Mr. San Francisco Anafora. Acute sense of crisis of civilization

Tyutchev genre poetchev also obeys the law "Double Being", in it as intensively proceeds by the synthesis of polarities as at the level of her mythopoetics. Yu.N. Tynyanov convincingly proved that Lyric Tyutchev is a late product of reproduction of the genre base of high spectrum poetry of the XVIII century. (solemn solemn, didactic poem) and its rearrangements of the functions of a romantic fragment: "Like a huge Derzhansky formsredundant glass, the ODA has become microscopicskoy, focusing its strength on a small space: "In anddenia" ("There is some hour, in the night, the world silence ... ")» " Dreams " ("Like the Ocean Ball Ground..."), "Cicero" etc. - All this microscopic ODD ". Often there is only one complex metaphor or one detailed comparison - these relics of any poetics are capable of educating completed text. ("November 23, 1865"; "No matter howlast hour ... ", 1867; "Poetry", 1850; "In separationthere is a high meaning ... ", 1851). Aphoricity of the ending, the orientation of the epigram composition with its paradoxical pointedness of thought create a situation in which the components of the uniform thinking are much more efficiently implemented by the artistic semantics. From the archaic style of the XVIII century. Poetry Tyutchev inherited oratoric zashi us ("Not that Manty You, Nature"; "No, Measure is a long-lifestump ", etc.), teachers' intonations and questions("But you see? Having gathered on the road"), « derzhavinskiy »Multiline ("Fragile", "broadly") and compositeepithets ("overcast-bugs"; "fire-alive", "loudspull "," Mallisto-Lilyno "," suffocuous-earth "," Flames(p.). Actually, in Russian poetry of the 1820-1830sTyutchev was far from the first to those openly focused on difficult, archaic forms of vocabulary and syntax. This successfully did Lubomudri poets, in particular the joint venture. Shevyrev. It was believed that such a "rough" syllable is most adapted to transfer distracted philosophical thought. However, Tyutchev, who also belonged at the beginning of the poetic field to the surrounding of Lisomuds, all this toolkit of rhetorical poetics is often concluded in the form of almost notes written "by the way", With characteristic" with lu.tea", As if the tricks started phrases : "No, my whiff to you", "So, I saw again with you", "Soin life there is an instant "," Yes, you kept your word " etc. Such a battle of OD with a romantic fragment gives a completely new quality. "Poetry of thought" It is free to combine the genre memory of various stiletrs in its origin. For example, in the poem " Noon "(end of the 1820s ) We see a complex combination idyllic(Pan, Nymphs, Sweet Dund), either("Flame and clean"heavenly "True") I. egyptian ("Le.nivo melt clouds») Pictures. Created a situation of dialoguedifferent poetic eras, tense Asso arisecate deal of meanings on a relatively small space of landscape sketch.

In general, Tychev's word with an extraordinary expansion invades the semantics of traditional poetic paths and converts it from the inside, forcing the word to vibrate with double shades of meaning. For example, the image " sweet Dre.moth"From the poem" How sweetly dormant garden dark green ... "(1830s ) -

How sweetly dormant garden dark green,

Hug a black night blue;

Through the apple tree, the colors of the rooted,

How sweet shines the month of gold!<...> -

still closely merge with his traditional meaning in the "schoolethical accuracy "Zhukovsky-Batyushkova: Guest, Dream, Contact Lyrical "I" With inexpressible in nature ( cf. Zhukovsky: "How to merge with the cool plant Fimiams! // How sweet in silence at the Bagge jet Pledins! // How quiet the mouse marshmallow on the waters ... "). And at the same time, as the lyrical plot is deployed, this metaphor, without losing poetic associations with the familiar context, begins to identify its connections with the individual artistic world of Tyutchev: byare the images of night, "curtains", "exhaustion", "chaos",in which "wakes up" the strange, frightening the hum of night soundsand votes ... There is a dynamic tension between the traditional and new semantic context of the same words signals. On top of the traditional, erased semanticsenjoy the semantics individually-author.

Undoubted features of genre-style innovation from lyrics and love lyrics Tyutchev, especially late, deliberately the "Last Love" of the poet - Elena Denysheva . All researchers converge in the opinion that this lyrics appearedthere is an unshakable cycle, marked by the unity of newthematic and plot-composite solutions. "E.A. Denisew, - celebrated biographer of the poet of stockings, - introduced to lifethe poet is an extraordinary depth, passion and challenge.And in the verses of Tyutchev, together with this love arose something butwow, a new depth opened, some kind of inflated shamethe livability of feelings and some kind of new, superstitious passion like suffering and the premonition of death ". « Denyshevsky cycle "Tyutchev, which entered such poems like "Last love "," Oh, how murdering we love ... "(1851)," She's Side la on the floor ... "(1858)," She lay in forgetting all day ... "(1864 ) and others, on the one hand, filled with recognizable stamps of romantic love phraseology ("Azure ... cloudlesssouls "," Air Silk Kudrey "," Killed joy "," Palli was ready on my knees, "" I will buy blood in the veins "," you loverarno and flames, "" Your Soul Soul ", etc..), Moreover, almost in confusing taste Benedictova or even a cruel romance, and on the other hand, the melodramaticism of the provisions anticipate the "deceased", on the verge of life and death, the love drama of Romanov Dostoevsky. Yet G.A. Gukovsky, proving similarity "denisian " texts with the poetic of prosaic novel of the second halfXIX. in., noted the mindtyutchev "draw in a short lyric poems the scene in which both participants are given and visually, and with "REVER kami ", and in a complex spiritual conflict" . There was a detailed one (as far as, of course, this is possible within the boundaries of the lyrical genus) Drawing " misanessen », subject background, the role of a psychological gesture ("She was sitting on the floor //And the piles of letters disassembled, // and as the cooled ash, // tookthey are in hand and threw "). To these observations should add intentional obstacles of verse, metric interruptions ("Byspear love"), Creating everyday intonation, as well as the installation on the" Delicacy of lyrical narration. The latter, in particular, is expressed in the constant transitions from the 3rd face to the 1st, from the 1st person of the 2nd within the same time. For example, the narrative in the poem "all day she lay in forgetting ..." about his beloved in the 3rd face, the lyrical hero in the final gives the replica of the heroine itself from her face: "Oh, how I loved all this!", And in the last stanza, likefollowing the words of the dead, suddenly appeals to her on "You": "You loved ...» An extensive-contemplative story about the past eventually acquires the traits of passionate dialoguewith heroines: the event is eating from captivity of death and beforebecomes done now, in front of the reader, in the whole donkeyfishing strength and sharpness of the tragedy experienced. Similar to the change of plans and narrative persons can be seenand in other poems of the Denyshevsky cycle ("In hours gda happens ... ", 1858 ).

So, Poetry Tyutchev is a kind of pro intermediate link between Pushkin's Pushkin Epoch Of the 1830s and the poetry of the new, "Nekrasovsky" stage in the Isto riii Russian literature. In essence, this poetry was a unique artistic laboratory, "interlacing" in its style poetic forms not only of the romantic era, but also the epoch "Lomonosovsko-Derzhavinskaya "And transmitted in concentrated form" results » The development of the Russian verse XVIII - the first third of the XIX century. His great heirs. The Second Birth of Tyutchev Open Nekrasov in 1850, in the list of "Russian minor poets", - Fact almost mystical and, like all mystical, deep law dimensional. It was open to those poet, whose style, proseirchny and "grungy", largely prepared in its owncreativity. But, in fact, this is the fate of Tyutchev that he "UM.rale"And" born " in the history of Russian poetry several times . In the next, already after Nekrasov, once Tyutchev opensVl. Solovyov in his famous critical article of 1895, and he will open it already as a poetmythhustorian ", Having seen the world as a living"current legend "And transmitted it clearvictorical knowledge to its descendants. So Tyutchev at the turn of the centuries is already proclaimed by the"Symbolic schools " Russian poetry. And who knows how much more "open tiy " Tyutchev expect a domestic culture, for a storehousethis truly inexhaustible ...

Critics are often called Tyutchev classic in romanticism. Winged phrases from Tyutchev's poems are still hearing ("I do not understand Russia with ...", "Blessed, who visited this world / in his moments of the fatal ..." and others).

The lyrical hero of Tyutchev's poetry is a doubting, seeking, who is on the edge of the "abyss of the fatal" person aware of the tragic limb of life. Paintingly experiencing a gap with the world, he at the same time asked for the acquisition of unity with being.

In the poem "Shadows of SIZY mixed ..." (1835) we hear melancholic intonation, created by lexical repetitions, gradation and special romantic epithetoma "quiet". Pay attention to the details: the lyrical hero feels the invisible flight of the moth, and the incomprehensibility of a huge dormant world. The microcosm (internal, spiritual world of man) and Macrocosm (the outside world, the Universe) seem to merge together.

The romantic motive of Tyutchev is not associated with life circumstances, is not due to the traditional conflict "Personality - Society", it has, as it is customary to say, the "metaphysical basis". Man alone in the face of eternity, before the secret being. He cannot fully express his thoughts and feelings, because there is no complete correspondence to them in the word language. From here there is so significant for the lyrics of Tyutchev, the motive of poetic silence.

Silent, hide and tai

And feelings and dreams of their ...

"Silentium!"

Beloved Tyutchev Reception - Antiteza. Most often the night and day, earth and sky, harmony and chaos, nature and man, peace and movement are opposed. Contrast, paradoxics of images contribute to the image of the contradictions, which is full of world. "The world of the night of the night" with a special sharpness perceives being, under imaginary peace and the day of the day hides the original chaos.

Many poems of Tyutchev are kept in the form of a poetic fragment and, as a rule, have a symmetrical structure: two, four, six stanz. A similar form not only allows to emphasize the openness of the artistic world, its incompleteness, mumbety, but also implies its integrity, 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 the poem is usually emphasized by a repeat, rhetorical question or exclamation. Sometimes the poem resembles a dialogue of a lyrical hero with himself.

The lexical filling of the poems of Tyutchev is characterized by a combination of stamps of emacient and either poetry, vocabulary neutral and archaic. For the transfer of a special emotional state, visual, auditory and tactile images are mixed.

I see if I hear - and I can not

Imagine such a combination

And hear the whistle of the poloz in the snow

And Swallow Spring Twitter.

From the ancient and German poetry, Tyutchev borrowed the tradition of composite epithets: "Through Cup", "Sad-orphanage" and others. We are not only a description of the phenomenon or object, but also its emotional assessment.

Tyutchev's poems are very musical: repeat, associations and alliteration, anphors and refrains, especially in love lyrics, create their unique melody. No wonder the verses of Tyutchev is written a lot of romances. In addition, the poet uses different poetic sizes within a single poem, which also makes it possible to vary the poetic intonation.

One of the most important features of Tyutchev's lyrics is the "elusiveness" of the subject of the poem. Actually landscape lyrics at the poet a bit: most often the theme of nature is associated with philosophical motifs or the theme of love, the love poem may contain philosophical generalizations.

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

The main features of the poet lyrics are the identity of the phenomena of the external world and the states of the human soul, the universal spirituality of nature. This determined not only the philosophical content, but also artistic features of Tyutchev's poetry. Attracting the images of nature for comparison with different periods of human life is one of the main artistic techniques in poet poems. The favorite Tyutchev reception - personification ("shadows mixed", "the sound fell asleep"). L. Ya. Ginzburg wrote: "The details of the picture drawn by the poet of nature are not descriptive details of the landscape, but the philosophical symbols of the unity and animation of nature"

Tyutchev's landscape lyrics will more precisely call a landscape philosophical. An image of nature and the thought of nature is fused together. Nature, by Tyutchev, led more "honest" life to man without him, than after a person appears in it.

Majesty, the magnificence opens the poet in the world around the world, the world of nature. She is spiritualized, personifies that the most "living life, on which the person will thanks": "It's not that manty you, nature, // not the cast, not a soulless lyric, // there is a soul, it has freedom, // in It has love, there is a language in it ... "Nature in lyrics Tyutchev has two faces - chaotic and harmonic, and depends on a person whether he is able to hear, see and understand this world. In an effort to harmony, the soul of human handles as to salvation, to nature as to God's creation, for it is eternal, natural, full of spirituality.

The world of nature for Tyutchev is a living creature endowed with a soul. The night wind "understandable to the heart of the tongue" tires the poet about the "incomprehensible flour"; The poet is available to "singer of sea waves" and the harmony of "natural disputes". But where is the good? In the harmony of nature or in the chaos lying under her? Tyutchev did not find the answer. "The meaning soul" has ever fought "on the threshold as if double being."

The poet is striving for integrity, to unity between the natural world and the human "I". "All in me, - and I'm in everything" - the poet exclaims. Tyutchev, like Goethe, one of the first raised the banner of the struggle for the holistic feeling of peace. Rationalism reduced nature to the dead. From nature, the mystery was left, the feeling of kinship between man and the spontaneous forces took away from the world. Tyutchev passionately wanted to merge with nature.

And when the poet manages to understand the language of nature, her soul, he reaches the feeling of communication with the whole world: "Everything in me - and I am in everything."

For the poet in the image of nature, the pomp of the southern paints, and the magic of mountain ranges, and the "sad seats" of Central Russia are attractive. But the poet is especially addicted to the water element. Like a third of the poems we are talking about water, sea, ocean, fountain, rain, thunderstorm, fog, rainbow. Furious, the movement of aquatic jet is akin to the nature of the human soul, living strong passions, beaten by high thoughts:

How good you, about the sea night, -

Here is radiant, there is a siem-dark ...

In lunar radiance, as if alive,

Walks and breathes, and it shines ...

In this excitement, in this shine,

All, as in a dream, I am lost standing -

Oh, how would you be in their charm

I would sing my soul my ...

("How good you, about the sea night ...")

Admiring the sea, admiring his magnificence, the author emphasizes the proximity of the natural life of the sea and the incomprehensible depths of the human soul. Comparison "As in the dream" conveys the worship of a person before the greatness of nature, life, eternity.

Nature and man live in one laws. The life of a person is fading with the extinction of the life of nature. In the poem "Autumn Evening" is depicted not only "Evening of the Year", but also "meek", and therefore "bright" wilt in human life:

... and all

That meek smile of faddown

What is essential we call

Divine shortness suffering!

A German romantic ideology called great interest in the twenties of the XIX century, in particular the Schelli philosophy, according to which the world of the soul (microcosmos) is measured with the world of space (Macrocosmos). In overcoming this confrontation, we saw self-realization of the personality, the improvement of the inner world of man.

F. I. Tyutchev, a follower of the philosophy of Lubomududrov, shared the ideas of German natural philosophy. The poet-philosopher is worried about the problems of being, the relationship of man and the universe, the ratio of the world of the roller and the world of Hornstones.

In the center of the artistic world, Tyutchev - awareness of a person on the border of life and death. The poet perceives the world, being as a catastrophe:

When the last hour of nature is trying,

The composition of parts will collapse the earth:

All visible will again cover the water,

And God's Lick will be depicted in them!

Apocalyptic worldview, premonition of an inevitable end - distinctive features of the briefness of the lyrical hero of Tyutchev.

However, with the motive of the catastrophe, the death of the world nevertheless closely merge the motive of the struggle ("two angels"). On the one hand, the struggle is meaningless and useless ("anxiety and labor only for mortal hearts ... // There are no victory for them, for them there is an end"), on the other, the understanding of the impossibility of "victory" does not exclude the need for "struggle."

Another of the stable motives of the lyrics F. I. Tyutchev - the motive of the insight: the life of the human soul, in principle the identity of space of space, is a constant search, and a person can approach the secret hidden in the depths of space.

Tyutchev widely uses such a fine-expressive agent as the epithet: one method definition clearly describes the image, makes it tangible, understandable to the reader. Thus, in the first storm of the poem "Shadows of SIZY mixed ..." Dana Picture of twilight, the upcoming night. This twisted edge of the transition ("SIZY") is caught when the world around the world dissolves in the dark.

In relation to Tyutchev's epithets, such a definition was entrenched as a "split epithe". Often, one definition combines words distant (and sometimes opposite) in meaning. The poem addressed to Fetu begins as follows: "It was different from nature // instinct prophetic-blind." "Blazeno-fatal" (day), "painful-bright" (sleep) - inside the two next to those supplied, the romantic "dowemir" is implemented in one whole words.

As a rule, the poet uses parallelism, comparisons for the image of the full dimensionality of man and the universe, but sometimes epithets are performed. So, in the poem "What are you walked, wind night?" The "night" epithet is endowed with "wind", and "soul": mapping of images occurs at the epithet level.

Tyutchev comparisons are also non-traditional. The usual comparison suggests that less well-known is compared with a more familiar, visual. In Tyutchev, on the contrary, its comparison can be called "back comparison": "Mysteriously, as on the first day of creating ...", "White mountain shines, as an unearthly". The goal of the Tyutchev comparison is not to clarify the image, but in its deepening. In some cases, the poet openly does not call the subject that compares - the reader can only guess: in the poem "The shadows of the SIZY mixed up ..." The soul of a person as if compared with the vessel ("Dusk, ... Wasy deep into my soul"); Destruction is an exquisite disorder that the mythical hero wants to "taste".

In addition to epithets and comparisons, Tyutchev widely uses a metaphor, which, as a rule, exposes the tragic essence of being, expressed in the most everyday and everyday concepts: "If neither the last hour - // that incomprehensible for us // East of the mortal suffering, - // For the soul still terrible // Follow, as dying out in it // All the best memories ... "Thus, the fading of the soul, in which the" all the best memories "(metaphor) is worse than the" Estims of mortal suffering "(comparison).

A distinctive feature of the artistic world Tyutchev is a deification of nature. Nature is perceived by a poet as a kind of living being. Pantheism Tyutchev relates to his lyrics with natural philosophy. A huge number of examples of using such a fine-expressive means are not surprising. In the poem "Spring water", dedicated to the change of seasons, about the "waters" it is said that they are "run ... and say"; The poet invests a direct speech in their "mouth".

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