Great about poetry:

Poetry is like painting: another work will captivate you more if you look at it up close, and another if you go further away.

Small cutesy poems irritate the nerves more than the creak of greasy wheels.

The most valuable thing in life and in poetry is that which fell through.

Marina Tsvetaeva

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

Humboldt W.

Poems work well if they are created with spiritual clarity.

Writing poetry is closer to worship than is commonly believed.

If only you knew from what rubbish poetry grows without knowing shame ... Like a dandelion by the fence, Like burdocks and quinoa.

A. A. Akhmatova

Poetry is not in verses alone: ​​it is poured everywhere, it is around us. Look at these trees, at this sky - beauty and life blows from everywhere, and where there is beauty and life, there is poetry.

I. S. Turgenev

For many people, writing poetry is a mental growth disease.

G. Lichtenberg

A beautiful verse is like a bow drawn along the sonorous fibers of our being. Not our own - our thoughts make the poet sing within us. As he tells us about the woman he loves, he delightfully awakens our love and our sorrow in our souls. He's a magician. By understanding him, we become poets like him.

Where graceful verses flow, there is no room for quibbling.

Murasaki Shikibu

I am turning 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 a 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! - asked the visitor pleadingly.
- I promise and I swear! - Ivan said solemnly ...

Mikhail Afanasevich Bulgakov. "The Master and Margarita"

We all write poetry; poets differ from others only in that they write them in words.

John Fowles. "The mistress of the French lieutenant"

Every poem is a blanket stretched out over the edges of a few words. These words shine like stars, because of them the poem exists.

Alexander Alexandrovich Blok

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

Max Fry. "Chatty Dead"

One of my clumsy hippopotamuses-poems I attached such a paradise tail: ...

Mayakovsky! Your poems do not warm, do not worry, do not infect!
- My poems are not a stove, not the 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 - chase critics. They are just pitiful slips of poetry. What can a critic say about the depths of your soul? Do not let his vulgar palpating hands go there. Let the poems seem to him an absurd hum, a chaotic heap of words. For us, this is a song of freedom from boring reason, a glorious song that sounds on the snow-white slopes of our amazing soul.

Boris Krieger. "Thousand Lives"

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

Rustle

Streams in the unsteady reeds.

An imperturbable system in everything

Complete harmony in nature, -

Only in our ghostly freedom

We recognize the discord with her.

Where did the discord come from?

And why in the general choir

The soul is not singing that the sea,

Other editions and variants

3 And the [quiet] Musiki rustle

After 12 And from earth to extreme stars

Everything is unanswered to this day

Voice in the wilderness

A desperate protest soul?

Autograph - RSL. F. 308. K. 1. Unit. xp. 6.

COMMENTS:

Autograph - RSL. F. 308. K. 1. Unit. xp. 6.

Lists - Muran. album(p. 125–126), with a note: "May 11, 1865"; Album Tyutsch. - Birileva(p. 40), with the same date.

First publication - RV. 1865.Vol. 58. August. P. 432. Entered into Ed. 1868. P. 215; Ed. SPb., 1886. P. 276; Ed. 1900. P. 279.

Printed by list Muran. album.

Draft autograph. The 3rd line originally looked: "And the quiet Musiky rustle." The word "quiet" has been crossed out and the word "slender" is written at the top. There is a 4th stanza, which is absent in both lists and printed texts, starting with Ed. 1868.

As an epigraph, a line of the Roman poet Ausonius (IV century BC) was chosen, with the replacement of "in" instead of "et": "... either his memory betrayed him, or he had a publication with this version in his hands," explains A. I. Georgievsky in his work "Tyutchev in 1862-1866" (quoted from: Tyutsch. in rec. P. 200). Georgievsky reports that he was forced to apply for information to the professor of St. Petersburg University I.I.Kholodnyak, who brought full text verse of Ausonius:

Est et arundineis modulatio musika ripis,

Cumque suis loquitur tremulum comapinea ventis

("And the reed-covered shores are characterized by musical harmony, and the shaggy tops of the pines, trembling, speak with their wind" - lat.). Ed. 1868, Ed. SPb., 1886 mistakenly typed the epigraph as the title of the poem.

PB follows the autograph, keeping all 16 lines of poetry. Regarding the fourth stanza, Georgievsky wrote: “When and by whom and for what reasons this stanza was omitted from print media, unfortunately, I did not have the opportunity to ask Tyutchev himself about this, but it may very well be that he did not know anything about this pass in those publications that appeared during his lifetime. Perhaps our then censorship was against the third verse in this stanza, as borrowed from Holy Scripture, as well as against the fourth verse, since the soul of a Christian should not fall into despair, nor protest against the dictates of Heaven, and perhaps the poet himself found some ambiguity and uncertainty in this stanza, some inconvenience to quote words from Holy Scripture is not in that sense, as they were said, or found this whole stanza overly gloomy in its content; but undoubtedly, it fully corresponded to his then mood, in which he was ready to desperately protest against the premature death of the creatures he loved so much (E. A. Denisieva, “ last love"Tyutchev, who died in 1864, and their two young children - Lyolya and Kolya, who died in early May 1865 - Ed.- Ed.), by her very birth, which caused so much grief to many people "( Tyutsch. in rec. P. 200). The poem was born after the funeral of little Lyolya and Kolya. Marie, the half-sister of EA Denisieva, was "a great consolation and joy" to Tyutchev in those days, Georgievsky recalls. “The weather was wonderful, which often happens in St. Petersburg in the first half of May,” he wrote, “and he and Fyodor Ivanovich in an open carriage went now to the Volkovo cemetery, to the graves of both Lel and Kolya, now to the Islands. On one of these trips, Fyodor Ivanovich, on what happened in his pocket, a piece of note paper, sitting in a carriage, wrote in pencil for Marie his beautiful poem with the epigraph: "Est in arundineis modulatio musika ripis ..." ( Tyutsch. in rec. P. 199). The fourth stanza did not appear in Ed. 1868 most likely with Tyutchev's knowledge; she is also absent in the lists made by the poet's daughter. The inaccuracy of the rhyme could also play a role: "stars" - "protest" (although, of course, "stars" were read from e- not e).

Regarding the first appearance of the poem in print, IS Aksakov wrote to Ye. F. Tyutcheva: “In the Russian Bulletin, in the last book, the poems of Fyodor Ivanovich were published. Beautiful poems, full of thoughts, I do not like one word in them, foreign: protest ”( Last love. P. 60). “Apparently,” notes K. V. Pigarev, “Aksakov’s opinion was taken into account by Tyutchev: in MF Birileva’s list, the last stanza ending with the words“ protest ”is absent. There is no reason to think that the poet's daughter would arbitrarily decide to shorten this stanza. At the same time, it is also obvious that the list precedes Izd. 1868, and not vice versa ”( Lyrics I. P. 423-424). However, in Ed. 1984(textual preparation of the text was carried out by Pigarev) the poem is printed with the 4th stanza (see p. 202).

B. M. Kozyrev expressed disagreement with the opinion of I. S. Aksakov: “One can regret that in the publication of Literary Monuments the last stanza was removed from the text for the sake of Aksakov’s opinion. The shrillness of the stylistic dissonance of this stanza: "And from the earth to the extreme stars / Everything is still unanswered / The voice of one crying in the desert, / A desperate protest of the soul" - deeply corresponds to the tragic content of the poem. And with its disappearance, all the tragedy, the whole meaning of this thing disappeared, which was a cry about the "abandonment" of a person in a musically harmonious, but alien to him Universe "( LN-1. P. 87).

“Here the reader finds, with the help of the commentary, a purely Tyutchev amalgam of quotations from Ausonius, the book of the prophet Isaiah from the Bible and Pascal's“ Thoughts ”. In addition, Gregg discovered in the 3rd stanza a paraphrase from Schiller ("Die Räuber", IV, 5).

To all these sources, I would add, perhaps, two more: the Pythagorean-Platonic doctrine of world harmony ("An imperturbable system in everything / Complete harmony in nature ...") and, finally, in a paradoxical contrast to this philosophy, the expression "desperate protest ", As if descended from the pages of radical journalism of the 60s. And all together there is a real Tyutchev creation. Along with many other elements, it (like a number of his other "purely philosophical", that is, built more on reflection than on poetic intuition of things) contains attacks against the rationalist, Cartesian-Spinozist idea of ​​nature as a soulless mechanism "(there same).

L. N. Tolstoy marked the poem with the letters “T. G.!" (Tyutchev. Depth!).

Interpreting the poem, V. Ya. Bryusov wrote: “But man is not only an insignificance, a small drop in the ocean of nature, but also a disharmonious beginning in it. A person seeks to strengthen his isolation, his separateness from the general world life, and thus introduces discord into it "(Bryusov V. Ya. F. I. Tyutchev. The meaning of his work // Bryusov V. Ya. Collected works: In 7 volumes M., 1975.T. 6.S. 197).

VF Savodnik noted: “Nature lives its own special, integral and self-sufficient life, full of beauty and grandeur and harmony, but alien to everything human and indifferent to it. It is this wholeness and completeness of being that a person does not have, who is not given to merge with nature, to join the mysterious and beautiful world life. The poet, with sad bewilderment, stops before the question of this discord between man and nature, ponders its causes ”( Savodnik. P. 187).

“The original sin is in the primordial egoism of man,” D.S.Darskiy asserted. - It is he who prevents you from entering the consonant structure of nature. Man has distinguished himself from nature. Exaggeratedly attached to his isolation, he broke away from the unanimous wholeness of the universe and persists in a weak self-assertion. In a person there is neither response nor participation in universal life, and he sounds in an incongruous dissonance in the general chorus "( Darsky. P. 124).

According to D. S. Merezhkovsky, Tyutchev at first thought that "in the human world - lies and evil, but in the spontaneous world - truth and good ..." ( Merezhkovsky. P. 82). The question posed in the poem, the researcher believed, “remained unanswered, but deepened to infinity, when the questioner saw that the discord is not only between man and nature, but also in nature itself, that evil is at the very root of being, in the very essence the world as will ”(ibid.).

The poem "Singingness is in sea ​​waves”Is the author's understanding of human life and the nature around him through the theme of music. An epigraph is given to the poem that opens this theme: “there is musical harmony in the coastal reeds”, and further “the complete harmony of nature” will come into conflict with the “desperate protest” of the human soul. And it is the theme of music, the theme of art that gives the author the opportunity to talk about this conflict, allows him to see in this special reality dissonance, "discord" between nature and man.

The first stanza of the poem is about harmony in nature, including about harmony in the "disputes" of people, but on condition that these disputes are "spontaneous", that is, natural, natural. The stanza is syntactically homogeneous, without isolated complications, which enhances the overall harmonious, harmonious perception. Alliteration also "works" for this. These techniques create a certain structure, the construction of the first stanza. Music is a kind of harmonious system, like nature, built into a harmonious structure. And that musical, natural harmony is opposed to chaos, discord.

In the second stanza of the poem, the main conflict begins - the discord between the "natural consonance" and the human soul. The clash of these topics is punctuated with very "heavy" punctuation marks: comma and dash, which emphasizes and intensifies this conflict. In nature there is "complete consonance", but the human soul is removed from this harmony, man is "ghostly free" and is at odds with the harmonious musicality of nature.

The third stanza consists of two rhetorical questions: where did this discord come from and why. In the same stanza, the answer is given: the soul, like the reed, “thinks and murmurs” in discord with the general chorus.

In the last stanza, an evangelical, divine motive appears. The “voice of the crying”, his protest, is not only disharmonious to natural music, but also remains without God's answer, he is not heard “from the earth to the extreme stars”.

Why does the human soul come into conflict with harmonious natural music? The author answers this question in the poem as follows: because a person is "thinking", and the natural structure is "unperturbed".

So, in F. Tyutchev's poem "There is singing in the waves of the sea" through the theme of natural musical harmony, the conflict between the harmony of nature and the protest of the human soul is revealed.

Man thinks, he feels alone in the world ("in the desert"), he grumbles, protests God, he realizes his discord with nature. Why? Because a person is given, albeit an illusory, but freedom, then when nature is only "imperturbable".

"There is songiness in the waves of the sea ..." Fyodor Tyutchev

Est in arundineis modulatio musica ripis *

There is singing in the waves of the sea,
Harmony in spontaneous disputes,
And the slender Musiki rustle
Streams in the unsteady reeds.

An imperturbable system in everything
Complete harmony in nature, -
Only in our ghostly freedom
We recognize the discord with her.

Where did the discord come from?
And why in the general choir
The soul is not singing that the sea,
And the thinking reed murmurs?

* There is musical harmony
in coastal reeds (lat.) .-

Analysis of Tyutchev's poem "There is songiness in the waves of the sea ..."

Fate decreed that the poet and politician Fyodor Tyutchev spent a significant part of his life in St. Petersburg. It was here that passed and last years his life, when, after receiving the title of privy councilor, Tyutchev was forced to constantly be at the imperial court. The harsh climate of the northern Russian capital weighed on the poet, who by that time was already experiencing serious health problems. Nevertheless, Tyutchev could not help but admire the strict beauty of nature, its grandeur and severity, trying to understand why people cannot live according to its laws. The poet was especially attracted by the harsh Baltic Sea, to which in 1865 he dedicated his poem "There is singing in the waves of the sea ...".

The indigenous inhabitants of St. Petersburg have always considered the deep sea a source of numerous troubles and, at the same time, treated it with respect, since it was the sea that gave them food and livelihood. To consider it from a romantic point of view, very few people came to mind. but Tyutchev managed to discover features in the water element that were consonant with his own worldview... So, in the waves the poet saw a special melodiousness and harmony, which are inherent in nature, but remain outside the field of rhenium of most people. Asking why only a few are able not only to understand the beauty of the world around them, but also to follow its simple laws, Tyutchev comes to the conclusion that we ourselves are to blame for this. “Only in our illusory freedom do we recognize discord with it,” the poet notes, believing that only a strong spiritual confusion forces a person to turn to his origins, seeking protection from nature. Only then a person realizes that “the soul is not singing the same as the sea” and, therefore, becomes insensitive, hardened and indifferent to that priceless gift, which is called the Universe.

The loss of connection with the outside world, which one day suddenly becomes alien and frightening, is, according to Tyutchev, the most terrible test for any of us. Indeed, at this moment a person loses a particle of his soul and ceases to live according to the laws of nature. As a result, "the soul of a desperate protest" turns into a "voice crying in the wilderness" to which it is impossible to get a response. Simple questions remain unanswered and life turns into a series of random circumstances in which it is impossible to trace a pattern just because the laws of nature themselves become alien to man and are rejected as something empty and of no value.

Visual commentary on the poem by F. I. Tyutchev "There is songiness in the waves of the sea."

The expression "Musiky rustle" in FI Tyutchev's poem "There is songiness in the waves of the sea."

Est in arundineis modulatio musica ripis. 1

Harmony in spontaneous disputes,
And slender rustle
Streams in the unsteady reeds.

An imperturbable system in everything
Complete harmony in nature, -

We recognize the discord with her.

Where did the discord come from?
And why in the general choir
The soul is not singing that, the sea,
And murmuring?

And from the earth to the extreme stars
Everything is unanswered to this day
,
A desperate protest soul?

There is a musical scale in the coastal reeds (lat.).

May 11. Petersburg. "There is songiness in the waves of the sea ..." (Lyrics... T. I. P. 199, 423-424 (dated according to the list of M. F. Birileva); PSSP... T. 2.S. 142, 508-511.)

The poem "The melodiousness is in the waves of the sea" of the poet, whose work is traditionally referred to as "pure" art, was written on May 11, 1865, at a difficult time for the poet. It is noteworthy that after reading this creation, L. N. Tolstoy wrote: "Depth!" We, the representatives of the XXI century, also want to comprehend this "depth" that the writer noticed.

Reading the first stanza of the poem, you involuntarily ask yourself the question: "What is the Musiki rustle"?

Semantics of a word

musikia- "music", tslav., Old Russian. musikia (from the XII-XVIII centuries; see Ogienko, RFV 77, 168). From the Greek. μουσική. Later, instead of him - music (see)

"Musikian" -(obsolete) - musical

musikia(-сѵк-, -и́а), and, f. Slav. Same as. Feasting, and the royal meal, .. with sweet-voiced singing, trumpets, and music. Ved. II 258. Suddenly the goddess Fortune appeared<на сцене>sitting on a ball, and holding a wheel in his hands, which also had a movement according to musikia. Arg. II 248. This voice was the singing of the daughter of Malorova in the night; I knew bo koliko can the sound of pleasant musik and touch my soul. See. II 151. | Ref. The voice is sweet, like musikiya. Beaver. Hers. 237.

Musikiy(-zik-, -sync-, -sѵk-), oh, oh... Tѣ hours<на воротах ратуши>they beat them with Musiky agreement. Put. Tlst. I 321. We suddenly heard .. voices of various musical instruments. Marquis V 88. The Musikiyan Voices of the Shattering Spiritual Powers Tamo<в царских чертогах>are audible. Hrs. Cadmus 27.

This word was considered already obsolete in the 19th century. But why exactly the Musikiy rustle is streaming in the reeds? For what purpose does the poet use this archaism? And as Yu. N. Tynyanov wrote: "Tyutchev develops a special language, exquisitely archaistic." Therefore, there is no doubt that archaism was a conscious part of his style. It is no coincidence that Fedor Ivanovich uses this epithet. Let us turn to the epigraph of the poem: "Est in arundineis modulatio musica ripis." , which means "There is a musical scale in the coastal reeds." The lines belong to the Roman poet of the 4th century. BC e Avson.

Ausonius Decimus Magnus - lat. poet; genus. OK. 310, Burdigala (modern Bordeaux, France), d. at 393/394 ibid. Descended from a noble Gallic family. From 334 to 364 he was a teacher of grammar and rhetoric in Burdigala; with 364 - educator of the future imp. Gratian (375-383). Under Gratian A. held high positions in the Roman Empire, was prefect of Gaul, in 379 - consul.

Descended from a noble Gallic family. From 334 to 364 he was a teacher of grammar and rhetoric in Burdigala; with 364 - educator of the future imp. Gratian (375-383). Under Gratian A. held high positions in the Roman Empire, was prefect of Gaul, in 379 - consul. In his poetry, erudition in the field of classicallat. andGreek poetry combines with rhetorical skill; most A.'s heritage is lit. experiments: Eclogae (Book of eclog), Griphus ternarii numeri (Vulture about the number three), Technopaegnion (Technopegnia). A.'s poetry is largely autobiographical: the cycles of Parentalia (About relatives), Commemoratio professorum Burdigalensium [ 3 ] (About the teacher).

Again the question: Avsonius was not ranked among the outstanding poets of the Roman Empire. But here is what M. L. Gasparov writes in his article "Avsonius and his time". “It is sometimes said that great poets differ from small ones in that for the great, even a small work contains a picture big world". This is not so: small poets are also capable of this when they have in their hands a reliable set of working methods. Ausonius encapsulated his broad and structurally clear picture of the world in humble praise for a not-too-large river; the means for this were given to him by ancient rhetoric.

It should be noted that poetic recognition to Tyutchev also did not come immediately, and his work was not highly appreciated by his contemporaries.

Let's turn to the primary sourceAvsonius

There is a musical scale in the coastal reeds;
We heard his harmony once,
And everyone knew the notes, and every beat was silent
Read by heart in those distant centuries;

And we held the secrets of being in our hands,
And in the middle of the water we did not die of thirst ...
But devoted once - will not happen twice,
How life will not be resurrected in withered petals.

That music is gone, the harmony has disintegrated
And, wise, we only have tradition left,
Like a goat-footed god at noontime

I cut the reeds and amused myself with a wonderful sound,
Like nymphs he called in a round dance with his game,
And how sorry he was for people who had forgotten about heavenly ...

F. I. Tyutchev

There is singing in the waves of the sea,
Harmony in spontaneous disputes,
And slender rustle
Streams in the unsteady reeds.

An imperturbable system in everything
Complete harmony in nature, -
Only in our ghostly freedom
We recognize the discord with her.

Where did the discord come from?
And why in the general choir
The soul is not singing that, the sea,
And murmuring?

And from the earth to the extreme stars
Everything is unanswered to this day
,
A desperate protest soul?

Comparing the two poems, we understand that the Musiki rustle can flow from the reed, into which the nymph Syringa, about which ancient Greek myths spoke, has turned.

Pan and Siringa

H The arrows of the golden-winged Eros did not pass Pan, and he fell in love with the beautiful nymph Syringa. La Gorda was a nymph and rejected the love of all. Her favorite pastime was hunting and Siringu was often mistaken for Artemis, so beautiful was the young nymph in her short clothes, with a quiver over her shoulders and with a bow in her hands. Like two drops of water, she then resembled Artemis, only her bow was made of a horn, and not gold, like that of the great goddess. Once I saw Pan Siringa and wanted to approach her. The nymph looked at Pan and fled in fear. Pan barely kept up with her, trying to catch up with her. But the river cut the path. Where should the nymph run? She stretched out her hands to the river Syringa and began to pray to the god of the river to save her. The god of the river heeded the prayers of the nymph and turned her into a reed. Pan ran up to hug Siringu, but hugged only a flexible, quietly rustling plant. Pan stands, sighing sadly, and he hears the farewell of the beautiful Siringa in the gentle rustle of the reeds. Pan cut off several reeds and made a sweet-sounding pipe out of them, fastening unequal reeds with wax. The god of the forests, in memory of the nymph, called the pipe syringa. Since then, the great Pan loves to play in the shade of forest trees on a pipe - syringa, resounding with its gentle sounds the surrounding mountains.

Nicolas Poussin. Pan and Siringa

Start date: 1637. End date: 1638.

Dresden. Gallery of old masters.

Pan and Siringa

Francois Boucher. Pan and Siringa. 1759. National Gallery, London.

Varen Charles Nicolas. France, Paris. Last quarter of XVIII - early XIX v.

Government agency culture of the Yaroslavl region "Rybinsk State Historical, Architectural and Art Museum-Reserve"

Alexander Voronkov. Pan and Siringa, 1997

Actually, the ancient Greeks called syringa a musical instrument, a flute, which was considered to belong to the Arcadian god Pan and, at the same time, to the Greek shepherds. The Romans called syringa arundo, calamus, fistula. Syringa was done in the following way. They took seven (sometimes eight or nine) hollow reed stalks and attached them to one another with wax, and the length of each tube was made different so that it was possible to have a full range. There were syringes from one stem; in this case, they were played in the same way as modern flutes are played, namely through the side holes. Syringa became the ancestor of the modern organ.

Syringa or syrinx (Greek συριγξ) has two meanings: - common name ancient Greek wind instruments (reed, wood, flute type (longitudinal), as well as the ancient Greek shepherd's multi-barrel flute or Pan's flute.

Pan's flute is a multi-barrel flute. The tool consists of a set of reed, bamboo and other tubes open at the top end different lengths fastened with reed strips and a plait. Each pipe emits 1 main sound, the height of which depends on its length and diameter.
consisting of several (3 or more) bamboo, reed, bone or metal Tubes are from 10 to 120 cm long. Large panflutes, as well as double-row ones, are played together.
The name of the Pan flute comes from the name of the ancient Greek god Pan, the patron saint of shepherds, who is usually depicted playing a multi-barrel flute.

Roman copy of a Greek sculpture found in Pompeii "Pan teaches Daphnis to play the syringa."

Pablo Picasso . The flute Pan 1923. France, Paris, Musee National Picasso

Arthur Wardl. Pan's Flute, 1889, London Gallery.

Thomas Eakins Arcadia 1883 Metropolitan Museum (New York)

Kuvikly [ 6 ] (kugikly) - Russian version of "Pan's flute". Among the Russians, he was the first to notice the flute of Pan Gasri, who gave a very inaccurate description of it under the name of a flute or a flute. Dmitriukov wrote about kuvikly in the magazine "Moscow Telegraph" in 1831. Throughout the XIX century. In the literature, from time to time, there is evidence of playing the kuvikl, especially on the territory of the Kursk province. The vials are a set of 3-5 hollow tubes of various lengths (from 100 to 160 mm) and diameters with an open upper end and a closed lower end. This tool was usually made from the stems of kuga (reeds), reeds, bamboo, etc., with a trunk knot serving as the bottom.

The Musikiy rustle "flows in the wavering reeds." The image of these plants has been poeticized since ancient times. If you visualize the plants from which the data was produced musical instruments, then you can imagine the following pictures. [ 7 ]

To the list botanical species, corresponding to the vague category of "biblical reed", undoubtedly includes two representatives of the Cereals family (Poaceae). It: Common reed- Phragmites communis, perennial long-rooted cereal widespread throughout the planet. The stem is hollow, like almost all cereals. Height up to 4-5 m. Grows in water, along the banks and on land, and can live on moderately saline soils (but on land it is smaller). The panicle inflorescence is large, beautiful due to the long hairs in the spikelets. The leaves can turn in the wind due to the ability of the lower tubular part of the leaf (sheath) to rotate around the stem. Young shoots and rhizomes are edible.

The second type of near-water cereal, undoubtedly known in the Bible -Cypriot cane (giant) - Arundo donax. Height up to 6 m. It does not leave the water, which makes it different from the previous species, with which it is generally similar in many other biological characteristics. The leaves are long, up to 6 cm wide (more than that of the previous species). Originally distributed throughout the Mediterranean, from where it was introduced by man to the east, in particular, even in ancient times, it fell as an economic and building plant in Central Asia, and in modern times - in the western hemisphere. In California, for example, it has become an annoying alien species, actively suppressing native plants, spreading over all reservoirs and watercourses, clogging water intakes and creating a constant threat of fires. In Russia, it is found only in the warmest territories (in particular, in the Transcaucasus).

Like the reeds Bulrush grows near water with a huge mass of thousands of stems. Its flowers and inflorescences are completely different from those of cereals, and this species of reed does not have developed leaves at all. The stem up to 3 m high looks like a long vertical green whip with a panicle of spikelets at the top. The reeds do not have hollow stems. Their stems are filled with soft, spongy tissue.

But in F.I.Tyutchev's poem, the reed is not simple, but thinking. Hence the question: why is he thinking?

Tyutchev, following Blaise Pascal, says that a person - only a reed, the weakest of the creations of nature, but a "thinking reed." The greatness of man, according to Pascal, lies in the fact that he is aware of his insignificance. Abstract sciences turn out to be not only powerless in their claims to knowledge of the world, but prevent a person from understanding his own place in the world, thinking "what it is like to be a human being."

Blaise Pascal (1623-1662 )

Pascal's thoughts naturally found expression in the art of the 17th century. The Baroque style began to take shape from the 17th century. Originally word "baroque" denoted (port. "Barocco"- pearl irregular shape), and its appearance is associated with the crisis of the ideals of the Renaissance. Baroque is both a style and a kind of tendency for a restless romantic attitude. In every time, and perhaps even today, they find their own "Baroque period" as the stage of the highest creative upsurge, tension of feelings and thoughts. Naturally, new discoveries of modern times destroyed the old ideas about man and the universe. The difference in understanding of the place, role and capabilities of man is what distinguishes, first of all, the art of the 17th century from the Renaissance. This different attitude towards man is expressed with extraordinary clarity and precision by the same great French thinker Pascal: "Man is only a reed, the weakest of the creations of nature, but he is a thinking reed." This "thinking reed" was created in the 17th century. the most powerful absolutist states in Europe, formed the outlook of the bourgeois, who was to become one of the main customers and connoisseurs of art in subsequent times. The complexity and contradictions of the era of intensive formation of absolutist national states in Europe determined the nature of the new culture, which is customarily associated in the history of art with the Baroque style, but which is not limited to this style alone. The 17th century is not only baroque art, but also classicism and realism.

Reflecting the complex atmosphere of the time, the baroque combined seemingly incompatible elements. Traits of mysticism, fantasy, irrationality, heightened expression surprisingly coexist in him with sobriety and down-to-earthness, with truly burgher efficiency. For all its inconsistency, the baroque, at the same time, has a quite pronounced system of pictorial means, certain specific features.

“Baroque is characterized by pictorial illusion, the desire to deceive the eye, to leave the space depicted in the real space. Baroque tends to the ensemble, to the organization of space: city squares, palaces, stairs, park terraces, parterres, swimming pools, bosquets; urban and suburban residences are built on the principle of synthesis of architecture and sculpture, subordination to the general decorative design... The artistic culture of the Baroque allowed symbolism and mysticism, the fantastic and the grotesque, the ugly along with the beautiful, into the sphere of aesthetic. New style was an ideological and aesthetic search for an integral and harmonious perception of the world, lost as a result of the crisis of the Renaissance and the Counter-Reformation. The Baroque artist strove to influence the feelings, the imagination of the viewer, and not only through lines and colors to convey a visual image ”.

This very idea is also presented on the canvases of Nicolas Poussin Francois Boucher “ Pan and Siringa ”and their instructors. We can observe the same greatness in architecture, sculpture and park culture.

Regular "French" parks with bosquets, alleys, parterres and reservoirs of geometrically regular shapes, with their rectilinear paths and figured shapes of carefully trimmed shrubs emphasized the absolute control of man over nature, affirm the highest value of the art that is indistinguishable from nature.

"French" park: Versailles

"English" park

The landscape park system embodied the idea of ​​admiration for nature, the beauty of its natural landscapes. The creators of such parks sought to comprehend the balance and harmony that exist in nature.

A striking example of this approach in architecture is the Palazzo (palace) Barberini (1625-1663).

Before us is what this "thinking reed" created in the 17th century, as a result of the search for a holistic and harmonious perception of the world, affects the feelings, the imagination of the viewer, not only through lines and colors, but conveys a visual image.

Of course, in Italy, these are the creations of Lorenzo Bernini. Just look at his work.

Lorenzo Bernini. Ecstasy of Saint Teresa. 1652 Rome. Santa Maria della Vittoria.

Lorenzo Bernini. St. Peter's Cathedral Square. 1663.

We can observe the allegorical image of sculpture and painting in the painting by Guercino, which adorns the palazzo Barberini.

Guercino. Allegory of painting and sculpture. 1657

(Irrational lighting, a dark gloomy background, large figures, common types, he actively used, blurring the sculptural clarity of form, all this is characteristic of baroque art).

All previous human creativity is a way to know oneself and one's place in life. Continuing Pascal's thought: "We seek happiness, but we find only bitterness and death." He is deeply convinced that a person who has realized the tragedy of his situation can find a way out only in the Christian faith. Only the Christian religion, with its doctrine of the Fall and the continuity of sin, provides a satisfactory explanation of this duality of man, which is, for Pascal, an argument in favor of its reality. Thus, the only possible approach to the mystery of human nature is a religious approach. Religion claims that man is dual; man is one thing before the fall, and another is after. Man was destined for a higher purpose, but he lost that purpose. The Fall deprived him of his strength, perverted his mind and will.

"Therefore, the classic maxim" Know thyself "in philosophical sense- the sense of Socrates, Epictetus or Marcus Aurelius - not only ineffective, but false and erroneous. A person cannot trust himself and read in himself. He himself must be silent in order to hear the highest voice, the voice of truth. “What will become of you then, O man, when by natural reason you discover your actual position? Know then, seized with pride, that you yourself are a sheer paradox. Humble yourself, weak mind, shut up, unreasonable nature, remember that man is infinitely superior to man. And hear from your Creator about your actual position, which is still unknown to you. Listen to God " [ 9 ]

F.I.Tyutchev in his poem comes to a similar thought:

,
A desperate protest soul?

The poem ends with gospel thoughts and a rhetorical question, which means that the poet did not find an answer for himself. But he hears not only the Musikiyan rustle, but also the Musikiyan singing in the “common choir”. And as we understand it, this is not only a chant, but also a philosophy, which also leads to the consent of human nature, that is, to God, to faith. The Old Russian singing system is truly a reflection of the Divine heavenly Order, recreated on Earth by the spiritual feat of the Russian person.

Of course, F.I.Tyutchev could not have been unaware of the Musikia chant, which at that time was characteristic of divine services in Russia.

Again the question. What is Musikia?

Answer: “There is a musikia consonant art and an exquisite voice division; - known reference (sic!) differences, the knowledge of decent good voices and evil, hedgehog there is a difference in the consent of the demonstrators. Musikia there is a second philosophy and grammar, which measures voices in degrees, as in verbal philosophy, or grammar, the correction of words, their property, syllable, speech, reasoning, cognition and denunciation of poetry, with all quality and quantity. Likewise, musikia has all the Degrees of vocal possession, affection, or joy in transmutation, composing, as if rhetorically, or philosophically, coloring the rumors of those who hear, as if clattering in soulless instruments, as well as in the language of words according to the degrees of leading, and the voice is the lowest, middle and high emitting. Musica is in all kinds cognizing harmony and the second cunning of human nature and by nature, and not through nature, teaching, and is from God. He can do nothing evil, but the good of the flowing nature. By the will of evil to the one who speaks evil, if he praises him, he praises him, if he does svarishi, he cooks, and all that is purely blinded by the mind to the arbitrariness, I am united with speech and voice. Musikia makes the church blush, the divine decorates words with good consent, cheers the heart, makes the souls joyful in the singing of the saints. Musikia is like verbal grammar, vowel-correcting grammar ". [ 9 ]

The whole poem is imbued with this highly tragic sound in these difficult days for him. And what the poet was thinking, we, contemporaries, can only guess, carefully reading into every word of the poet.

Bibliography.

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Yu.N. Tynyanov. Poetics. Literary history. Cinema. // The question of Tyutchev. - M .: Nauka, 1977.

M.V. Belkin, O. Plakhotskaya.Dictionary "Ancient Writers". SPb .: Publishing house "Lan", 1998.

M.L. Gasparov. Avsonius. Poems. M., Science, 1993 ("Literary Monuments").

Kuhn N.A., Neikhardt A.A. "Legends and myths Ancient Greece and Ancient Rome"- SPb .: Litera, 1998

Musical instruments in painting.

Plants in the Bible.

Art history. Western European art: Textbook / T.V. Ilyin. - 3rd ed., Rev. and add. - M .: Higher. shk., 2002. - 368 p .: ill.

Canetti E. Transformation // The Problem of Man in Western Philosophy. - M .: 1988.S. 490.

Musical aesthetics of Russia in the 11th-18th centuries. Compilation of texts, translations and general introductory article by A.I. Rogov. M .: Publishing house "Music", 1973.