Genre and stylistic originality of F.I.’s lyrics Tyutcheva

So, having traced the few pre-revolutionary works in which the problem of Tyutchev’s worldview is discussed, we can generalize: those authors who share the Christian concept of being do not accept the concept of pantheism to characterize Tyutchev’s poetry. How, after all, is Tyutchev’s pantheism confirmed in those works that cannot do without this very vaguely established concept? Three general arguments can be identified that will be literally copied during the Soviet period.

Firstly, this is the poet’s closeness to German culture, personal acquaintance with Schelling and the influence of Schelling’s early natural philosophical works on the poet. However, Tyutchev is sufficiently original as a thinker to master German philosophy and poetry and, even having accepted some of its themes, to develop his own attitude towards them according to the principle of selective affinity19. As was the case with A. S. Khomyakov and I. V. Kireevsky, who, having studied German metaphysics, set themselves the task of creating a different philosophy rooted in the Russian spiritual tradition - already in the early 30s10, in the same years when Tyutchev wrote his philosophical poems in Germany. Not accepting non-religious philosophy, future Slavophiles argued with Schelling from the same positions as Tyutchev, tried to unravel the mystery of the philosopher’s long silence and triumphed as the greatest event, as a sign of the times, Schelling’s turn to the philosophy of Revelation. The second argument confirming Tyutchev’s pantheism: the poet admires nature and spiritualizes it. This is the starting point of most Soviet researchers. The misunderstanding here is obvious. Christian and pantheistic views on nature differ, first of all, as already noted, in the idea of ​​​​the createdness of the world. The attitude towards the world as a wondrous and wonderful creation of God, which testifies to the Wisdom of God for the human mind, and is a source of beauty for the heart and soul, is a characteristic feature of the Christian perception of nature.

Pantheism, the identification of God and the world, or at least the affirmation of their immanence, does not accept the idea of ​​creation - this is a feature of all pantheistic systems, very heterogeneous. Pantheism as the identification of the divine principle and the world was inherent in ancient Greek philosophers who did not know a personal God. Pantheism new era- This is the doctrine of the impersonal world spirit hidden in nature itself. In contrast to the ideas about the creation of the world by God, pantheists develop the concept of the eternal generation of nature by an impersonal God. God and nature merge into a single substance that is its own cause.

By the nature of his main occupation, Tyutchev was not a poet, but a diplomat, official and even a censor. He considered poetic creativity to be a secondary matter in his life, and even called it fun. I never sought publication of my poems.

The first collected works of the poet were published only many years after his death, in 1913, when his poetry (already at the height of the Silver Age) became closer in spirit. He, like A.A. Fet, seemed to be ahead of his time by about half a century. In the 19th century, readers were more interested in narrative and journalistic lyrics of the Nekrasov type. And Tyutchev’s philosophical lyrics, capacious in thought and full of contradictions, were a kind of door to the poetry of the early twentieth century.

F.I. Tyutchev is a master of lyrical miniature. His poems are like philosophical sketches, original parables. He is a poet-philosopher, but not gloomy and rational, but passionate and sensual.

Tyutchev's poems have a secret, inner meaning, not transparent clarity. In addition, the poet, as a highly educated person, often turns to mythological, historical subjects and images. Therefore, to read his works you need a certain cultural preparation (for example, the poems “Cicero”, “Two Voices”, “Noon”, “Columbus”, etc.).

His poetic vocabulary is not distinguished by sophisticated sophistication. The rhymes are quite simple and often not very precise, there are few deep metaphors, and unexpected epithets. But at the same time, the poet achieves high musicality and a strong emotional and intellectual impact on the reader. What's the secret?

First, let us note the paradoxical nature of phrases and poetic constructions: “We love like murder,” “In an obsolete heart has come to life,” “You are both bliss and hopelessness,” “Smiles of tenderness from your tormented soul.”

Secondly, a feature of Tyutchev’s poetic language is a strong desire for completeness of judgments, vivid aphorism:

You were the living organ of the gods,

But with blood in his veins... sultry blood.

You are like my first love,

The heart will not forget Russia!..

Anxiety and labor are only for mortal hearts...

Who, while fighting, fell, defeated only by Fate,

He snatched the victorious crown from their hands.

Oh, how murderously we love!

As in the violent blindness of passions

We are most likely to destroy,

What is dear to our hearts!

(“Oh, how murderously we love!..”)

Oh, how in our declining years

We love more tenderly and more superstitiously...

O you, last love!

You are both bliss and hopelessness.

("Last love")

There is in the initial autumn

A short but wonderful time...

(“There is in autumn...”).

Just as other poets have, for example, poems that present a complete, detailed metaphor, so in Tyutchev you can find entire aphorism poems: “You can’t understand Russia with your mind…”, “Wave and Thought”, “Human Tears…”, “Fountain” and etc.

Many of Tyutchev's poems were set to music and became romances. This is no coincidence. Tyutchev's lyrics are extremely musical. The secrets of this musicality are in the euphony of the poems and the skillful use of full or partial repetitions characteristic of song poetry (“I met you...”, etc.).

Critics often call Tyutchev a classic in romanticism. Catchphrases from Tyutchev’s poems are still widely heard (“Russia cannot be understood with the mind...”, “Blessed is he who visited this world / In its fatal moments...”, etc.).

The lyrical hero of Tyutchev’s poetry is a doubting, searching person, located on the edge of the “fatal abyss”, aware of the tragic finitude of life. Painfully experiencing a break with the world, he at the same time strives to gain unity with existence.

In the poem “The gray shadows mixed ...” (1835) we hear a melancholic intonation created by lexical repetitions, gradation and the special romantic epithet “quiet”. Pay attention to the details: the lyrical hero feels both the invisible flight of the moth and the incomprehensibility of the huge slumbering world. The microcosm (the inner, spiritual world of a person) and the macrocosm (the external world, the Universe) seem to merge into one.

Tyutchev’s romantic motive is not connected with life circumstances, is not determined by the traditional conflict “personality - society”, it has, as they say, a “metaphysical basis”. Man is alone in the face of eternity, in front of the mystery of existence. He cannot fully express his thoughts and feelings because there is no complete correspondence to them in the language of words. This is where the motif of poetic silence, so significant for Tyutchev’s lyrics, arises.

Be silent, hide and hide

And your feelings and dreams...

"Silentium!"

Tyutchev's favorite technique is antithesis. Most often they contrast night and day, earth and sky, harmony and chaos, nature and man, peace and movement. The contrast and paradoxical nature of the images contribute to the depiction of the contradictions that the world is full of. “The world of the soul at night” perceives existence with particular acuteness; under the imaginary peace and light of day, primordial chaos is hidden.

Many of Tyutchev's poems are in the form of a poetic fragment and, as a rule, have a symmetrical structure: two, four, six stanzas. This form not only allows us to emphasize the openness of the artistic world, its incompleteness, fleetingness, but also implies its integrity and completeness. Such fragments are closely adjacent to each other, creating a common poetic concept of the world, a kind of lyrical diary.

The main theme of a poem is usually emphasized by repetition, a rhetorical question, or an exclamation. Sometimes a poem resembles a dialogue between a lyrical hero and himself.

The lexical content of Tyutchev's poems is distinguished by a combination of cliches of elegiac and odic poetry, neutral and archaic vocabulary. To convey a special emotional state, visual, auditory and tactile images are mixed.

When I'm awake, I hear it, but I can't

Imagine such a combination

And I hear the whistle of runners in the snow

And the spring swallows chirp.

From ancient and German poetry, Tyutchev borrowed the tradition of compound epithets: “loudly boiling cup”, “sad orphaned earth”, etc. Before us is not only a description of a phenomenon or object, but also its emotional assessment.

Tyutchev's poems are very musical: repetitions, assonances and alliterations, anaphors and refrains, especially in love lyrics, create their unique melody. It is not for nothing that many romances have been written based on Tyutchev’s poems. In addition, the poet uses different poetic meters within one poem, which also allows him to vary the poetic intonation.

One of the most important features of Tyutchev’s lyrics is the “elusiveness” of the poem’s theme. The poet has few actual landscape lyrics: most often the theme of nature is associated with philosophical motives or the theme of love; a poem about love may contain philosophical generalizations.

Source (abbreviated): Lanin B.A. Russian language and literature. Literature: 10th grade / B.A. Lanin, L.Yu. Ustinova, V.M. Shamchikova. - M.: Ventana-Graf, 2016

I. I. Evlampiev

Tyutchev and the tradition of mystical pantheism in Russian philosophy

The most influential concept of Russian philosophy is the concept of all-unity. Almost all Russian philosophers of the 19th and early 20th centuries paid tribute to this concept and tried to implement its principles in their own way. At the same time, it is not difficult to notice that this concept in Russian philosophy led to a unique version of pantheism, the idea of ​​the unity of God with the earthly world, of divine existence with limited earthly existence. This led, on the one hand, to the recognition of the closeness of God, the recognition of the possibility of catching him in the simplest earthly phenomena and, on the other hand, to the conviction of the perfection and harmony of earthly nature and man.

The concept of unity, characteristic of Russian philosophers, as an ideological center includes the idea of ​​the ideal state of the whole world, a state in which the fragmentation of the world and the alienation of its individual elements from each other are overcome. In this unified state, absolute harmony and integrity would reign in the world, endowing each of its smallest elements with unique meaning and unique beauty. In relation to this ideal state, the current state of the world must be recognized as deeply “flawed”, imperfect, on the one hand, moving away from the ideal, but, on the other, retaining some of its essential features. In the concept of unity, the main and only source of evil and imperfection in the world is separation, the alienation of individual elements from the world, the unified whole. And only due to the persisting, not completely lost interconnections of individual things and phenomena with the world as a whole, do they retain some meaning, some lasting significance, and the degree of their perfection and meaningfulness directly depends on the depth of their connections with the whole world, on the richness of relationships with all surrounding phenomena and events.

This concept was embodied most consistently in Russian philosophy by Vladimir Solovyov. He believed that our world arose as a result of the semi-mystical process of its “falling away” from the ideal unity, due to the liberation of the negative freedom of individual elements of this unity, which led to the unification of elements from each other and the reign of chaos and evil in the emerging world. However, the ideal unity, according to Solovyov, continues to exist, being in relation to our “fallen” and “fallen” world a kind of transcendental basis and goal of its development. This is the divine being, this is God, the meaning of which is expressed only in a limited, imperfect form by all historical religions and churches.

Soloviev, like all Russian philosophy, pays especially great attention to the position of man, humanity in the world and its role in the “fall” of the world and in its “rebirth”, in achieving again the state of ideal unity. Man is a special element of imperfect, disintegrated being, namely the element in which the content of ideal, complete unity is most fully preserved. Man is, as it were, the last “stronghold” of unity within the world, which has broken up into separate unrelated elements; this is the point of meaningfulness and coherence of being that allows being, the world, to preserve grains of its absolute meaning and absolute integrity. By maintaining within himself a mystical relationship with the ideal unity, that is, with God, man saves the entire earthly world in which he exists from complete decay and chaos. By implementing in the world the spiritual ideals of goodness, integrity, harmony that he carries within himself, which he derives from his mystical connection with God, man leads the entire imperfect world to reunite with the ideal unity, to a new, higher integrity and meaningfulness, to union with God . Soloviev, in almost all of his works (with the exception of the later “Three Conversations”), is very optimistic about the prospects of man and the world “led” by him to the perfection; he believes that union with God is not only possible, but will also be achieved by man in his history .

Understanding man as the main and only driving force, leading the world to a state of ideal, complete unity - this is what constitutes the meaning of Solovyov’s idea of ​​God-manhood. On the one hand, this idea contains the conviction of the already existing mystical unity of man with God, or, what is the same thing, the understanding of man as the element that within the earthly world preserves the content of ideal unity, ensures the coherence of the whole world, and protects it from final disintegration . But, on the other hand, the idea of ​​God-manhood contains an awareness of the deep imperfection of both the world in which man exists, and man himself. After all, the world and man are complementary; they cannot be thought of as independent of each other. Therefore, the imperfection of the world is at the same time the imperfection of man, and no matter how perfect a person feels, this feeling deceives him, since his true and final perfection must imply the perfection of the whole world, for which he is the connecting and comprehending center. Therefore, the idea of ​​God-manhood carries within itself not so much a statement of the already existing unity of God and man, but rather a requirement for constant work, constant struggle to achieve the fullness of this unity, that is, the fullness of perfection of both man himself and the whole world.

Despite the fact that Solovyov's philosophical ideas became the indisputable basis for subsequent development, some insightful Russian philosophers saw significant internal contradictions in Solovyov's system. The additions made to this basic concept by Semyon Frank were especially profound. Frank, like Solovyov, argues that in an act of mystical intuition, behind a concrete, particular object or phenomenon, absolute being, absolute unity, is revealed to us. However, Solovyov believed that the absolute unity revealed by mystical intuition exceeds in the richness of its content the content of directly given existence, and this led to a diminishment of the importance of private and finite (objective) existence against the background of absolute existence. Despite the fact that Solovyov sharply opposed the “medieval worldview,” which contrasted earthly existence and divine existence, man and God, he himself did not completely overcome this opposition. Although being exists in the divine unity, thanks to it and in unity with it, the act of mystical unity with God the all-unity is carried out independently of the act of perceiving earthly existence. Soloviev fundamentally distinguishes between these two acts and considers the first of them to be the real basis and source of the second.

Frank has no two independent acts; is a single act of intuition, an act of “living knowledge”, an act of combining consciousness with being, in which two relatively independent moments can only be distinguished conditionally: abstract knowledge, which gives the particular content of experience and thinking, and the mystical perception of the infinitely rich (not yet completed, not yet become) the content of unity. For Solovyov, being, the reality around us, is like a transparent veil, behind which we guess the Absolute, the Existing. For Frank, each element of existence is an open “window” through which we see the light coming from the Absolute. Or, more precisely, each element of being is a source of light, while the Absolute is the light itself, flowing from these particular and limited sources and connecting them. The act of living knowledge lies in the ability not only to see the “sources” of light, but to feel the complete permeation of being with light.

Solovyov's mysticism in a sense revives the ghost of idealism. Instead of the opposition “material - ideal”, the opposition “real (material and ideal) - superreal” arises in it. This mysticism perceives the existence surrounding a person only as a symbol of a superreal principle; in this sense, Solovyov’s worldview can be called mystical symbolism, which accepts the world only relatively, only to the extent of its belonging to a higher, mystical reality. It conceals a kind of “fear” of real existence, fear of real life, before the painful and long process of its “restructuring” and “elevation”. In contrast, Frank’s mysticism is a mystical realism that accepts the whole world and everything in the world, but is not limited to simple acceptance of the given, but requires delving into each element of the world in order to discern the Absolute in it, the entire fullness of being (in the transcendental-immanent act of living knowledge) .

Formulating the most important provisions of his mystical realism, Frank consciously includes it in a long mystical tradition, going from the Pre-Socratics and Plotinus to Nicholas of Cusa, J. Bruno and Jacob Boehme and later refracted in the philosophical systems of Fichte and Schelling. But the most unexpected thing is that he considers the most important exponents of this worldview not so much philosophers as poets. Moreover, it is in poetry that this mentality is expressed most directly and clearly, since the main thing in it is precisely the mystical feeling of the unity of man with the world and God, and not the rational evidence that philosophy strives for. In this context, he mentions three names - Goethe, Rilke and Tyutchev.

Frank strongly objects to Solovyov’s famous article dedicated to Tyutchev, in which Tyutchev is credited with a worldview close to Solovyov’s “mystical symbolism.” Frank interprets Tyutchev's poetry precisely in the spirit of "mystical realism", or, using more familiar terms, in the spirit of mystical pantheism.

The most important feeling expressed in Tyutchev’s poetry is the feeling of man’s unity with the world, nature, and space, and this unity means that the human personality finds nature not dead and alien to itself, but “tuned” to communicate with man. In turn, the personality in its inner world discovers something in tune with nature; the action of the deepest cosmic forces is revealed in the soul. It is this discovery of the objective and at the same time mystical unity of man with nature, the cosmos, that Frank means by the term “mystical realism” of Tyutchev.

And at the same time, this “mystical realism can be called pantheism, because it is associated with a religious feeling of penetration into the essence of God: “... the deep, immediate pantheism that marks Tyutchev’s poetry is - in accordance with the true essence of pantheism - not just worship of the external and visible , as such, but an insight into the most visible invisible higher spiritual principle... On the one hand, in nature itself Tyutchev sees manifestations of the divine spirit: earth and sky, spring and canopy, night and day, thunderstorm and quiet clarity - everything speaks of the highest, mysterious , living and spiritual, or, more precisely, all this at once is these invisible forces; for this consciousness there is nothing only corporeal, superficial, dead. On the other hand, there is just as little of the purely spiritual in its absolute opposition to the bodily and detachment from it, or, at least, the spiritual reaches its highest power, beauty, and spirituality precisely in its incarnation...”

At the same time, Tyutchev’s pantheism turns out to be permeated with deep dynamism and tragedy; within the integrity of cosmic life, uniting nature, man and God, a dualism of struggling forces is revealed, which makes this cosmic life unpredictable, not amenable to unambiguous assessment. This is expressed primarily in the fact that for Tyutchev, immersion in the cosmic element, connection with the cosmos not only enlightens a person, not only bestows bliss and tranquility, as it should be when connecting with the divine principle, but also immerses the person in the element, in the “dark abyss” "and gives rise to despair and melancholy.

The noted feature of Tyutchev’s worldview, thanks to which Frank paradoxically calls this worldview dualistic pantheism, is very characteristic of all Russian philosophy and even more broadly - of all Russian culture. E. Trubetskoy wrote about this, analyzing the first bright and original stage in the development of Russian culture - Russian icon painting of the 12th-15th centuries.

Trubetskoy clearly shows that the most characteristic feature the perception of the world, which lies at the heart of Russian icon painting and at the heart of Russian Orthodoxy itself, is the collision of two polar feelings, two forms of attitude towards the world; and this clash is due to the fact that the world itself is understood as composed of two polar spheres. In the Russian icon, says Trubetskoy, “we find a living, active contact of two worlds, two planes of existence. On the one hand, otherworldly eternal peace; on the other hand, a suffering, sinful, chaotic existence, but striving for peace in God - peace seeking, but not yet finding God."

In the Greek tradition, the most important thing is the contemplation of complete, static perfection and detachment from the realities of the earthly world, in contrast to this, in Russian icon painting the main thing is the idea of ​​​​the dynamic interaction of two spheres of existence, the feeling of the movement of the real, earthly world to the otherworldly, divine world, a passionate desire to connect both of these worlds. The Russian icon painter does not believe in ready-made, already existing perfection that opposes the world; he longs for perfection, which should transform man and the entire earthly world.

Tyutchev’s pantheistic worldview has exactly the same character. Here there is a sense of the divinity of nature and man and an awareness of their sinfulness and imperfection, associated with the paradoxical presence of the beginning of imperfection and the dark element in God himself. Such an idea of ​​God and the world cannot be expressed in a consistent, rational form, but in the forms of poetry it finds adequate expression. In this sense, Tyutchev can rightfully be considered not only as a great poet, but also as an outstanding philosopher.

Frank S. L. Cosmic feeling in Tyutchev’s poetry // Frank S. L. Russian worldview. St. Petersburg, 1996. P. 325.

Trubetskoy E. N. Speculation in colors. Sketches on Russian icon painting // Trubetskoy E. N. The meaning of life. M., 1994. P. 246.