Analysis of the lyrical work of Fyodor Ivanovich Tyutchev. Tyutchev's poetry - analysis. Analysis of Tyutchev’s poem “The merry day was still noisy...”

“The merry day was still roaring...” Fyodor Tyutchev

The cheerful day was still noisy,
The street shone with crowds,
And the evening clouds' shadow
It flew across the light roofs.

And sometimes they heard
All the sounds of a blessed life -
And everything merged into one formation,
Colonic, noisy and indistinct.

Tired of spring bliss,
I fell into involuntary oblivion;
I don’t know if the dream was long,
But it was strange to wake up...

The noise and din everywhere has died down
And silence reigned -
Shadows walked along the walls
And a half-asleep flicker...

Stealthily through my window
A pale luminary looked
And it seemed to me that it
My slumber was guarded.

And it seemed to me that I
Some kind of peaceful genius
From a lush golden day
Carried away, invisible, into the kingdom of shadows.

Analysis of Tyutchev’s poem “The merry day was still noisy...”

An early Tyutchev creation, presumably dating from the late 30s. XIX century, was published two decades later in Moskvityanin. Three autographs of the poem are known, and in the last edition the poet abandoned the original title - “Awakening”, focusing on emotional state a hero who is immersed in the flickering world of night shadows.

The compositional basis of the work was the opposition of day and night, classic for Tyutchev’s poetics. It is devoid of the drama inherent in the author’s interpretation of natural philosophical ideas, and this circumstance is an essential feature of the semantic content of the text. Specified sign allows us to separate “Still making noise...” from those examples from the corpus of “night lyrics”, where the dark abyss, embodying chaotic forces, shocks and frightens the subject of speech.

The poem contrasts the hero's impressions generated by the end of a fine day and the night that replaced the spring evening. The first quatrains reproduce a lively picture of city life: its dominant feature is the acoustic image of indistinct noise into which various sounds merge. The image symbolizes a multifaceted life, characterized by the lexeme “gracious” - an evaluative epithet with positive semantics. The uniform hum has a calming effect on the hero-observer, plunging him into slumber.

A pause in the lyrical narrative, caused by sleep, serves as a device that emphasizes the contrast between day and night sketches. The subject of speech, waking up from sleep, characterizes his state with the adverb “strange.” The assessment is illustrated by a number of antithetical pairs: the noise gave way to silence, the “lush-golden” daylight shine - to the mysterious “kingdom of shadows”, where twilight and uncertain dim light reign.

The unusual sight fascinates the awakened person: he follows the moving silhouettes and the dim “half-asleep” shine of the night lights. The pale moon deserves special mention. The main images that make up the mysterious landscape are personified: it seems to the observer that the night luminary is furtively spying on him, and the shadows and reflections are endowed with the property of moving.

The varied impressions caused by the rapid change of time of day are summed up in the ending. The appearance of contrasting episodes witnessed by the subject of speech is explained by the will of an unearthly force - a kind genius endowed with a pacifying, calming gift.

In 1851, the magazine “Moskvityanin” published Fyodor Ivanovich Tyutchev’s poem “The Merry Day Was Still Noisy.” For a long time(almost 22 years!) his unfinished manuscript lay unattended in the poet’s papers. And only in the middle of the 19th century was the publishing fate of the poem decided. The poet modestly signed it: T-v. But readers and critics immediately recognized Tyutchev’s talented hand. According to Tynyanov, this is one of Tyutchev’s “just in case” poems.

It is quite difficult to determine a clear theme of the poem, since many motifs are intertwined in the lines:

• the inevitable change of day and night, noise and silence;
• filling the heart with vital energy and peaceful solitude;
• spiritual connection between nature and man;
• collision of the real and the mysterious.

Tyutchev emphasizes that a person is alone during the day, but at night he is completely different. During daylight hours, he is surrounded by crowds of people, the bustle of everyday life, the joy of onlookers, clouds, a variety of sounds and the smell of a new spring. The poet philosophically tries to trace the moment when the night suddenly swallows the day and begins to reign in the hours "naps" And "silence". Night for Tyutchev is a mystical time of day. It leads a person who suddenly awakens from sleep into an indefinite state of hallucinatory bewilderment. Walking "shadows on the walls"- proof of this. Reading “The cheerful day was still noisy”, you involuntarily become a witness to some kind of human drama, which is not easy to understand. This is probably what he was trying to achieve

All plot The poems are carefully laid out in three rows: day - evening - night. Tyutchev’s day is cheerful, bright, noisy, polyphonic and fresh like spring. Evening comes with darkening clouds and physical fatigue after "daily matters". Night is the main “queen” of poetic storytelling. It is to her that the hero strives, it is she who brings him concern, it is in her that he seeks answers to the difficult questions of existence. The change of day, according to Tyutchev, is not only the natural flow of life, it is also the flow of human thought and deeds.

The poem is written in tetrameter iambic. Stressed and unstressed syllables form one stop. Lines 1 and 3, 2 and 4 rhyme. So this is cross form rhymes. Feminine rhyme replaces the male one.

There are so many tropes in “The Merry Day Was Still Noisy” that you want to put them all on the shelves. Paths give the poem a bright and figurative sound, beauty and charm:

• epithets: cheerful day, blessed life, indistinct (sounding, noisy) system, spring bliss, half-asleep flickering, involuntary oblivion, pale luminary, lush golden day, invisible genius, peaceful genius;
• metaphors: kingdom of shadows, sounds of life;
• personifications: the day was noisy, the street shone, a shadow flew by, the noise and din died down, silence reigned, flickering (shadows) walked, the luminary looked (watched), looked furtively, the genius was carried away.

The image of a lyrical hero controversial and interesting. It is woven from the personal experiences of the poet himself and his observations of other people. The lyrical hero is not indifferent to life, he feels its daytime troubles and its nightly tricks. For him, life is both joy and anxiety at the same time. You can find indecision and even a lot of doubts in the hero. A lot seems to him, and this makes him feel uncomfortable in the silence of the night. By the way, a year before the publication of “The Merry Day Was Still Noisy,” Tyutchev met his greatest love in life, Elena Denisyeva. Much about their relationship was unclear. In the lines of the poem there is this ambiguity and uncertainty. The attentive reader will notice this.

Genre poems are elegy. We see a philosophical reflection on the difficult course of life, imbued with sadness and confusion.

• Analysis of the poem by F.I. Tyutchev “Silentium!”
• “Autumn Evening”, analysis of Tyutchev’s poem
• “Spring Storm”, analysis of Tyutchev’s poem
• “I Met You”, analysis of Tyutchev’s poem

He was a follower of the German idealist philosopher Schelling, who understood nature as a natural unity of opposites. This concept has found many fans among young romantic poets not only in Europe, but also in our country. To what extent the poet’s worldview was reflected in his immortal creations will help to evaluate the analysis of Tyutchev’s lyrical poem “Leaves.”

Paramount Poet

Tyutchev went to Germany as a diplomat in 1821, where he met his idols - Schelling and Heine, married Eleanor Peterson and continued to write poetry, which he had been passionate about since adolescence. From abroad, the poet sent lyrical works to Russia at the insistence of Alexander Sergeevich Pushkin and gained some fame here. Among the creations of this period was Tyutchev’s poem “Leaves”. After the death of Pushkin, Fyodor Ivanovich’s lyrics were no longer published in Russia. N. Nekrasov, in his article “Russian Minor Poets,” decisively stated that he classifies the literary talent as one of the primary poetic talents, which by chance turned out to be among the little-known to the Russian reader, and put Tyutchev on a par with the famous Russian poets Pushkin and Lermontov.

Let's begin to study the lyrical work

Tyutchev’s “Leaves” appears to us as follows: we determine the theme and idea of ​​the work. We evaluate the composition. We also consider the means of figurative expression and summarize.

Analysis of Tyutchev’s poem “Leaves”: theme and composition

Ivan Sergeevich Turgenev called Fyodor Tyutchev a poet of thought fused with feeling. He emphasized another feature of the master of words’s poetry: the psychological accuracy of his lyrics and passion as its main motive. In the poem “Leaves,” Tyutchev combines the analysis of mental movements with a picture of fading nature. The composition is based on parallelism: the external world (landscape) and the internal sphere of human aspirations are compared. Obviously, the theme of the poem is the contrast of violent and vivid feelings with cold calm. How is this done?

In the first stanza of the poem, we see a picture of motionless evergreen coniferous trees, as if frozen in eternal peace. In the second stanza, in contrast to the winter stillness, a sketch of a bright short summer appears. The poet uses the technique of personification: he speaks from the perspective of leaves on deciduous trees. The third stanza represents the autumn time of slow cooling and fading of nature. The fourth stanza is imbued with a passionate plea: the leaves ask the wind to pluck and carry them away in order to avoid withering and death.

The idea of ​​a lyric work

The poet turns the autumn landscape, when one can observe foliage swirling in the wind, into an emotional monologue, permeated philosophical idea that slow invisible decay, destruction, death without a brave and daring takeoff is unacceptable, terrible, deeply tragic. Let's see with what help the poet does this.

Artistic techniques

Tyutchev expressively uses antithesis. Pine and spruce trees appear in a state of winter dead hibernation even in summer, since they are not subject to any changes. Their “skinny greenery” (let’s pay attention to the epithet!) is contrasted with the juicy, shining sun rays and the dew of summer foliage. The feeling of the soulless static nature of coniferous trees is enhanced by the emotional comparison of their needles with those of hedgehogs. Greenery, which “never turns yellow, but is never fresh,” is somewhat akin to a lifeless mummy. In the author’s view, coniferous flora specimens do not even grow, but “stick out,” as if they were not nourished by the juices of the earth through the roots, but were mechanically stuck into the ground like needles. Thus the poet deprives them of even a hint of life and movement.

On the contrary, they are presented in continuous dynamics, play of light and shadow. The poet uses personification and metaphors: leaves are a “tribe” that “stays” on the branches “in beauty”, “plays with the rays”, “bathes in dew”. When describing coniferous trees, the word “ever” is used; it is opposed to the phrase “ short time", related to deciduous. In contrast to the reduced vocabulary, which is represented by protruding spruce and pine trees, the author appeals to a high style: “marshmallows”, “red summer”, “light tribe”, speaking of tremulous foliage.

Morphological and phonetic analysis of Tyutchev’s poem “Leaves”

The first stanza, showing an unsightly picture of pines and firs frozen in the cold, contains only three verbs used in the present tense. This emphasizes static. The sound design of the first stanza is distinguished by the obsessive presence of whistling and hissing consonants. In the second stanza, which depicts leaves in summer, there are twice as many verbs - there are six of them, and they are used in the present and past tense, which enhances the feeling of continuous movement, a short but fulfilling life. In contrast to the alliteration of hissing and whistling in the previous stanza, sonorant sounds predominate here: l-m-r. This conveys a state of harmony characteristic of an inspired and full-blooded life.

The poet's aesthetic credo

An analysis of Tyutchev’s poem “Leaves” helped to understand that this is not only an elegant example of landscape lyricism and a brilliant attempt to transform a picture of nature into emotional experiences. Before us is a capacious philosophical formula, according to which existence and eternity only make sense when every moment is filled with fleeting, burning and quivering beauty.

It was largely devoted to the theme of love, reflecting the personal life of the poet himself, full of passions and disappointments. The poem “I Met You” belongs to the late period of creativity, rightfully included in the treasury of Russian literature. love lyrics. The wise Tyutchev wrote it in his declining years (at the age of 67), on July 26, 1870 in Carlsbad.

The poem, created under the impression of a meeting with the poet’s former love, the “young fairy” Amalia Lerchenfield, describes the feelings of a person who has again met with his happy past. The addressee of the poem is encrypted with the initials “K.B.”, which mean the woman’s name rearranged - Baroness Krudener.

In a romantic poem, the poet combines odic and elegiac intonations. The poem is similar to elegy image of a lyrical hero, with an ode – the spiritual issues of the work and the active use of high book vocabulary ( "will perk up", "will blow"). Iambic tetrameter with pyrrhic adds an amazing melody to the poem. Tyutchev uses cross rhyme, alternating female (1st and 3rd lines) and male (2nd and 4th lines) rhymes.

For a small work, written in the form of a lyrical passage, the poet chose a two-part composition. In the first part, Tyutchev says that after an unexpected meeting, the ice melted in his heart, and his heart plunged into a surprising beautiful world happiness, "in golden time". Line “I remembered the golden time” refers to early poem poet "I remember the golden time"(1836), also dedicated to Amalia.

In the second stanza, a description of nature in spring appears, compared to the youth of a person. Tyutchev contrasts autumn (his age) with spring (youth). Just as spring awakens nature from winter hibernation, so love awakens the poet to life, filling him with energy and love of life. With a meeting with his beloved, spring comes to the poet, revitalizing his soul.

The image of the beloved who inspired the poet in the poem is implicit and blurred. One can only catch the feeling of admiration and gratitude that permeates the entire work.
The poem is distinguished by a rich sound organization, built on contrast. The alliteration (z-s, d-t, b-p) and assonance (o, a, e) used in the work convey the subtlest movements and impulses of the human soul, reflecting all the tenderness, spiritual trepidation and depth of the poet’s feelings.

Rhythmic pauses and ellipses leave space for the unspoken, giving a special intimacy to the poem. The work is distinguished by Tyutchev’s characteristic richness of poetic intonations and emotional coloring of vocabulary. Despite the presence of words painted in sad tones (late autumn, obsolete, forgotten), the poem “I Met You” is dominated by tender, emotionally uplifting vocabulary ( charm, dear, intoxicated).

The work is rich stylistic figures And paths. The poet uses anaphora ( There is more than one thing here..//Here is life..., And the same...// And the same...), repetitions, the “spring-autumn” antithesis, parallelism, gradation ( there are days, there is an hour).

Tyutchev’s lyrical world is surprisingly rich: metaphors ( “all covered in a breeze”, “My heart felt so warm”), epithets ( "obsolete heart", "centuries of separation"), personifications ( “here life spoke again”, “everything that was past has come to life in an obsolete heart”) give special artistic expressiveness poem. Tyutchev masterfully compares the world of nature and the world of the human soul, spiritualizing all manifestations of life.

Memories give inspiration and hope, while love revives the feeling of “fullness of life.” Tyutchev’s surprisingly pure and sincere poem proves: despite age, the human heart and soul do not age. The great and eternal power of love revives a person: "Life spoke again", which means life will go on.

• Analysis of the poem by F.I. Tyutchev “Silentium!”
• “Autumn Evening”, analysis of Tyutchev’s poem
• “Spring Storm”, analysis of Tyutchev’s poem

The main theme of Tyutchev's poetry- man and the world, man and Nature. Tyutchev’s researchers speak of the poet as a “singer of nature” and see the originality of his work in the fact that “for Tyutchev alone, the philosophical perception of nature constitutes to such a strong degree the very basis of the vision of the world.” Moreover, as noted by B.Ya. Bukhshtab, “in Russian literature before Tyutchev there was no author in whose poetry nature would play such a role. Nature is included in Tyutchev’s poetry as the main object of artistic experiences.”

The world in Tyutchev’s view is a single whole, but not frozen in “solemn peace,” but ever-changing and at the same time subject to eternal repetition in all its changes. Researchers talk about the “non-randomness” of the poet’s “predilection for transitional phenomena in nature, for everything that brings change with it, which is ultimately associated with the concept of “movement.”

The originality of Tyutchev's landscapes is clearly visible in the poem created on the Ovstug family estate in 1846:

Quiet night, late summer,
How the stars glow in the sky,
As if under their gloomy light
The dormant fields are ripening...
Soporificly silent,
How they sparkle in the silence of the night
Their golden waves
Whitened by the moon...

Analyzing this poem, N. Berkovsky accurately noticed that it “is based on verbs: they blush - they ripen - they shine. It seems like a motionless picture of a field July night, and in it, however, verbal words beat with a measured pulse, and they are the main ones. The quiet action of life is conveyed... From peasant labor grain in the fields, Tyutchev ascends to the sky, to the moon and stars, he connects their light into one with the ripening fields... The life of the grain, the daily life of the world, takes place in deep silence. For the description, we took the hour of the night, when this life is completely left to itself and when only it can be heard. The hour of the night also expresses how great this life is - it never stops, it goes on during the day, it goes on at night, continuously...”

And at the same time, the eternal variability of nature is subject to another law - the eternal repeatability of these changes.

It is interesting that Tyutchev more than once calls himself “an enemy of space” in his letters. Unlike Fetov's landscapes, his landscapes are open not so much into the distance, into space, but into time - into the past, present, future. A poet, painting a moment in the life of nature, always presents it as a link connecting the past and the future. This feature of Tyutchev’s landscapes is clearly visible in poem "Spring Waters":

The snow is still white in the fields,
And in the spring the waters are noisy -
They run and wake up the sleepy shore,
They run and shine and shout...

They say all over:
“Spring is coming, spring is coming!
We are the messengers of young Spring,
She sent us ahead!”

Spring is coming, spring is coming,
And quiet, warm May days
Ruddy, bright round dance
The crowd cheerfully follows her!..

This poem gives the whole picture of spring - from the early, March ice drift - to the warm, cheerful May. Everything here is full of movement, and it is no coincidence that the verbs of movement dominate: they are running, going, sent, crowding. By persistently repeating these verbs, the author creates a dynamic picture of the spring life of the world. The feeling of joyful renewal, cheerful, festive movement is brought about not only by the image of running water-messengers, but also by the image of a “ruddy, bright round dance.”

Often in the picture of the world that Tyutchev paints, the ancient appearance of the world, the pristine pictures of nature, clearly emerges behind the present. The eternal in the present, the eternal repetition of natural phenomena - this is what the poet is trying to see and show:

How sweetly the dark green garden slumbers,
Embraced by the bliss of the blue night!
Through the apple trees, whitened with flowers,
How sweetly the golden month shines!..

Mysterious as on the first day of creation,
In the bottomless sky the starry host burns,
Exclamations are heard from distant music,
The neighboring key speaks louder...

A curtain has fallen on the world of day,
Movement has become exhausted, labor has fallen asleep...
Above the sleeping city, as in the tops of the forest,
A nightly rumble woke up...

Where does it come from, this incomprehensible hum?..
Or mortal thoughts freed by sleep,
The world is incorporeal, audible but invisible,
Now swarming in the chaos of the night?..

The feeling of the unity of world history, the “first day of creation” and the present, arises not only because the images of “eternal” stars, a month, and a key dominate the picture of the world. The main experience of the lyrical hero is connected with the mysterious “hum” he heard in the silence of the night - the “voiced” secret thoughts of humanity. The true, secret, hidden essence of the world in everyday life is revealed to the lyrical hero, revealing the inseparability of the fundamental principle of the universe - ancient and eternal chaos - and the instant thoughts of people. It is important to note that the description of the beauty and harmony of the world in the first stanza appears as a “veil” over the true essence of the Universe - the chaos hidden behind the “veil”.

Tyutchev's understanding of the world is in many ways close to the ideas of ancient philosophers. It was no coincidence that A. Bely called Tyutchev an “archaic Hellene.” The Russian poet, in his understanding of the world, man, and nature, is “miraculously, strangely closely related” to the ancient ancient philosophers - Thales, Anaximander, Plato. His famous poem of 1836 “Not what you think, nature” clearly reveals this kinship of worldviews:

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...

Presenting nature as a single, breathing, feeling living being, Tyutchev turns out to be close to ancient thinkers, for example, Plato, who called the world in its entirety one visible animal.

Sharply speaking out against his opponents who do not recognize a living being in nature, Tyutchev creates the image of a breathing, living, thinking, speaking living being:

They don't see or hear
They live in this world as if in the dark,
For them, even the suns do not breathe,
And there is no life in the sea waves.

The image of nature in these verses is indeed “wonderfully close” to the ideas of the ancient philosophers about the breathing world (the idea of ​​Anaximenes), to the ideas of Heraclitus about the many suns, which the ancient philosopher identified with the day, believing that every day a new sun rises.

Confirming his idea of ​​nature, Tyutchev speaks both about the “voice” of nature and about the inseparability of man from this world. This inseparability of the human “I” and the natural world also unites the poet with ancient philosophers and sharply separates him from those contemporaries who are not able to feel their merging with nature:

The rays did not descend into their souls,
Spring did not bloom in their chests,
The forests didn’t speak in front of them,
And the night in the stars was silent!

And in unearthly tongues,
Wavering rivers and forests,
I didn’t consult with them at night
There is a thunderstorm in a friendly conversation!

In Tyutchev’s poems one can also see other ideas that make it possible to call the 19th century poet an “archaic Hellene.” Like Plato, he perceives the world as a grandiose ball and at the same time as “one visible animal,” containing all other animals, to which the ancient philosopher included the stars, which he called “divine and eternal animals.” This idea makes Tyutchev’s images understandable: “wet heads of the stars”, “head of the earth” - in the 1828 poem “Summer Evening”:

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 us
The vault of heaven has been lifted
With your wet heads.

At the same time, it is important to note that not only nature and man are full of life in Tyutchev’s poetry. Tyutchev’s living thing is time (“Insomnia”, 1829), living things are dreams (this is the element that rules over a person at night), Madness appears as a living and terrible creature, endowed with a “sensitive ear”, brow, “greedy hearing” (“Madness” , 1830). Russia will later appear as a living, special creature - a giant - in Tyutchev's poems.

Researchers of Tyutchev's work have already noted the similarity of the ideas about the world of Tyutchev and Thales: first of all, the idea of ​​water as the fundamental principle of existence. And indeed: the basic elements that Tyutchev, like the ancient philosophers, recognize as the primary elements of the universe: air, earth, water, fire, not only oppose each other, but are also capable of turning into water, revealing their aquatic nature. This idea was clearly manifested in the poem “Summer Evening”:

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.

Here water appears as the primary element of existence, it forms the basis of the air element, and fills the “veins” of nature, and, flowing underground, washes the “feet” of nature. Tyutchev strives to convey the feeling of a living stream, water jets, describing all the elements that make up the Universe:

Though I have built a nest in the valley,
But sometimes I also feel
How life-giving it is at the top
An air stream runs<...>
To inaccessible communities
I look for hours at a time, -
What dew and coolness
From there they pour noisily towards us.

In Tyutchev’s poems, moonlight flows (“Again I’m standing over the Neva...”), the air moves like a wave (“The biza has calmed down... It breathes easier...”, 1864), and streams of sun flow (“Look how the grove turns green. ..”, 1854, “In the hours when it happens...”, 1858), darkness pours into the depths of the soul (“The gray shadows mixed...”, 1851). The metaphor of existence itself also has a watery nature - it is the “key of life” (“K N.”, 1824; “Summer Evening”, 1828).

Natural phenomena are almost always humanized in Tyutchev’s poems. The sun looks from under its brows (“Reluctantly and timidly”, 1849), the evening tears off the wreath (“Under the breath of bad weather...”, 1850), “in the bunch of grapes / Blood sparkles through the thick greenery.” Among Tyutchev’s metaphors are not only the already noted “wet heads of the stars”, the head of the earth, the veins and legs of nature, but also the dead eyes of the Alps (“Alps”). The azure of the sky can laugh (“Morning in the Mountains”), noon, like the sun, can breathe (“Noon”, 1829), the sea can breathe and walk (“How good are you, O night sea...”, 1865). The natural world is endowed with its own voice, its own language, accessible to the understanding of the human heart. One of Tyutchev’s motifs is a conversation, a conversation between natural phenomena among themselves or with a person (“Where the mountains are, running away...”, 1835; “Not what you think, nature...”, 1836; “How cheerful is the roar summer storms...", 1851).

And at the same time, nature is not an ordinary creature. Among the constant epithets in Tyutchev’s landscape poems are the words “magical” (“Smoke”, 1867, etc.) and “mysterious” (“How sweetly the dark green garden slumbers...”, etc.). And almost always natural phenomena are endowed with witchcraft power - the Enchantress Winter (“Enchantress Winter...”, 1852), the sorceress winter (“To Countess E.P. Rastopchina”), the cold sorcerer (“Long time ago, long time ago, oh blessed South ...", 1837), the sorcerer of the north (“I looked, standing over the Neva ...”, 1844). Thus, in one of Tyutchev’s most famous poems, the Enchantress Winter endows the forest with fabulous beauty and plunges it into a “magical sleep”:

Enchantress in Winter
Bewitched, the forest stands -
And under the snow fringe,
motionless, mute,
He shines with a wonderful life.

And he stands, bewitched, -
Not dead and not alive -
Enchanted by a magical dream,
All entangled, all shackled
Light chain down<...>

The poet explains the beauty of sunny summer days with witchcraft (“Summer 1854”):

What a summer, what a summer!
Yes, it's just witchcraft -
And how, please, did we get this?
So out of nowhere?..

The witchcraft power of nature is also evidenced by its ability to charm a person. Tyutchev writes specifically about the “charm” of nature, its “charm”, moreover, the words “charm” and “charm” reveal their original meaning: to seduce, to bewitch. The ancient word “obavnik” (charmer) meant “sorcerer”, a dispenser of “charm”. Nature has charm, that beauty that subdues a person’s heart, attracts him to the natural world, bewitches him. So, remembering the “magic” forest, Tyutchev exclaims:

What a life, what a charm
What a luxurious, bright feast for the senses!

The same word conveys all the beauty of the Neva at night:

There are no sparks in the blue sky,
Everything fell silent in pale charm,
Only along the pensive Neva
Moonlight flows.

But, in turn, nature itself is capable of experiencing the charms of higher powers, also endowed with the ability to “cast charm”:

Through the azure darkness of the night
The Alps look snowy;
Their eyes are dead
They reek of icy horror.

They are fascinated by some power,
Before the dawn rises,
Dormant, menacing and foggy,
Like fallen kings!..

But the East will only turn red,
The disastrous spell ends -
The first one in the sky will brighten
The eldest brother's crown.

The amazing beauty of nature can appear as the influence of witchcraft powers: “At night, / Multi-colored lights burn quietly. / Enchanted nights, / Enchanted days.”

The life of the world and nature in Tyutchev’s poetry is subject not only to mysterious witchcraft, but also to a game of higher powers incomprehensible to humans. “Game” is another typically Tyutchev word in his landscapes. The verb “play” almost invariably accompanies Tyutchev’s descriptions of both natural phenomena and humans. At the same time, “play” is understood as fullness of vitality, and not as acting (or “acting”). A star plays (“On the Neva”, 1850), nature (“Snowy Mountains”, 1829), life (“Quietly flows in the lake...”, 1866), young plays with life and people, full of strength girl (“Play while I’m above you...”, 1861). Thunder plays (in probably the most famous Tyutchev poem):

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

Young peals thunder,
The rain is splashing, the dust is flying,
Rain pearls hung,
And the sun gilds the threads.

A swift stream runs down the mountain,
The noise of birds in the forest is not silent,
And the noise of the forest, and the noise of the mountains -
Everything cheerfully echoes the thunder.

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

In this poem, “game” is the central image: heavenly forces, thunder and the sun play, birds and a mountain spring cheerfully echo them. And all this joyful play of earthly and heavenly forces appears as a consequence of the play of the goddess Hebe, the goddess of eternal youth. It is characteristic that in the early edition there was no image of “game”: thunder only “rumbled” cheerfully, although the poet expressed the feeling of the fullness of life, the fullness of natural forces in the original version of the text:

I love the storm in early May,
How fun is spring thunder
From one end to another
Rumbling in the blue sky.

But it is the image of the “game” that brings completeness and integrity to this picture of the spring riot of forces, uniting the earthly and heavenly, natural and divine worlds into a single whole.

Playing nature is a motif that is also based on the representation of nature by a living creature. But, it is important to note that “game” is a property of only higher powers. The antithesis of the “game” of nature, the fullness of its vital forces, is “sleep” - a property of a more primitive world. The mountains and the sky are playing - the earth is dozing:

It's already midday
Shoots with sheer rays, -
And the mountain began to smoke
With your black forests.

<...>And meanwhile, half asleep
Our low world, devoid of strength,
Imbued with fragrant bliss,
In the midday darkness he rested, -

Grief, like dear deities,
Over the dying earth,
The icy heights are playing
With the azure sky of fire.

As researchers of Tyutchev’s work rightly noted, the poet paints a thunderstorm more than once. Perhaps because a thunderstorm embodies that state of natural life when “a certain excess of life” is visible (“There is silence in the stuffy air...”). Tyutchev is especially attracted - both in the life of nature and in human life - by the feeling of the fullness of being, when life is full of passions and “fire”, “flame”. That is why the ideal of human existence for Tyutchev correlates with combustion. But in Tyutchev’s later lyrics, the thunderstorm is perceived not as a play of gods and the elements, but as the awakening of demonic natural forces:

The night sky is so gloomy
It was clouded on all sides.
It’s not a threat or a thought,
It’s a lethargic, joyless dream.

Just lightning fires,
Igniting in succession,
Like demons are deaf and dumb,
They are having a conversation with each other.

It is no coincidence that in this poem there are no images of playing nature and playing gods. The thunderstorm is likened to its antithesis - sleep, sluggish, joyless. It is also no coincidence that nature loses its voice: a thunderstorm is a conversation of deaf-mute demons - fiery signs and ominous silence.

Tyutchev, like the ancient philosophers, considers Enmity and Love to be the main elements of existence. Higher power most often hostile to humans. And natural phenomena are in open and hidden hostility among themselves. Tyutchev’s worldview can be conveyed with the help of his own images: the poet strives to show the “unification, combination, fatal fusion and fatal duel” of all the forces of existence. Winter and Spring are at enmity with each other (“It’s not for nothing that Winter is angry...”), West and East. But at the same time, they are inseparable, they are parts of a single whole:

Look how the west has flared up
Evening glow of rays,
The faded East has dressed
Cold, gray scales!
Are they at enmity with each other?
Or the sun is not the same for them
And, in a motionless environment
Sharing doesn't unite them?

Enmity does not cancel the feeling of the unity of existence, its unity: the Sun unites the world, the beauty of the world has its source - Love:

The sun is shining, the waters are sparkling,
Smile in everything, life in everything,
The trees tremble joyfully
Bathing in the blue sky.

The trees sing, the waters glisten,
The air is dissolved with love,
And the world, the blooming world of nature s,
Intoxicated with the abundance of life<...>

This poem clearly demonstrates one of the features of Tyutchev’s landscapes: the constant verbs involved in the description of nature are “shine” or “shine.” These verbs from Tyutchev carry a special semantic load: they affirm the idea of ​​unity - fusion, unity of water and light, nature and the sun, every natural phenomenon and the sun:

All day long, like in summer, the sun warms,
The trees shine with diversity,
And the air is a gentle wave,
Their splendor cherishes the old.

And there, in solemn peace,
Unmasked in the morning
The White Mountain is shining,
Like an unearthly revelation.

The epithet “rainbow” or its synonym “fire-colored” contains the same meaning and the same ideal values. They mean the absolute fusion of earth and sky, sun and earthly nature.

Clearly sensing nature as some kind of eternal, living force, Tyutchev strives to look behind the curtain that hides it. Every natural phenomenon reveals this being full of life:

Not cooled down by the heat,
The July night shone...
And above the dim earth
The sky is full of thunder
Everything was trembling in the lightning...

Like heavy eyelashes
Rising above the ground
And through the fugitive lightning
Someone's menacing eyes
Sometimes they caught fire...

Addressing A.A. Fet, Tyutchev wrote in 1862: “Beloved by the Great Mother, / Your destiny is a hundred times more enviable - / More than once under the visible shell / You have seen her in person...” But he himself was fully characterized by this ability to “see” the Great Mother - Nature, her secret essence under the visible shell.

That invisible force that stands behind every natural phenomenon can be called Chaos. Like the ancient Greeks, Tyutchev perceives him as a living being. This is the fundamental principle of existence, hidden in daytime by the thinnest veil and awakening at night and in bad weather in nature and in man. But Tyutchev himself does not wax poetic about Chaos; he correlates the ideal of the world order with another concept - “system”, i.e. with harmony:

There is melodiousness in the sea waves,
Harmony in spontaneous disputes,
And the harmonious musky rustle
Flows through the unsteady reeds.

Equanimity in everything,
Consonance is complete in nature<...>

It is the absence of this “system” in the life of a person - a “thinking reed” that causes the poet’s bitter reflection. By calling man a “thinking reed,” the poet emphasizes his kinship with nature, his belonging to it, and at the same time his special place in the natural world:

Only in our illusory freedom
We are aware of the discord with her.

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 grumbles.

“Musical” images (melody, choir, musical rustle, consonance) convey the essence of the mysterious life of the world. Nature is not only a living, breathing, feeling, unified being, but internally harmonious. Each natural phenomenon is not only subject to the same laws for all, but also to a single structure, a single harmony, a single melody.

However, Tyutchev also poetizes the violation of the “eternal order”, when the “spirit of life and freedom”, “inspiration of love” bursts into the “strict order” of nature. Describing the “unprecedented September” - the return, the invasion of summer, the hot sun into the autumn world, Tyutchev writes:

Like a strict order of nature
Gave up his rights
Spirit of life and freedom,
Inspirations of love.

As if forever inviolable,
The eternal order was broken
And loved and beloved
The human soul.

Among the constant images used by the poet in his description of natural phenomena is “smile.” For the poet, a smile becomes the embodiment of the greatest intensity of life - both man and nature. A smile, like consciousness, are signs of life, soul in nature:

In this gentle radiance,
In this blue sky
There is a smile, there is consciousness,
There is a sympathetic reception.

It is interesting to note that Tyutchev strives to show the world, as a rule, at the two highest moments of his life. Conventionally, these moments can be designated as a “smile of ecstasy” and a “smile of exhaustion”: the smile of nature at a moment of overabundance of strength and the smile of exhausted nature, the smile of farewell.

The smile of nature is the true essence of nature. Researchers note that in Tyutchev’s lyrics one can find different images of the world: a harmonious world, permeated with the sun, a dead, frozen world, a menacing, stormy world in which chaos awakens. But another observation seems equally accurate: Tyutchev strives to capture the world in its highest moments. Such highest moments are represented by blossoming and withering - birth, the rebirth of the world in spring and autumn withering. Both worlds are filled with “charm”: exhaustion, fatigue of nature is as constant a theme of Tyutchev’s poetry as spring revival. But, important detail, Tyutchev, trying to convey the charm of nature, speaks of her smile - triumphant or tired, farewell:

I look with tender sympathy,
When, breaking through from behind the clouds,
Suddenly through the dotted trees,
With their old and weary leaves,
A lightning beam will burst forth!

How fadingly cute!
What a delight it is for us,
When, what bloomed and lived like this,
Now, so weak and frail,
Smile for the last time!..

Equally significant for Tyutchev is nature’s ability to cry. Tears are as much a sign of true life for Tyutchev as a smile:

And holy tenderness
With the grace of pure tears
It came to us like a revelation
And it resonated throughout.