Crimson leaves languid light rustle. Analysis of the poem F
Is in the lordship of autumn evenings
A touching, mysterious charm:
The ominous brilliance and variegation of trees,
Crimson leaves languid, light rustle,
Foggy and quiet azure
Over the sad orphan land,
And, like a premonition of descending storms,
Gusty, cold wind sometimes
Damage, exhaustion - and on everything
That gentle smile of fading,
What in a rational being do we call
Divine bashfulness of suffering.
October 1830
Analysis of the poem by F. I. Tyutchev "Autumn Evening"
The poetry of F. I. Tyutchev takes pride of place among Russian landscape lyrics. Two styles harmoniously merged in his poems: Russian and classical European. The works of Fyodor Ivanovich can be compared with the traditional odes to Goethe, Heine, Shakespeare in style, content, and rhythm. But they are much more modest in size, which gives depth and capacity to the texts.
Tyutchev's favorite time of day was evening. In his lyrics there are a lot of poems dedicated to this period. Evening in Tyutchev's poetry is multifaceted, mysterious, magical. And nature is spiritualized, endowed with human features, thoughts, emotions. One of these poems is " Autumn evening».
The landscape sketch was painted in 1830. Considered by researchers to early lyrics poet. It was a relatively calm, but not the most joyful period in the life of the author. Recently concluded an official marriage with his first wife. The freedom-loving young man was overwhelmed by family life. Life away from the motherland was also oppressive. Tyutchev felt longing for a carefree youth.
The miniature was born to the poet when he was visiting his native land and visited Russia for a short time. And became a prime example classical poetry of romanticism. The Russian October evening awakened nostalgia, inspired melancholy. In natural phenomena, the author is looking for an analogy with events human life. It hints that everything is cyclical in people, like the change of time of day and seasons. Reasoning gives the poem a deep philosophical character.
Tyutchev's nature is real, full of colors and sounds. A favorite technique of the author is used - the method of artistic parallelism. Here he is helped by inversions: “crimson leaves”, “cold wind at times”.
The poem is one complex sentence, laid out in 12 lines, in one stanza. According to the meaning, rhythm and style, the text is divided into three parts. In the first part, a measured pace, there is a discussion about how beautiful autumn evenings are. A romantic mood is created.
The second part reminds the reader that the rapture will not last long. Everything is fleeting. Freezing winds and snow storms ahead. There is an escalation of the situation, the rhythm changes, the pace of reading accelerates. From the central part of the text breathes winter cold. It contrasts sharply with the introduction. Antithesis was used.
The third part is philosophical. There is a comparison of human existence with what happens in nature. Personifications with a gloomy coloring are used: “the meek smile of fading”, “the modesty of suffering”. All the details create an image of a fading, falling asleep nature. The author comes to the conclusion about the cyclical nature of life.
The three-phase structure of the composition does not introduce disharmony into the perception of the text. There are no sharp emotional jumps in the story. The poems are written in iambic pentameter. A cross rhyme is used. That gives dimension, melodiousness to the text. Lyrical heroes become the narrator and nature itself.
The work has become a vivid example of the original natural-philosophical poetry of Fyodor Ivanovich. Landscape and philosophy are merged together, complement each other. Autumn for the poet is a symbol of spiritual and age maturity. Harvest time not only from the fields, but mental too. The period when the results are summed up.
The poem leaves pleasant emotions after reading, prompts reflection. It teaches you to appreciate every moment. On the one hand, it is important to love summer, warmth, happiness, because then the cold, snowstorm will come. On the other hand, the poet draws our attention to the fact that every time is beautiful, unique in its own way. You have to learn to see beauty in simple things.
Is in the lordship of autumn evenings
A touching, mysterious charm! ..
The ominous brilliance and variegation of trees,
Crimson leaves languid, light rustle,
Foggy and quiet azure
Over the sad orphan land
And, like a premonition of descending storms,
A gusty, cold wind at times,
Damage, exhaustion - and on everything
That gentle smile of fading,
What in a rational being do we call
Divine bashfulness of suffering!
Analysis of Tyutchev's poem "Autumn Evening"
The landscape poetry of the poet Fyodor Tyutchev rightfully occupies a worthy place in Russian literature of the 19th century. And this is not surprising, since the author of numerous poems about the beauty of nature managed to organically combine the traditions of Russian and European literature in his works. The poems of Fyodor Tyutchev are designed in the spirit of classical odes, both in style and in content, but they are much more modest in size. At the same time, there is European romanticism in them, which is associated with Tyutchev's passion for the work of such poets as Heinrich Heine and William Blake.
The literary heritage of Fyodor Tyutchev is small and includes about 400 works, since the author devoted his entire life to diplomatic public service, carving out rare free hours for creativity. However, a magnificent example of classical romanticism is his poem "Autumn Evening", written in 1830. At this time, Fedor Tyutchev was in Munich, acutely feeling not only loneliness, but also homesickness. Therefore, an ordinary October evening inspired not only sad memories for the poet, but also set him in a lyric-romantic mood, which, in turn, prompted him to write a very elegant, exciting and filled with deep philosophical meaning poem called “Autumn Evening”.
It would seem that autumn itself evokes a feeling of longing, which is subconsciously associated with the extinction of life, the completion of another cycle that makes a person older. Approximately the same feelings are evoked by the evening twilight, which the Symbolists associate with old age and wisdom. However, at the time of Tyutchev, it was not customary in literature to express themselves through symbols, so the author tried to find positive moments in the obviously sad combination of autumn and evening, emphasizing from the first lines of the poem that “the lordship of autumn evenings” has a special, inexplicable charm. Watching how the autumn twilight descends on the “sadly orphaned land”, the poet managed to catch the moment when the last rays of light touched the multi-colored crowns of trees, flashing in bright foliage. And Fyodor Tyutchev compared this amazingly beautiful phenomenon with the “mild smile of withering” of nature. And - he immediately drew a parallel with people, noting that in rational beings such a state is called "divine bashfulness of suffering."
It is noteworthy that in the poem "Autumn Evening" the poet does not share such concepts as living and inanimate nature, rightly believing that everything in this world is interconnected, and a person often copies in his gestures and actions what he sees around. Therefore, autumn in the work of Fyodor Tyutchev is associated with spiritual maturity, when a person realizes the true price of beauty and regrets that he can no longer boast of a fresh face and a clean look. And the more he admires the perfection of nature, in which all processes are cyclical and at the same time have a clear sequence. A huge mechanism, launched by an unknown force, never fails. Therefore, a feeling of lightness and joy is mixed with a slight sadness, which is inspired by trees shedding their leaves, early evenings and gusty cold winds. After all, winter will come to replace autumn, and after the world will change beyond recognition again and will be full of rich spring colors. And a person, having passed the next life cycle, will become a little wiser, having learned to find sensual pleasure in every lived moment and appreciate any season, depending on the vagaries of nature, his own preferences and prejudices.
3"You listen to my confession
Came here, thank you.
Everything is better in front of someone
Lighten my chest with words
But I did not harm people,
And so my deeds
It's a little good for you to know -
Can you tell your soul?
I lived little, and lived in captivity.
Such two lives in one
But only full of anxiety
I would change if I could.
I knew only one thought power,
One - but fiery passion;
She, like a worm, lived in me,
It gnawed at the soul and burned it.
She called my dreams
From stuffy cells and prayers
In that wonderful world of worries and battles,
Where rocks hide in the clouds
Where people are free as eagles.
I am this passion in the darkness of the night
Nurtured with tears and longing;
Her before heaven and earth
I now loudly acknowledge
And I don't ask for forgiveness. four
Old man! I heard many times
That you saved me from death -
Why? .. Gloomy and lonely,
A torn leaf by a thunderstorm,
I grew up in dark walls
Soul - a child, fate - a monk.
I couldn't tell anyone
The sacred words "father" and "mother".
Of course you wanted, old man,
So that I wean in the monastery
From these sweet names, -
In vain: their sound was born
With me. And I've seen others
Fatherland, home, friends, relatives,
And I did not find
Not only lovely souls - graves!
Then, without wasting empty tears,
In my heart I swore an oath:
Though for a moment someday
my burning chest
Press with longing to the chest of another,
Though unfamiliar, but native.
Alas! now those dreams
Died in full beauty
And I, as I lived, in a foreign land
I will die a slave and an orphan. 5
The grave does not scare me:
There, they say, suffering sleeps
In cold eternal silence;
But I'm sorry to part with my life.
I'm young, young... Did you know
Rampant youth dreams?
Or didn't know or forgot
How I hated and loved;
How the heart beat faster
At the sight of the sun and fields
From the high corner tower,
Where the air is fresh and where sometimes
In a deep hole in the wall
Child of an unknown country
Clinging, young dove
Sitting, frightened by a thunderstorm?
Let the beautiful light now
I hate you: you are weak, you are gray,
And from desires you weaned.
What is the need? You lived, old man!
You have something in the world to forget
You lived - I could also live! 6
Do you want to know what I saw
At will? - lush fields,
Crowned hills
Trees growing all around
Noisy fresh crowd,
Like brothers in a circular dance.
I saw heaps of dark rocks
When the stream separated them,
And I guessed their thoughts:
It was given to me from above!
Stretched out in the air for a long time
Embrace their stone
And they long for a meeting every moment;
But the days are running, the years are running -
They will never get along!
I saw mountain ranges
Weird like dreams
When at dawn
Smoked like altars
Their heights in the blue sky
And cloud after cloud
Leaving your secret lodging,
Run directed to the east -
Like a white caravan
Passing birds from distant lands!
In the distance I saw through the mist
In the snows burning like a diamond
Gray unshakable Caucasus;
And my heart was
That once I lived there,
And it became in my memory
The past is clearer, clearer...
On this page, read the text "Autumn Evening" by Fyodor Tyutchev, written in 1830.
Is in the lordship of autumn evenings
A touching, mysterious charm:
The ominous brilliance and variegation of trees,
Crimson leaves languid, light rustle,
Foggy and quiet azure
Over the sad orphan land,
And, like a premonition of descending storms,
A gusty, cold wind at times,
Damage, exhaustion - and on everything
That gentle smile of fading,
What in a rational being do we call
Divine bashfulness of suffering.
Other editions and variants:
And, as a harbinger of approaching storms,
A gusty and clear wind at times,
Autograph - RGALI. F. 505. Op. 1. Unit ridge 13. L. 2v.
The sublime modesty of suffering!
Nekrasov. S. 207; Modern 1854. Vol. XLIV. S. 5, and next. ed.
Note:
Autograph - RGALI. F. 505. Op. 1. Unit ridge 13. L. 2v.
First publication - Modern. 1840. T. XIX. P. 187, signed “F. T-v. Then - Sovr. 1854. Vol. XLIV. S. 5; Ed. 1854, p. 5; Ed. 1868, p. 9; Ed. SPb., 1886. S. 29; Ed. 1900. S. 129.
Dated on the basis of a note in the autograph - 1830.
The poem has no title in the autograph. Placed in a row of such verses as “I passed through the Livonian fields ...”, “Loose sand up to my knees ...” (see comments on p. 385, 387); “There is in the lordship of autumn evenings ...” follows the number “3”. A feature of the author's syntactic design is the double repetition of the exclamation mark with an ellipsis; so ends the 2nd and 12th lines. They are usually not reproduced in printed texts, although they testify to the special emotional and aesthetic expression of poetry. Tyutchev's signs do not speak of peace and tranquility, but of a burst of feelings associated with aesthetic surprise and admiration. Autograph punctuation is preserved here.
Printed texts give a variant of the 7th line: in the first edition and in all lifetime editions, as well as Ed. SPb., 1886 - “And, as a premonition of descending storms”, but in Ed. 1900 - "And, as a harbinger of approaching storms" (autograph version). In the 8th line in the first edition and subsequent ones - "A gusty, cold wind at times", although in the autograph - "A gusty and clear wind at times". If the variants of the 7th line are artistically equivalent, the version of the printed edition is more romantic (“foreboding” instead of “premonition”, “coming down” / from heaven / instead of “approaching”), then the version of the autograph of the 8th line (“clear wind” ) is more controversial and refined than the strict and simple image of the first printed edition (“cold wind”). The 12th line in the version of the autograph (“Divine bashfulness of suffering”) - only in the first edition, in the rest indicated - “Sublime bashfulness of suffering”. AT printed publications often Tyutchev's pantheistic type of statements were eliminated. They are restored only in publications of the post-revolutionary period.
ON THE. Nekrasov, having completely reprinted the poem, exclaimed: “An excellent picture! Each verse seizes the heart, as at other times the disorderly, sudden onrushing gusts of the autumn wind seize the heart; it hurts to listen to them and it's a pity to stop listening. The impression that you experience when reading these verses can only be compared with the feeling that a person takes possession of at the bedside of a young dying woman with whom he was in love. Only strong and original talents can touch such strings in the human heart; that is why we would not hesitate to put Mr. F.T. next to Lermontov; it is a pity that he wrote too little. There is nothing to say about the artistic merit of the cited poem: each verse of it is a pearl worthy of any of our great poets ”(Nekrasov, p. 207). S.S. Dudyshkin expressed dissatisfaction with the line "Damage, exhaustion, and everything ...", stating that it "differs" from others, and he attributed it to the number of "non-poetic crumbs" of Tyutchev's poems (Otech. zap. S. 74-75). I.S. Turgenev's poem attracted more than once. In a letter to A.A. Feta dated October 3, 1860, he quoted, speaking of last days autumn, “in which a special“ touching mysterious charm lurks ”(Turgenev I.S. Complete collection of works: In 30 volumes. Letters. M., 1987. Vol. 4. S. 247). AT landscape sketches the story "Date" (from the cycle "Notes of a Hunter") contains several hidden quotes from this poem by Tyutchev; this is especially evident in the image of the autumn smile: “through the gloomy, though fresh smile of fading nature…”. PC. Shchebalsky (RV. 1868, vol. 77, no. 9, pp. 361–362) in a review of Sat. “Poems of F. Tyutchev” (M., 1868 - see commentary on the verse “Spring Waters”, p. 399) completely quoted the poem, denying the very posing of the question of realism in relation to him: “And what kind of realism will replace that charm images and sounds, which lies in the next picture of autumn (here is the full quotation. - V.K.)<…>Who does not evoke in his soul a complete picture of the sad days of autumn this short poem, who does not survive reading these few verses those impressions that he experienced many times in his life? Another writer could give a lot of other features that characterize autumn, and yet not evoke such a complete image of this season in the reader's imagination, nor in his soul such a consonant impression. Why is this? This is precisely the secret of poetry and art in general. K.D. Balmont, quoting lines 1, 2, 9–12, noted: “Tyutchev rises to an artistic understanding of autumn, as the state of mind of Nature” (Balmont, p. 66). S.L. Frank, referring to the poems about autumn "There is in the lordship of autumn evenings ...", "There is in the original autumn ...", preferred the first, saying that in it "the meaning of autumn is determined with greater completeness." The philosopher compares it with the verse. “The sun is shining, the waters are glistening…”: “The meek smile of fading” on the face of autumn nature and this smile of tenderness of the exhausted human soul there is one and the same, one heavenly-earthly element: it either opposes the excess of life in the blooming world of nature and surpasses it in its rapture, or it is found in nature itself, in the touching charm of bright autumn evenings ”(Frank. S. 27-28) .