Before you is an essay on the topic "The main motives, themes and images of the lyrics of F. I. Tyutchev." The essay is designed for senior grades, but can also be used in grade 6 when preparing your own essay.

The main motives, themes and images of the lyrics of F. I. Tyutchev

The great Russian poet Fyodor Ivanovich Tyutchev left a rich creative legacy to his descendants. He lived in an era when Pushkin, Zhukovsky, Nekrasov, Tolstoy worked. Contemporaries considered Tyutchev the smartest, most educated person of his time, called " real European". From the age of eighteen, the poet lived and studied in Europe, and in his homeland his works became known only in the early 50s of the XIX century.

A distinctive feature of Tyutchev's lyrics was that the poet did not seek to remake life, but tried to understand its secrets, its innermost meaning. That's why most his poems are permeated with philosophical thoughts about the mystery of the universe, about the connection of the human soul with the cosmos.

Tyutchev's lyrics can be divided thematically on philosophical, civil, landscape and love. But in each poem, these themes are closely intertwined, turning into a work of surprisingly deep meaning.

The civic lyrics include the poems " December 14th, 1825», « Above this dark crowd...», « The last cataclysm" and others. Tyutchev witnessed many historical events in Russian and European history: war with Napoleon, revolutions in Europe, Polish uprising, Crimean War, the abolition of serfdom in Russia and others. As a state-minded person, Tyutchev could compare and draw conclusions about the development paths of different countries.

In the poem " December 14th, 1825”, dedicated to the uprising of the Decembrists, the poet angrily denounces the autocracy, which corrupted the ruling elite of Russia:

The people, shunning treachery,

Swears your names -

And your memory is from posterity,

Like a corpse in the ground, buried.

Poem " Above this dark crowd ... " reminds us of Pushkin's freedom-loving lyrics. In it, Tyutchev is indignant " corruption of souls and emptiness » in the state and expresses hope for a better future:

... When will you rise, Freedom,

Will your golden beam shine?

Poem " Our century» refers to philosophical lyrics. In it, the poet reflects on the state of the soul of a contemporary person. There is a lot of strength in the soul, but it is forced to remain silent in the conditions of lack of freedom:

Not the flesh, but the spirit has become corrupted in our days,

And the man is desperately longing ...

He rushes to the light from the night shadow

And, having found the light, grumbles and rebels.

According to the poet, a person has lost faith, without the light of which the soul " parched ", and his torment is unbearable. In many poems, the idea is heard that a person has not coped with the mission entrusted to him on Earth and that Chaos should swallow him up.

Landscape lyrics by Tyutchev full of philosophical content. The poet says that nature is wise and eternal, it exists independently of man. Meanwhile, it is only in her that he draws strength for life:

So connected, united from the ages

union of consanguinity

Intelligent human genius

With the creative power of nature.

Tyutchev's poems about spring spring waters" and " spring thunderstorm became very famous and popular. The poet describes the stormy spring, the revival and joy of the emerging world. Spring makes him think about the future. The poet perceives autumn as a time of sadness, withering. It sets you up for reflection, peace and farewell to nature:

Is in the autumn of the original

Short but wonderful time -

The whole day stands as if crystal,

And radiant evenings.

From autumn, the poet moves immediately to eternity:

And there, in solemn peace

Undressed in the morning

Shining white mountain

Like an unearthly revelation.

Tyutchev was very fond of autumn, no wonder he says about it: “ Last, last, charm ».

In the poet's love lyrics, the landscape is often connected with the feelings of the hero in love. So, in a wonderful poem "I met you…" we read:

Like late autumn sometimes

There are days, there are hours

When it suddenly blows in the spring

And something stirs in us.

To the masterpieces of Tyutchevskaya love lyrics applies "Denisevsky cycle", dedicated to his beloved E. A. Denisyeva, relations with which lasted 14 years until her death. In this cycle, the poet describes in detail the stages of their acquaintance and subsequent life. Poems are a confession, as it were personal diary poet. Latest Poems, written on the death of a loved one, are shaking with tragedy:

You loved, and the way you love -

No, nobody has succeeded yet!

Oh Lord! .. and survive this ...

And the heart was not torn to shreds ...

Tyutchev's lyrics have rightfully entered the golden fund of Russian poetry. It is full of philosophical thoughts and is distinguished by the perfection of form. Interest in the study of the human soul made Tyutchev's lyrics immortal.

I hope this essay on Tyutchev's lyrics helped you in writing your own composition.

Analysis of the poem - Day and night

F. I. Tyutchev’s poem “Day and” is one of the best works Russian philosophical lyrics. It was very highly appreciated by contemporaries: L. N., who always admired Tyutchev's talent, made the following mark on the margins of his publication next to this poem: “Depth! The beauty!".

This poem was printed no later than the beginning of 1839 and published in the XIV volume of the Sovremennik magazine in the same year. In Sovremennik in 1836, Tyutchev’s “Poems sent from Germany” were already printed, with the signature “F. T.". , publishing these poems in the third and fourth volumes of his journal, spoke of them with enthusiasm.

So, the analyzed poem:

To the world of mysterious spirits,

Above this nameless abyss

The cover is thrown over with gold-woven

High will of the gods.

Day - this shining cover -

Day - earthly revival

Souls of the aching healing,

Friend of man and gods!

Came from the fatal world

The fabric of the fertile cover,

Tearing off, throwing away...

And the abyss is naked to us

With your fears and darkness

And there are no barriers between her and us -

That is why we are afraid of the night.

The poem "Day and Night" is written in iambic tetrameter - the most neutral and traditional poetic size Russian poetry; most Russian poems of the 19th century were written in iambic tetrameter; Tyutchev's lyrics are no exception, in which this meter predominates. The poem consists of two eight lines - a structure very common in Tyutchev, found in many of his poems, for example: “Fountain”, “What are you howling about, the night wind ...”, “Cicero”, “The stream thickened and dims ...”, “Shadows the blue ones have shifted…” and others. Such a strophic structure most accurately reflects the antithesis of "day" and "night" - the main images of the poem, which the poet speaks about in the first and second stanzas, respectively. Each octet can be divided into two quatrains with encircling rhyme; each of the four resulting quatrains is a complete sentence. Interestingly, both stanzas end with an exclamatory intonation; this is typical for Tyutchev (for example, the poems “Cicero”, “What are you howling about, the night wind ...”). This is explained by the fact that Tyutchev in many of his poems acted as an orator addressing the reader with a solemn speech; No wonder the poem ends with an aphoristic conclusion: "That's why we are afraid of the night!".

As already mentioned, the poem has an encircling rhyme; the first and fourth lines of each quatrain end with a masculine ending, the second and third lines with a feminine one. A similar structure is found in the poems "Cicero", "Fountain", also sustained in a solemn declamatory intonation. It is necessary to pay attention to the fact that in the first stanza all male endings (the first, fourth, fifth and eighth lines) rhyme with each other: spirits - gods - cover - gods, and the fifth and eighth lines are interconnected by a tautological rhyme. As for the remaining four lines, the consonants coincide in them: nameless - golden-woven, revival - healing. In the second stanza, stressed vowels coincide in each of the quatrains: night - away, fatal - cover (vowel - o-); naked - scary, in the dark - by us (vowel - a-).

The poem has a very sophisticated sound writing, as a literary device, one should consider the abundance of lexical repetitions and cognate words: it seems that the poet wants to emphasize the main images of the poem, which is again connected with Tyutchev's oratorical style.

The sophistication and severity of the poetic form make the poem "Day and Night" one of the best in Russian poetry.

The theme of the poem - the opposition of day and night - is traditional for romantic poetry. In this poem, Tyutchev develops and deepens it. If we compare the interpretation of the images of day and night in this poem with how the poet reveals them in his other poems, then we can see that in this poem these images are abstract and not detailed. For example, in the poem “How the ocean embraces the globe of the earth ...” the poet speaks of dreams, comparing a dream with a journey through the mysterious ocean:

Already in the pier the magic boat came to life;

The tide is rising and taking us fast

Into the immensity of dark waves.

There is none of this in Day and Night; Tyutchev describes the night concisely, without using detailed metaphors and comparisons.

The day in this poem is a golden veil thrown over the abyss by the high will of the gods - that ancient chaos that Tyutchev wrote about in many of his poems: “What are you howling about, the night wind ...”, “Shadows of gray have shifted ...”, “Like the ocean embraces the globe of the earth…” and others. It is characteristic that Tyutchev in his poem, as it were, “turns inside out” the traditional metaphorical image of the cover of the night, turning it into the cover of the day. Day is something artificial, secondary, created by the gods (of course, pagan gods appear here, and not christian god; this is typical of all Tyutchev's lyrics of the 30s - 40s of the XIX century) for the benefit of himself and people:

Day, earthly revival,

Souls of the aching healing,

Friend of men and gods!

Gods and people in this poem are not opposed to each other, but, on the contrary, are united in their fear of the original chaos.

It should be noted that there is not a single verb in the first octagon; the only action - the gods throw the cover of the day over the abyss - is expressed by the passive participle: "The cover is thrown over with gold-woven." The day is thus lifeless, inactive, absolutely passive.

In sharp contrast, the beginning of the second stanza sounds:

But the day fades - the night has come;

Came - and from the fatal world

The fabric of the fertile cover,

Tearing off, throwing away...

There are many verbs here, and they denote sharp actions: having plucked, discarded. The night is active, active, the day recedes before its force. It is important to point out that in the poem "Day and Night" there is no mention of twilight at all - the most important image of romantic poetry. If, for example, in the poem “The gray-gray shadows have shifted ...”, the poet depicts a gradual, almost imperceptible flow of day into night, then in “Day and Night” this transition is sharp, instantaneous, violent.

In the poem “Day and Night”, two worlds are opposed to each other: the daytime world, the world of earthly and gods, the world that exists under the cover of the day, and another world, the world of mysterious spirits, the fatal world, hidden during the day by a golden woven cover of grace, and at night exposed and coming into his own. This second world is stronger and older than the world day, it is full of unknown and terrible secrets, spirits, which are afraid of both people and gods. It is interesting that, wanting to emphasize the originality, the primacy of the nameless abyss, chaos, about which in another poem Tyutchev says: “darling” (“What are you howling about, night wind ...”), the poet only calls him the world. This world is terrible with its original incomprehensibility and mystery, with its inevitable victory over the earthly (it is not for nothing that it is called fatal). During the day, chaos and mystery are separated from “humans” and gods by a cover, while at night “the abyss ... is naked ... and there are no barriers between it and us.” The aching soul, healed during the day, again suffers from fear and uncertainty at night.

The traditional romantic opposition of a dull and boring day to a mysterious night gets a new sound from Tyutchev in connection with the theme of chaos, the abyss. The day, according to Tyutchev, is beautiful and fertile (this is how it is in most of his poems), he is “a friend of men and gods”, “healing the soul of the aching soul”, but he is powerless before the night with its fears and gloom, at the same time attracting people (recall the already mentioned Tyutchev's poem - “The gray-gray shadows have shifted ...”, where the poet directly says: “Let me taste destruction”, - realizing that there is no other way to join the secrets of the universe) and inspire them with horror.

In the poem, there are archaisms characteristic of Tyutchev: spirits (old pronunciation), earthly, aching, this, fogs (the word “mist” in the Tyutchev era was usually not used in plural), between her and us. All this, as well as the sublime vocabulary: the cover, golden-woven, brilliant, fertile, emphasizes the solemn declamatory, oratorical style of the poem.

The day is only a cover, only a thin golden veil. The minutes when it melts, dissolving, disappearing, and there is the time of the onset of true, primordial being. It is related to the abyss, infinity, bottomlessness, infinity and can never be squeezed into the framework of the day. Night is the fundamental principle of all things, it contains a story about time, but its motive is eternity, it contains images of everything that was, and a reflection of what is, and the magic of non-real events, and the creation of chaos and fear, and the path to the World of Dreams , wonderful limit. The night is bright. Left alone with her, like “a homeless orphan, face to face in front of a dark abyss,” you can for a moment, for a moment - so sadly fleeting in Tyutchev, and so blissfully endless in Fet - deprivation of reason. But when he returns, the black abyss will no longer be terrible and alien, because, if you think about it, everyone sees something of their own in the night, everyone “knows the heritage of the family”. But in the darkness there is also death, the hour of inevitable death “sneaks” in it, the feeling of the transience of life and the eternal, inevitable, endless non-existence awaiting ahead.

Tyutchev saw and felt in nature not only the divine basis. He felt that somewhere here, in the abyss lurking beyond the borders of the beautiful Earth, there was rebellion, disorder, and it was not known what wrong step, what our movement was capable of awakening him. We live as if surrounded by volcanoes: quiet forests and gardens are spread on Earth, a civilization has been erected on it, but volcanoes that have died out millions of years ago and become the focus of chaos can erupt with unstoppable flows of all-destroying lava. The world is not quiet, not peaceful, it is, in its essence, tragic, and it is best to know it in “fatal moments”, at moments when night-darkness prevails over the world, which was before the creation of light and the world and will remain after as the sun dies, fading, flowing red rays.

The night revealed before us the depth of the soul of the world; but she not only frightened us - she also made us wiser, made us look into her eyes. At night, a mysterious mystical night, everything is accepted by another - isn't it true? - view. The living language of nature is heard in the midnight silence, the true world is the world of the reigning lunar darkness. But is it not because people have not been able to fully penetrate the mystery of the night, its image is inseparable for us from the concept of universal evil, is associated with the flowering and triumph of dark forces; at night, people commit terrible, inexplicable acts that they are unable to understand with the departure of night madness, as if darkness itself, unrestricted by anything, inspired them to do what it pleased. At night, drawn by the moon, people walk in a dream with open eyes, not seeing and not remembering, and not realizing, they go to the voice of the night, which the Word whispered in an ethereal song, after which they are ready to go through sleep and through darkness itself, according to that side of the mirror.

The poem "Day and Night" is one of the best in Tyutchev's lyrics. It clearly shows the penetration of the poet-philosopher into the mysteries of being - what Tyutchev considered the main task of poetry. Traditional romantic themes, by the end of the 30s of the XIX century. has largely lost its relevance (in less than ten years it will write parodies of Lermontov and Zhukovsky), in Tyutchev's poems it acquires new life in the light of the eternal problems of being developed by the poet.

The lyrics of F.I. Tyutchev reflected his dual understanding of the world, his understanding of the universe as a struggle between two elemental principles, in which world harmony and balance are born. Tyutchev's understanding of day and night also fits into the concept of this duality of the universe.

Day and night are, as it were, different “poles”, contrasting states of life. In Tyutchev's lyrics, the night acquires a connection with something ancient and unknown, chaotic; night is a mystery, metaphysics and the abode of miracles. Day is a more mundane level of existence, although in a number of poems Tyutchev also sees the presence of transcendence during the day - but much less often than at night.

These features of the perception of day and night by Tyutchev were reflected in his poem “Day and Night”. One of the best works of Russian philosophical lyrics, it was highly appreciated by contemporaries. The theme of the poem - the opposition of day and night - is traditional for romantic poetry. In this poem, Tyutchev develops and deepens it. If we compare the interpretation of the images of day and night in this poem with how the poet reveals them in his other poems, then we can see that in this poem these images are abstract and not detailed.

The day in this poem is a golden veil thrown over the abyss by the high will of the gods - that ancient chaos that Tyutchev wrote about in many of his poems. In the poem “Day and Night”, two worlds are opposed to each other: the daytime world, the world of earthly and gods, the world that exists under the cover of the day, and another world, the world of mysterious spirits, the fatal world, hidden during the day by a golden woven cover of grace, and at night exposed and coming into his own.

Nature for Tyutchev is not only the delight of the soul, but also a means by which one can learn the philosophical questions of the universe. To open another facet of this poet, the face of a philosopher, it is worth reading the verse “Day and Night” by Tyutchev Fedor Ivanovich.

In the work, the poet gave an original romantic interpretation of such a phenomenon familiar to us as the change of day and night. Already in the first lines, the author hints at the divine fate in the existence of the world. It is the gods who throw a protective cover over the world, which envelops the "mysterious abyss" with fertile warmth and care. Further, the poet tries to explain why the day is a friend of "men and gods", and the night is a time of fears. The text of Tyutchev's poem "Day and Night" shows the eternal struggle of the times of the day: the day covers the world with a golden veil, and the night rips it off. This fight goes on endlessly and there are no winners. The composition of the verse is consonant with its theme and idea, it reflects the process of changing day and night. The image of the abyss, which is mentioned in both stanzas, is interesting. By this image, we understand the Universe, which holds many mysteries, therefore the author characterizes it with the epithet "nameless".

Verse is taught in literature classes in high school, paying attention to its philosophical motives. You can read the text of the verse online or download it in full on our website.

To the world of mysterious spirits,
Above this nameless abyss,
The cover is thrown over with gold-woven
High will of the gods.
Day - this brilliant cover
Day, earthly revival,
Souls of the aching healing,
Friend of men and gods!

But the day fades - the night has come;
Came - and from the fatal world
The fabric of the fertile cover
Tearing off, throwing away...
And the abyss is naked to us
With your fears and darkness
And there are no barriers between her and us -
That's why we are afraid of the night!

Great about verses:

Poetry is like painting: one work will captivate you more if you look at it closely, and another if you move further away.

Little cutesy poems irritate the nerves more than the creak of unoiled wheels.

The most valuable thing in life and in poetry is that which has broken.

Marina Tsvetaeva

Of all the arts, poetry is most tempted to replace its own idiosyncratic beauty with stolen glitter.

Humboldt W.

Poems succeed if they are created with spiritual clarity.

The writing of poetry is closer to worship than is commonly believed.

If only you knew from what rubbish Poems grow without shame... Like a dandelion near a fence, Like burdocks and quinoa.

A. A. Akhmatova

Poetry is not in verses alone: ​​it is spilled everywhere, it is around us. Take a look at these trees, at this sky - beauty and life breathe from everywhere, and where there is beauty and life, there is poetry.

I. S. Turgenev

For many people, writing poetry is a growing pain of the mind.

G. Lichtenberg

A beautiful verse is like a bow drawn through the sonorous fibers of our being. Not our own - our thoughts make the poet sing inside us. Telling us about the woman he loves, he delightfully awakens in our souls our love and our sorrow. He is a wizard. Understanding him, we become poets like him.

Where graceful verses flow, there is no place for vainglory.

Murasaki Shikibu

I turn to Russian versification. I think that over time we will turn to blank verse. There are too few rhymes in Russian. One calls the other. The flame inevitably drags the stone behind it. Because of the feeling, art certainly peeps out. Who is not tired of love and blood, difficult and wonderful, faithful and hypocritical, and so on.

Alexander Sergeevich Pushkin

- ... Are your poems good, tell yourself?
- Monstrous! Ivan suddenly said boldly and frankly.
- Do not write anymore! the visitor asked pleadingly.
I promise and I swear! - solemnly said Ivan ...

Mikhail Afanasyevich Bulgakov. "The Master and Margarita"

We all write poetry; poets differ from the rest only in that they write them with words.

John Fowles. "The French Lieutenant's Mistress"

Every poem is a veil stretched out on the points of a few words. These words shine like stars, because of them the poem exists.

Alexander Alexandrovich Blok

The poets of antiquity, unlike modern ones, rarely wrote more than a dozen poems during their long lives. It is understandable: they were all excellent magicians and did not like to waste themselves on trifles. Therefore, for each poetic work of those times, the whole Universe is certainly hidden, filled with miracles - often dangerous for someone who inadvertently wakes dormant lines.

Max Fry. "The Talking Dead"

To one of my clumsy hippos-poems, I attached such a heavenly tail: ...

Mayakovsky! Your poems do not warm, do not excite, do not infect!
- My poems are not a stove, not a sea and not a plague!

Vladimir Vladimirovich Mayakovsky

Poems are our inner music, clothed in words, permeated with thin strings of meanings and dreams, and therefore drive away critics. They are but miserable drinkers of poetry. What can a critic say about the depths of your soul? Don't let his vulgar groping hands in there. Let the verses seem to him an absurd lowing, a chaotic jumble of words. For us, this is a song of freedom from tedious reason, a glorious song that sounds on the snow-white slopes of our amazing soul.

Boris Krieger. "A Thousand Lives"

Poems are the thrill of the heart, the excitement of the soul and tears. And tears are nothing but pure poetry that has rejected the word.

History of creation and general characteristics Poems "Day and Night"

Poem F.I. Tyutchev "Day and Night" is one of the best works of Russian philosophical lyrics. It was highly appreciated by contemporaries: L. N. Tolstoy, who always admired Tyutchev's talent, made the following note on the margins of his publication next to this poem: “Depth! The beauty!".

This poem was printed no later than the beginning of 1839 and published in the XIV volume of the Sovremennik magazine in the same year. In Sovremennik in 1836, Tyutchev's "Poems sent from Germany" were already printed, with the signature "F. T.". Pushkin, publishing these poems in the third and fourth volumes of his journal, spoke of them with enthusiasm.

So, the analyzed poem:

To the world of mysterious spirits,

Above this nameless abyss

The cover is thrown over with gold-woven

High will of the gods.

Day - this shining cover -

Day - terrestrial revival

Souls of the aching healing,

Friend of man and gods!

But the day fades - the night has come;

Came from the fatal world

The fabric of the fertile cover,

Tearing off, throwing away...

And the abyss is naked to us

With your fears and darkness

And there are no barriers between her and us -

That is why we are afraid of the night.

The poem "Day and Night" is written in iambic tetrameter - the most neutral and traditional poetic size of Russian poetry; most Russian poems of the 19th century were written in iambic tetrameter; Tyutchev's lyrics are no exception, in which this meter predominates. The poem consists of two eight lines - a structure very common in Tyutchev, found in many of his poems, for example: "Fountain", "What are you howling about, the night wind ...", "Cicero", "The stream thickened and fades ... ”,“ The gray-gray shadows have shifted ... ”and others. Such a strophic structure most accurately reflects the antithesis of "day" and "night" - the main images of the poem, which the poet speaks about in the first and second stanzas, respectively. Each octet can be divided into two quatrains with encircling rhyme; each of the four resulting quatrains is a complete sentence. Interestingly, both stanzas end with an exclamatory intonation; this is typical for Tyutchev (for example, the poems "Cicero", "What are you howling about, the night wind ..."). This is explained by the fact that Tyutchev in many of his poems acted as an orator addressing the reader with a solemn speech; No wonder the poem ends with an aphoristic conclusion: "That's why we are afraid of the night!".

As already mentioned, the poem has an encircling rhyme; the first and fourth lines of each quatrain end with a masculine ending, the second and third lines with a feminine one. A similar structure is found in the poems "Cicero", "Fountain", also sustained in a solemn declamatory intonation. It is necessary to pay attention to the fact that in the first stanza all male endings (the first, fourth, fifth and eighth lines) rhyme with each other: spirits - gods - cover - gods, and the fifth and eighth lines are interconnected by a tautological rhyme. As for the remaining four lines, the consonants coincide in them: nameless - golden-woven, revival - healing. In the second stanza, stressed vowels coincide in each of the quatrains: night - away, fatal - cover (vowel -o-); naked - scary, in the dark - by us (vowel -a-).

The poem has a very sophisticated sound writing, as a literary device, one should consider the abundance of lexical repetitions and cognate words: it seems that the poet wants to emphasize the main images of the poem, which is again connected with Tyutchev's oratorical style.

The sophistication and severity of the poetic form make the poem "Day and Night" one of the best in Russian poetry.