tyrant-fighting pathos of “Liberty” was sympathetically received by the young poet, and he responded with a poetic message to Pushkin (“To Pushkin’s Ode” to freedom"), in which he hailed him as an exposer of “obstinate tyrants.” However, the free-thinking of the young dreamers was of a fairly moderate nature: Tyutchev compares the “fire of freedom” with the “flame of God,” the sparks of which rain down on the “brows of pale kings,” but at the same time, welcoming the herald of “holy truths,” he calls on him “ roznizhuvaty”, “touch”, “soften” the hearts of kings - without overshadowing the “brilliance of the crown”.

In their youthful desire to comprehend the fullness of existence, university comrades turned to literature, history, philosophy, subjecting everything to their critical analysis. This is how their disputes and conversations arose about Russian, German and French literature, “the influence that the literature of one language has on the literature of another,” about the course of lectures on the history of Russian literature, which they listened to in the literature department.

Tyutchev’s early interest in the ideas of thinkers distant from each other reflected both the search for his own solutions and a sense of the complexity and ambiguity of these solutions. Tyutchev was looking for his own interpretation of the “book of nature,” as all his subsequent work convinces us of.

Tyutchev graduated from University in two years. In the spring of 1822, he was already enrolled in the service of the State Collegium of Foreign Affairs and appointed as a supernumerary official at the Russian diplomatic mission in Munich, and soon went abroad. For the first six years of his stay abroad, the poet was listed as “extra staff” at the Russian mission and only in 1828 received the position of second secretary. He held this position until 1837. More than once in letters to family and friends, Tyutchev jokingly wrote that his wait for a promotion had taken too long, and just as jokingly explained: “Because I never took the service seriously, it is fair that the service should also laugh at me.”

Tyutchev was an opponent of serfdom and a supporter of a representative, established form of government - most of all, constitutional monarchy. With great acuteness, Tyutchev realized the discrepancy between his idea of ​​​​the monarchy and its actual embodiment in the Russian autocratic system. “In Russia there is an office and barracks”, “everything moves around the whip and rank,” - in such sarcastic aphorisms Tyutchev, who arrived in Russia in 1825, expressed his impressions of the Arakcheev regime recent years reign of Alexander I.

Tyutchev spent more than twenty years abroad. There he continues to translate a lot. From Horace, Schiller, Lamartine, who attracted his attention back in Moscow, he turns to Goethe and the German romantics. Tyutchev was the first of the Russian poets to translate Heine’s poems, and, moreover, before the publication of “Travel Pictures” and “The Book of Songs”, they made the author’s name so popular in Germany. At one time he had friendly relations with Heine. In letters of 1828 to K. A. Farnhagen, von Enze Heine called the Tyutchev house in Munich (in 1826 Tyutchev married the widow of a Russian diplomat, Eleanor Peterson) “a wonderful oasis,” and the poet himself his best friend at that time.

Of course, Tyutchev’s poetic activity in these years was not limited to translations. In the 20-30s, he wrote such original poems, testifying to the maturity and originality of his talent.

In the spring of 1836, fulfilling the request of a former colleague at the Russian mission in Munich, Prince. I. S. Gagarin, Tyutchev sent several dozen poems to St. Petersburg. Through Vyazemsky and Zhukovsky, Pushkin met them, greeted them with “surprise” and “capture” - with surprise and delight at the “unexpected appearance” of poems, “full of depth of thoughts, brightness of colors, news and power of language.” Twenty-four poems under the general title “Poems sent from Germany” and signed “F. T. "appeared in the third and fourth volumes of Pushkin's Sovremennik. The printing of Tyutchev's poems on the pages of Sovremennik continued after Pushkin's death - until 1840. With some exceptions, they were selected by Pushkin himself.

In 1837, Tyutchev was appointed senior secretary of the Russian mission in Turin, and then soon - chargé d'affaires. Leaving his family in St. Petersburg for a while, in August 1837 Tyutchev left for the capital of the Sardinian kingdom and four and a half months after arriving in Turin he wrote to his parents: “Truly, I don’t like it here at all and only absolute necessity forces me to put up with such an existence. It is devoid of any kind of entertainment and seems to me a bad performance, all the more boring because it creates boredom, while its only merit was to amuse. This is exactly what existence is like in Turin.

On May 30/June 11, 1838, as the poet himself later said in a letter to his parents, they came to inform him that the Russian passenger steamer Nicholas I, which had left St. Petersburg, had burned down off Lubeck, off the coast of Prussia. Tyutchev knew that his wife and children were supposed to be on this ship, heading to Turin. He immediately left Turin, but only in Munich did he learn the details of what had happened.

The fire on the ship broke out on the night of 18/30 to 19/31 May. When the awakened passengers ran out onto the deck, “two wide columns of smoke mixed with fire rose on both sides of the chimney and a terrible commotion began along the masts, which did not stop. The riots were unimaginable...” I recalled in his essay “Fire at Sea.” S. Turgenev, who was also on this ship.

During the disaster, Eleanor Tyutcheva showed complete self-control and presence of mind, but her already poor health was completely undermined by the experience of that terrible night. The death of his wife shocked the poet, overshadowing many years with the bitterness of memories:

Your sweet image, unforgettable,

He is in front of me everywhere, always,

Available, unchangeable,

Like a star in the sky at night...

On the five-year anniversary of Eleanor’s death, Tyutchev wrote to the one who helped bear the weight of loss and entered the poet’s life, by his own admission, as an “earthly ghost”: “Today’s date, September 9, is a sad date for me. It was the most terrible day in my life, and if it weren’t for you, it would probably have been my day too” (letter from Ernestina Fedorovna Tyutchev dated August 28 / September 9, 1843).

After entering into a second marriage with Ernestina Dernberg, Tyutchev was forced to resign due to unauthorized departure to Switzerland on the occasion of the wedding, which took place on July 17/29, 1839. Having resigned, in the fall of 1839 Tyutchev settled again in Munich. However, further stay in a foreign land, not due to his official position, became more and more difficult for the poet: “Although I am not used to living in Russia,” he wrote to his parents on March 18/30, 1843, “I think that it is impossible to be more privileged.” “connected to my country than I am, more constantly preoccupied with what belongs to it. And I am glad in advance that I will be there again.” At the end of September 1844, Tyutchev and his family returned to their homeland, and six months later he was re-enlisted in the Ministry of Foreign Affairs.

The St. Petersburg period of the poet’s life was marked by a new rise in his lyrical creativity. In 1848-1849, he actually wrote poems: “Reluctantly and timidly...”, “When in the circle of murderous worries...”, “Human tears, oh human tears...”, “To a Russian woman,” “As a pillar of smoke brightens in the heights... "and others. In 1854, in the supplement to the March edition of Sovremennik, the first collection of Tyutchev's poems was published, and nineteen more poems appeared in the May book of the same magazine. In the same year, Tyutchev’s poems were published as a separate publication.

The appearance of Tyutchev's collection of poems was a great event in literary life at that time. In Sovremennik, I. S. Turgenev published the article “A few words about the poems of F. I. Tyutchev.” “... We could not help but be sincerely pleased,” wrote Turgenev, “to collect together the hitherto scattered poems of one of our most remarkable poets, like Pushkin’s greetings and approval conveyed to us.” In 1859 in the magazine " Russian word“An article by A. A. Fet “On the poems of F. Tyutchev” was published, which spoke of him as an original “lord” of poetic thought, who is able to combine the poet’s “lyrical courage” with an unchanging “sense of proportion.” In the same 1859, Dobrolyubov’s famous article “The Dark Kingdom” appeared, in which, among judgments about art, there is an assessment of the features of Tyutchev’s poetry, its “burning passion” and “severe energy”, “deep thought, excited not only by spontaneous phenomena, but also by questions moral, interests public life ».

In a number of the poet’s new creations, poems remarkable in their psychological depth stand out: “Oh, how murderously we love...”, “Predestination”, “Don’t say: he loves me, as before...”, “Last Love” and some others . Supplemented in subsequent years with such poetic masterpieces as “All day she lay in oblivion ...”, “There is also in my suffering stagnation ...”, “Today, friend, fifteen years have passed. . “,” “On the eve of the anniversary of August 4, 1864,” “There is not a day when the soul does not ache...” - they compiled the so-called “Denisovo cycle.” This cycle of poems represents, as it were, a lyrical story about the love experienced by the poet “in his declining years” - about his love for Elena Alexandrovna Denisova. Their “lawless” relationship in the eyes of society lasted for fourteen years. In 1864, Denisova died of consumption. Having failed to protect his beloved woman from “human judgment,” Tyutchev blames himself first of all for the suffering caused to her by her ambiguous position in society.

Tyutchev's political worldview mainly took shape towards the end of the 40s. A few months before his return to his homeland, he published in Munich a brochure in French, “Letter to Mr. Dr. Gustav Kolbe” (later reprinted under the title “Russia and Germany”). In this work dedicated to relationships Tsarist Russia with the German states, Tyutchev, in contrast to Western Europe, puts forward Eastern Europe as a special world, living its own original life, where “Russia has at all times served as the soul and driving force.” Under the impression of the Western European revolutionary events of 1848, Tyutchev conceived a large philosophical and journalistic treatise, “Russia and the West.” Only a general plan of this plan has been preserved, two chapters, processed in the form of independent articles in French (“Russia and the Revolution”, “The Papacy and the Roman Question” - published in 1849, 1850), and outlines of other sections.

As these articles, as well as Tyutchev’s letters, testify, he is convinced that the “Europe of treatises of 1815” has already ceased to exist and the revolutionary principle has deeply “penetrated into the public blood.” Seeing in the revolution only the element of destruction, Tyutchev is looking for the result of that crisis, which is shaking the world, in the reactionary utopia of Pan-Slavism, refracted in his poetic imagination as the idea of ​​unity of the Slavs under the auspices of the Russian - “all-Slavic” tsar.

In Tyutchev's poetry of the 50-60s, the tragedy of the perception of life intensifies. And the reason for this is not only in the drama he experienced associated with his love for E. A. Denisova and her death. In his poems, generalized images of a desert region, “poor villages,” and “poor beggar” appear. The sharp, merciless and cruel contrast of wealth and poverty, luxury and deprivation is reflected in the poem “Send, Lord, your joy...”. The poem “To a Russian Woman” was written with “hopelessly sad, soul-tearing predictions of the poet.” The ominous image of an inhuman “light” that destroys everything better with slander, the image of a light-crowd, appears in the verses “There are two forces - two fatal forces ...” and “What did you pray with love ...”.

In 1858, he was appointed chairman of the Foreign Censorship Committee; Tyutchev more than once acted as a deputy for publications subject to censorship punishment and under threat of persecution. The poet was deeply convinced that “one cannot impose unconditional and too long-lasting compression and oppression on the minds without significant harm to the entire social organism,” that the government’s task should not be to suppress, but to “direct” the press. Reality equally constantly indicated that for the government of Alexander II, as well as for the government of Nicholas I, the only acceptable method of “directing” the press was the method of police persecution.

Although Tyutchev held the position of chairman of the Foreign Censorship Committee until the end of his days (the poet died on July 15/27, 1873), both the service and the court-bureaucratic environment burdened him. The environment to which Tyutchev belonged was far from him; more than once from court ceremonies he endured a feeling of annoyance, deep dissatisfaction with himself and everyone around him. Therefore, almost all of Tyutchev’s letters are permeated with a feeling of melancholy, loneliness, and disappointment. “I love him,” wrote L. Tolstoy, “and I consider him one of those unfortunate people who are immeasurably higher than the crowd among whom they live, and therefore are always alone.”

Biography of Tyutchev, Life and work of Tyutchev abstract

1. Brief biographical information.
2. The poet’s philosophical worldview.
3. Love and nature in Tyutchev’s poetry.

F.I. Tyutchev was born in 1803 into a noble noble family. The boy got good education. Tyutchev showed interest in poetry quite early - already at the age of 12 he successfully translated the ancient Roman poet Horace. Tyutchev's first published work was a free adaptation of the Epistles of Horace to 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, both in the relationship preceding the marriage and in the subsequent one. family life Tyutchev's life took shape quite dramatically.

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 rapid infatuation with Baroness E. Dernheim, who became his second wife, he voluntarily retired from 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 returned to his homeland. In 1850, he met E. Denisyeva, who was half his age and who soon became his lover. This relationship lasted 14 years, until Deniseva’s death; at the same time, Tyutchev retained the most tender feelings for his wife Eleanor. The 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 scholars have come to the conclusion that Tyutchev introduced motifs and images that were practically not used in 19th-century poetry before him. First of all, this is the universal, cosmic scope of the poet’s worldview:

The vault of heaven, burning with the glory of the stars,
Looks mysteriously from the depths, -
And we float, a burning abyss
Surrounded on all sides.

A similar scale will subsequently often be reflected in the works of poets of the 20th century. But Tyutchev lived in the 19th century, so in some ways he anticipated the development of poetic trends and 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 inability to rationally comprehend their essence:

But the day fades - night has come;
She came - and, from the world of fate
Fabric of blessed cover
Having torn it off, it throws it away...
And the abyss is laid bare to us
With your fears and darkness,
And there are no barriers between her and us -
This is why the night is scary for us!

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

Happy is he who has visited this world
His moments are fatal!
He was called by the all-good
As a companion at a feast.

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

Witness major historical events Tyutchev regards him as an interlocutor of the gods. Only they can understand the deep experiences of the creative soul. As for people, it is extremely difficult to convey your thoughts and feelings to them; moreover, this often 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 what you live for?
A spoken thought is a lie.
Exploding, you will disturb the keys, -
Feed on 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 whimsical world of myth allows the poet to abstract himself from everyday life and feel a sense of involvement with certain mysterious forces:

You will say: windy Hebe,
Feeding Zeus's eagle,
A thunderous goblet from the sky
Laughing, she spilled it on the ground.

You need to pay attention to the composition of Tyutchev’s poems. They often 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 is 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:

O you, last love!
You are both bliss and hopelessness.

Nature in Tyutchev's lyrics is inextricably linked with inner life lyrical hero. Let us 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 yet set in, 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:

The gray shadows mixed,
The color faded, the sound fell asleep -
Life and movement resolved
In the unsteady twilight, in the distant rumble...

The theme of “mixing”, interpenetration, is often heard in those lines that are devoted to human perception of nature:

An hour of unspeakable melancholy!..
Everything is in me and I am in everything!..
...Feelings like a haze of self-forgetfulness
Fill it over the edge!..
Give me a taste of destruction
Mix with the slumbering world!

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

There are in the brightness of autumn evenings
Touching, mysterious charm!..

or elemental chaos:

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

For Tyutchev, nature is a huge living being, endowed with intelligence, with which a person can easily find a common language:

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

REPORT ON LITERATURE

COMPLETED BY A 10th “K” CLASS STUDENT

SCHOOL-LYCEUM No. 43

EKHILEVSKY ALEXANDER

FEDOR IVANOVICH TYUTCHEV

O my prophetic soul!

O heart full of anxiety,

Oh, how you beat on the threshold

As if double existence!..

F.I. Tyutchev

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

Although during his lifetime he was not a generally recognized poet, in our time he occupies an important place in Russian literature. Well, among most 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. And he himself did not seem to value the fame of a poet, showing surprising indifference to the publication and editing of his works.

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

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

...And you still dared with your greedy hand

Take away daily bread from widows and orphans;

It is hopeless to expel a family from their homeland!…

Blind! The path of wealth leads to destruction!...

In 1819, a free adaptation of the “Message” was published
Horace to the Maecenas" is Tyutchev’s first speech in print. In the fall of 1819, he entered the literature 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 official of the Russian diplomatic mission in Bavaria. In July 1822 he went to Munich and spent 22 years there.

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

A significant event in the poet’s literary life was the selection of his poems in Pushkin’s Sovremennik (24 poems), published in 1836 under the title “Poems sent from
Germany."

Then there is a long pause in Tyutchev’s publications, but it was at this time that his political worldview was finally formed. IN
1843-1850 Tyutchev spoke with political articles “Russia and
Germany”, “Russia and the Revolution”, “The Papacy and the Roman Question”, and is planning a book “Russia and the West”.

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

Since the late 40s, a new rise 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 magazine, 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 are not destined to die.” Further appreciation of poetry
Tyutchev will be expressed by writers and critics of various literary groups and movements. All this meant that fame had come to Tyutchev.

However, among all his contemporaries - from Pushkin and
Lermontov to Nekrasov and Dostoevsky, Chernyshevsky and Leo Tolstoy
- he was at least a professional writer. From the age of twenty until his death, that is, half a century, he was an official, quite carelessly regarding his official duties. But all my life I was heated by the political unrest of the time.

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

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

Comprehension of Tyutchev occurred as the connection between the most intimate, individual experiences of a person with the non-stop search for social thought, with the incessant movement of history was increasingly realized. Tyutchev became necessary for the reader as a new, universal and complex human personality was formed in the cleansing storms of the early 20th century.

V.I. Korovin in his book “Russian poetry XIX century" writes:
“Tyutchev thinks in terms of chaos and space, he is attracted to 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 he understood the struggle between the eternal and the perishable as the law of motion and is equally applicable to all events and phenomena, historical, natural, social, and psychological, without exception. This is what gives Tyutchev’s lyrics highest value, since in any phenomenon a universal existence is revealed philosophical meaning».

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's work is formed, first of all, in the depiction 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 about nature are united by Tyutchev: his landscapes receive a symbolic philosophical meaning, and his thought acquires expressiveness.

Tyutchev’s nature is changeable and dynamic. She knows no peace, everything is in the struggle of opposing forces, she is multifaceted, full of sounds, colors, smells. The poet's lyrics are imbued with admiration for the greatness and beauty, infinity and diversity of the natural kingdom.

Nature in Tyutchev’s poems is spiritualized and humanized. Like a living being, she feels, breathes, rejoices and is sad. The very animation of nature is usually found 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 the truth.” The poet's landscapes 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 most striking examples of Tyutchev’s skill as a landscape painter is the poem “Autumn Evening.” The poem is clearly generated by domestic impressions and the sadness they cause, but at the same time it is permeated with Tyutchev’s tragic thoughts about the lurking storms of chaos:

There are in the brightness of autumn evenings

Touching, mysterious charm:

The ominous shine and variegation of the trees,

Crimson leaves languid, light rustle,

Misty and quiet azure

Over the sadly orphaned land

And, like a premonition of descending storms,

Gusty, cold wind at times,

Damage, exhaustion - and everything

That gentle smile of fading,

What in a rational being we call

Divine modesty of suffering.

The short, twelve-line poem is not so much a description of the uniqueness 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 entire poem is read in prayerful adoration before the great sacrament, before the “divine modesty of suffering.”

The poet sees a gentle smile of decay on everything. The mysterious beauty of nature absorbs both the ominous shine of the trees and the dying purple of autumn foliage; the earth is sadly orphaned, but the azure above it is foggy and quiet, a cold wind sweeps with a premonition of storms.

Behind the visible phenomena of nature, “chaos stirs” invisibly - the mysterious, incomprehensible, beautiful and destructive depth of the primordial. And in this single breath of nature, only man realizes
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, although written in different keys:

Already a hot ball of the sun

The earth rolled off its head,

And peaceful evening fire

The sea wave swallowed me up.

The bright stars have already risen,

And gravitating over them

The vault of heaven has been lifted

With your wet heads.

The river of air is fuller

Flows between heaven and earth,

The chest breathes easier and more freely,

Freed from the heat.

And a sweet thrill, like a stream,

Nature ran through my veins,

How hot are her legs?

The spring waters have touched.

I want to compare these two poems. First of all, I would like to draw your 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: trees, leaves. Only once does Tyutchev speak of azure, but “foggy and quiet.” It looks like she's about to fall on
the “orphaned” earth, the sky is tired. In the poem “Summer Evening,” the author practically does not mention the earth, but talks more about the sky and stars. Everything strives upward, to get off the ground. I have highlighted all concepts related to the sky in bold. The stars “raise” the firmament (in “Autumn Evening” it “fell”; in the same poem they raise it even higher than it was). The entire poem “Summer Evening” is written in halftones: the stars “raised” the sky, “a thrill ran through the veins,” the earth “rolled down” the sun. There are no sudden movements in the poem, everything is smooth and slow. In “Autumn Evening” everything is the opposite: 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.” In this poem, light, calm colors predominate, while in “Autumn Evening” they are dark, blurry, gloomy.

Contrasts 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" In them one can outline several directions of antithesis: top-bottom; light-dark; life-death; calm-storm. It seems to me that by comparing these poems I was able to show how
Tyutchev could perfectly 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, like a reed, doomed to death, powerless in the face of fate, he is great in his craving for the infinite. For the poet, the greatness of a person who found himself a participant in, or at least a witness to, decisive historical events is undeniable.

In Tyutchev’s lyrics, a person realizes a previously unimaginable and frightening freedom: he realized that there is no God above him, that he is alone with nature - hope for “sympathy from heaven” has been lost. A person “longs for faith, but does not ask for it,” since “there is no point in prayer.” Tyutchev often expresses motives of humanistic despair - he mourns the fragility of the human race. But his poetry is always dominated by the voice of a fighter challenging fate.

Tyutchev is looking for a strong 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,

She has a soul, she has freedom,

It has love, it has language.

Nature, like man, lives, according to Tyutchev, on its own. 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 internal harmony, “a calm order in everything” - man is divided, contradictory. However, the poet’s poems do not simply state the weakness of a person - they give rise to a painful feeling of discord with the world around him and a restless thought:

Where and how did the discord arise?

And why in the general choir

The soul doesn’t sing like the sea,

And the thinking reed murmurs?

Tyutchev’s nature helps a person understand himself, appreciate the significance of purely human qualities in himself: consciousness, will, individuality, and see that the elements of the soul depend on them. Consciousness itself seems to enhance a person’s “helplessness,” but the disharmony generated by thought does not humiliate, but elevates him. Consciousness awakens the need " higher life", I thirst for the 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 “fatal duel” of two hearts. “A blissfully fatal feeling that requires the highest tension of mental strength, love became 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 its “prose” and about the amazing metamorphosis of feelings: addiction to the most precious unexpectedly turns into torment. But with his lyrics he affirms high standards of relationships: it is important to understand your loved one, to look at yourself through his eyes, to live up to your entire life of hopes awakened by love, to be afraid of not only low, but even mediocre actions in relations with your loved one:

Oh, don’t bother me with a fair reproach!

Believe me, of the two of us, yours is the most enviable:

You love sincerely and passionately, and I -

I look at you with jealous annoyance.

This poem belongs to the “Denisyev” cycle - a cycle of poems written by Tyutchev as a response to his romance with
E.A. Deniseva. In this poem you can see the poet’s torment because of this “illegal” love. In “Denisyev’s” poems, readers were presented with a suffering woman and a hero “without faith,” who, due to the prevailing life circumstances, felt 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 bother me with a fair reproach!..” a woman loves
“sincerely and passionately,” 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 sounded, so inherent in the progressive art of the 19th century century. “Shame before oneself” turned out to be generated by pain for the fate of another person, pain for a woman who is paying with suffering for her reckless love. In Tyutchev's intimate lyrics, a painful recognition of the incompatibility of beauty with the evil of existence is born. As V.I. Korovin said, “...in it
[in Tyutchev’s love lyrics] the feeling of compassion for the woman he loves exceeds selfish desires and rises high above them.”

The entire poetic activity of Tyutchev, which lasted half a century, from
20s to 70s, was closely connected with the political events with which the life of Russia and Western Europe was rich. Tyutchev was involved in politics as a diplomat, but he had an unofficial passion for politics. Russia seemed to him as an unshakable rock, opposing the waves of the “revolutionary” West. He writes poems promoting the union of the Slavs under the Russian Tsar and Orthodox Church. Crimean War shattered this utopia. Faith in the Russian Tsar also disappeared. But until the end of his days, the poet remained with hope for Russia, faith in its special historical role:

You can't understand Russia with your mind,

The general arshin cannot be measured:

She will become special -

You can only believe in Russia.

And Tyutchev believed... He believed that Russia would bring unity and brotherhood to the world, he believed in the enormous strength and enormous potential of his people.
Many of Tyutchev’s poems are imbued with ardent love for the Motherland and the people.
Everyone remembers his poignant lines about his native land of long-suffering, about a Russian woman whose life “will pass unseen,” about human tears - inexhaustible and numerous.

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

The very first line of the poem seems mysterious: “You have been corrupted by Autocracy.” Imbued with the pathos of condemnation, the line is essentially ambiguous. Judging by the fact that the word “Amocracy” begins with a capital letter, it would be natural to assume that autocracy, according to the poet’s thoughts, is to blame for the tragedy on Senate Square, because it “corrupted” the people. The question arises: with what. Either by his vicious character state system, or complacent connivance. By “arbitrary power” one can also understand the boldness of the plans of the rebels, their arbitrariness.

One can see greater certainty in the following lines:

The people, shunning treachery,

Blasphemes your names -

And your memory from posterity,

Like a corpse buried in the ground.

The emotional connotation of these phrases seems to indicate a protective-loyal condemnation of the enemies of the throne. But in these lines we no longer see direct appeal, the author’s assessment - they seem to be impersonal. And again there is ambiguity: it is not the Decembrists who are “treacherous,” but the people who shun what is declared by law to be treachery, betrayal, and subject to oblivion - the memory of the fallen is “buried from posterity.”

O victims of reckless thought,

Maybe you hoped

That your blood will become scarce,

To melt the eternal pole!

Barely, smoking, she sparkled

On the centuries-old mass of ice,

The iron winter has died -

And there were no traces left.

Here we see a slightly different assessment of autocracy. It
“eternal pole”, “mass of ice”; crazy, but not at all
“treacherous”, but rather heroic, appears to us as an attempt to melt the dead mass of ice with the “scanty blood” of a handful of doomed daredevils.
The result is tragic: the “iron winter” is endless. However, I would like to especially draw attention to the phrase “eternal pole”. I specifically highlighted it in bold. This line is extremely important for understanding Tyutchev’s position. Yes, he wants change, but he does not believe, does not want and resists a change in the autocratic system. For him it is a symbol of greatness
Russia, Tyutchev sincerely believes that Russia can only exist under a monarchy. That is why 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 retreated to history, and the noble revolutionism turned out to be exhausted.

It seems to me that, unlike the revolutionary movement, poetry
Tyutchev's work will never be exhausted, because everyone, reading his poems, discovers something of their 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 limitless possibilities person. Tyutchev’s lyrics give rise to tension of feelings and thoughts.”

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

LIST OF REFERENCES USED:

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

2. Tyutchev F.I.
Collected works/Preface by G.K. Shchennikov.

Sverdlovsk: Middle Ural Book Publishing House, 1980. - 224 pp., illus.

3. Korovin V.I.
Russian poetry of the 19th century.-M.: Knowledge, 1983.- 128 p.

4. Literature: School Student's Handbook
/ Comp. N.G. Bykova.-M.: Philological Society
“Slovo”, 1995.- 576 p.

5. Lotman Yu.M.
About poets and poetry.-SPb.: “Art-SPb”, 1996. -848 p.

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FEDOR IVANOVICH TYUTCHEV.

LIFE AND CREATIVITY

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