Fyodor Ivanovich Tyutchev is an exceptionally lyrical poet. He did not leave a single epic or dramatic work, except for small and few translations from a foreign language.
Fyodor Ivanovich Tyutchev, Russian poet, was born into a noble family on November 23, 1803. He was the youngest son of Ivan Nikolaevich and Ekaterina Lvovna Tyutchev. The poet's small homeland is the village of Ovstug, Oryol province, Bryansk district.
The father of the future celebrity of character was kind, meek and respected by all. Ivan Nikolaevich was educated in St. Petersburg, in a prestigious noble educational institution- The Greek Corps, founded by Catherine in honor of the birth of Grand Duke Konstantin Pavlovich.
His wife, Ekaterina Lvovna, nee Tolstaya, was raised by her relative, aunt, Countess Osterman. The Tolstoy clan, to which Ekaterina Lvovna belonged, was ancient and noble, it also included outstanding Russian writers Lev Nikolayevich and Alexei Konstantinovich Tolstoy.
Ekaterina Lvovna, mother of Fedenka Tyutchev, was a graceful woman with a sensitive and tender soul. Ekaterina Lvovna was very smart. It is possible that her mind, the ability to see the beautiful, to feel the world subtly, was inherited by her youngest son, the future famous Russian poet Fyodor Tyutchev.
The native estate, the Desna River, an old garden, linden alleys are wonderful places where the future poet grew up. The Tyutchev family was dominated by peace and harmony.
Fedor Ivanovich received his initial upbringing in his father's house. Tyutchev's home teacher, Raich, a connoisseur and translator of Ariosto and Torquato-Tasso, awakened poetic talent in him, and in 1817, on his recommendation, Tyutchev was already elected a member of the Society of Lovers of Russian Literature for translating from Horace.
The powerful influence of alien poetry was joined by an equally powerful influence of alien life and nature, when, after graduating from Moscow University, Tyutchev in 1823 was appointed as part of the Russian mission to Munich and left his homeland for 22 years. (In 1823 he was assigned as a supernumerary official to a mission in Munich, the capital of the then Bavarian kingdom, where he went at the end of that year). In Munich, he became interested in German idealist philosophy and was acquainted with Schelling. Tyutchev's friend in the Bavarian kingdom was Heinrich Heine.
In 1825, Fedor Ivanovich was granted the chamber junkers; in 1828 - appointed second secretary at the mission in Munich; in 1833 he left as a diplomatic courier for Nauplia. Tyutchev's service places changed in subsequent years.
In 1836, a notebook with Tyutchev's poems, transported from Germany to Russia, fell into the hands of A.S. Pushkin. Alexander Sergeevich publishes the poet's poems in his journal Sovremennik.
Fedor Ivanovich Tyutchev spent a significant part of his life (due to his choice of the type of official activity) abroad, but he was always with Russia in soul, did not lose his spiritual connection with his homeland.
In 1846, Tyutchev received a new appointment: to be on special assignments with the State Chancellor.
In 1848, Fedor Ivanovich became a senior censor at the special office of the Ministry of Foreign Affairs.
On October 6, 1855, Tyutchev was appointed, by the Highest command, to the members of the committee for the caesural review of the posthumous works of V.A. Zhukovsky prepared for publication.
Then, in 1857, he was promoted to full councilor of state and appointed chairman of the St. Petersburg Committee for Foreign Censorship. In 1861 and 1863, Tyutchev became a knight of the orders of St. Stanislav and St. Anna of the first degrees and was promoted to privy councilor in 1865.
Tyutchev's first poems were published in 1826, in the almanac "Urania", where three of his works were placed: "To Nisa", "Song of the Scandinavian Warriors", "Glimmer".
Tyutchev's works were not immediately accepted by his contemporaries. But everything changed in 1854, after the publication of an article by I.S. Turgenev in Sovremennik. It was called like this: "A few words about the poems of F.I. Tyutchev." In it, Turgenev called Tyutchev "one of our most remarkable poets, bequeathed to us by Pushkin's greetings and approval."
Two months after the publication of the article, all the works of Tyutchev collected by the editors of Sovremennik were published in a separate book called: “Poems by F. Tyutchev. St. Petersburg, 1854", and the editors stated that she "placed in this collection those poems that belong to the very first era of the poet's activity, and now they would probably be rejected by him."
The second edition of Tyutchev's poems was published in 1868, in St. Petersburg, under the following title: “Poems of F.I. Tyutchev. New (2nd) edition, supplemented with all the poems written after 1854.
The 70s of the 19th century became one of the most difficult in the life of the poet. He loses loved ones, and this affects his poetic gift. Since 1873, the poet has been haunted by illnesses that he could not cope with. In May of the same year, a decision was made to transfer Tyutchev to Tsarskoye Selo. Death came on July 15, 1873. On July 18, the Russian poet Fyodor Tyutchev was buried in St. Novodevichy cemetery.
Tyutchev's poems were translated into German and published in Munich. The best analyzes of Tyutchev's poems belong to N.A. Nekrasov and A.A. Fet.
Tyutchev was one of the most knowledgeable, most educated, witty people of his time. He was and remains a great Russian poet, highly revered by his descendants.
(November 23 (December 5), 1803, Ovstug, Bryansk district, Oryol province - July 15 (27), 1873, Tsarskoye Selo)
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Biography
Father - Ivan Nikolaevich Tyutchev (1768-1846). He came from an old noble family.
Tyutchev was educated at home under the guidance of Semyon Raich, who also later became the teacher of Mikhail Lermontov. He studied Latin and ancient Roman poetry, at the age of thirteen he translated the odes of Horace. He continued his liberal arts education at the Verbal Department at Moscow University, where his teachers were Alexey Merzlyakov and Mikhail Kachenovsky. Even before being enrolled as a student, in 1818 he was elected a member of the Society of Lovers of Russian Literature.
Having received a certificate of graduation from the university in 1821, Tyutchev enters the service of the State College of Foreign Affairs and goes to Munich as a non-staff attaché of the Russian diplomatic mission. Here he meets Schelling and Heine and marries Eleanor Peterson, nee Countess Bothmer, with whom he has three daughters. The eldest of them, Anna, later marries Ivan Aksakov.
The steamer "Nikolai 2", on which the Tyutchev family travels from St. Petersburg to Turin, is in distress in the Baltic Sea. When saving Eleanor and the children, Ivan Turgenev, who was sailing on the same ship, helps. This disaster seriously crippled the health of Eleonora Tyutcheva. She dies in 1838. Tyutchev is so saddened that, after spending the night at the coffin of his late wife, he turned gray in a few hours. However, already in 1839 Tyutchev was married to Ernestine Dernberg (nee Pfeffel), with whom, apparently, he had a connection while still being married to Eleanor. The first wife, extremely annoyed by her husband's betrayal, even tried to commit suicide. Ernestine's memories of a ball in February 1833, at which her first husband felt unwell, have been preserved. Not wanting to interfere with his wife's fun, Mr. Dernberg decided to go home alone. Turning to the young Russian with whom the baroness was talking, he said: "I entrust my wife to you." This Russian was Tyutchev. A few days later, Baron Dörnberg died of typhus, the epidemic of which engulfed Munich at that time.
In 1839, Tyutchev's diplomatic activity was suddenly interrupted, but until 1844 he continued to live abroad. In 1843, he met with the all-powerful head of the III department of His Own Imperial Majesty office of A.Kh. Benkendorf. The result of this meeting was the support by Emperor Nicholas I of all Tyutchev's initiatives in the work to create a positive image of Russia in the West. Tyutchev was given the go-ahead for an independent speech in the press on the political problems of relations between Europe and Russia.
Of great interest to Nicholas I was the anonymously published brochure "Russia and Germany" (1844) by Tyutchev. This work was given to the emperor, who, as Tyutchev told his parents, "found all his thoughts in it and seemed to ask who its author was."
Tyutchev's activity did not go unnoticed. Returning to Russia in 1844, he again entered the Ministry of Foreign Affairs (1845), where from 1848 he held the position of senior censor. Being him, he did not allow the manifesto to be distributed in Russia communist party in Russian, stating that "who needs it, they will also read it in German." Not printing poems at all during these years, Tyutchev appears with journalistic articles on French: "Letter to Mr. Dr. Kolb" (1844), "Note to the Tsar" (1845), "Russia and the Revolution" (1849), "The Papacy and the Roman Question" (1850), and also later, already in Russia, an article written "On Censorship in Russia" (1857). The last two are one of the chapters of the treatise "Russia and the West", conceived by him under the influence of the revolutionary events of 1848-49, but not completed.
In this treatise, Tyutchev creates a kind of image of the thousand-year-old power of Russia. Outlining his "teaching about the empire" and the nature of the empire in Russia, the poet noted its "Orthodox character." In the article “Russia and Revolution”, Tyutchev carried the idea that in the “modern world” there are only two forces: revolutionary Europe and conservative Russia. The idea of creating a union of Slavic-Orthodox states under the auspices of Russia was immediately outlined.
During this period, Tyutchev's poetry itself was subordinated to state interests, as he understood them. He creates many "rhymed slogans" or "journalistic articles in verse": "Gus at the stake", "To the Slavs", "Modern", "Vatican anniversary".
On April 17, 1858, State Councilor Tyutchev was appointed Chairman of the Foreign Censorship Committee. In this post, despite numerous troubles and clashes with the government, Tyutchev stayed for 15 years, until his death. On August 30, 1865, Tyutchev was promoted to privy councilor, thereby reaching the third, and in fact even the second degree in the state hierarchy.
Until the very end, Tyutchev is interested in the political situation in Europe. On December 4, 1872, the poet lost his freedom of movement with his left hand and felt a sharp deterioration in vision; he began to suffer excruciating headaches. On the morning of January 1, 1873, despite the warnings of others, the poet went for a walk, intending to visit friends. On the street, he had a stroke that paralyzed the entire left half of his body. On July 15, 1873, Tyutchev died in Tsarskoe Selo. On July 18, the coffin with the body of the poet was transported from Tsarskoye Selo to St. Petersburg and buried in the cemetery of the Novodevichy Convent.
Poetics
Russia cannot be understood with the mind,
Do not measure with a common yardstick:
She has a special become -
One can only believe in Russia
According to Yu. N. Tynyanov, Tyutchev's small poems are a product of the decomposition of voluminous works of the odic genre that developed in Russian poetry of the 18th century (Derzhavin, Lomonosov). He calls Tyutchev's form a "fragment", which is an ode compressed to a short text. “Thanks to this, Tyutchev’s compositional structures are maximally stressed and look like hypercompensation of constructive efforts” (Yu. N. Chumakov). Hence the “figurative excess”, “oversaturation of components of various orders”, which make it possible to convey the tragic feeling of the cosmic contradictions of being.
One of the first serious researchers of Tyutchev, L. V. Pumpyansky, considers the most characteristic feature of Tyutchev's poetics to be the so-called. "Doublets" - images repeating from poem to poem, varying similar themes "with the preservation of all its main distinguishing features":
The vault of heaven, burning with star glory
Mysteriously looks from the depths, -
And we are sailing, a flaming abyss
Surrounded on all sides.
(“As the ocean embraces the globe…”)
She, between the double abyss,
Your all-seeing dream cherishes -
And with the full glory of the starry firmament
You are surrounded from everywhere.
("Swan")
This determines the thematic and motive unity of Tyutchev's lyrics, constituent parts of which Tynyanov's "fragments" appear. Thus, according to Roman Leibov, “the interpreter is faced with a well-known paradox: on the one hand, “no single poem by Tyutchev will be revealed to us in all its depth, if we consider it as independent unit" [BUT. Lieberman. About Tyutchev's landscape lyrics // Russian Language Journal. XLIII, No. 144. (1989.) S. 105]. On the other hand, Tyutchev's corpus is frankly "random", we have texts that are not institutionally attached to literature, not supported by the author's will, reflecting the hypothetical "Tyutchev heritage" is obviously incomplete. The "unity" and "crowding" of Tyutchev's poetic heritage make it possible to compare it with folklore. Very important for understanding Tyutchev's poetics is his fundamental distance from the literary process, his unwillingness to see himself as a professional writer and even disregard for the results of his own work. Apparently, this is “Tyutchev does not write poetry, writing down already existing text blocks. In a number of cases, we have the opportunity to observe how work is progressing on the initial versions of Tyutchev's texts: Tyutchev applies various kinds of "correct" rhetorical devices to the vague, often tautologically designed (another parallel with folklore lyrics) core, taking care to eliminate tautologies, clarify allegorical meanings (Tyutchev's text in this sense unfolds in time, repeating common features evolution poetic devices, described in the works of A. N. Veselovsky, devoted to parallelism - from the undivided identification of phenomena different rows to a complex analogy). Often, it is at the late stage of work on the text (corresponding to the consolidation of its written status) that the lyrical subject is introduced pronominally” (Roman Leibov “Tyutchev’s Lyrical Fragment: Genre and Context”).
periodization
According to Yuri Lotman, Tyutchev's work, amounting to a little over 400 poems, with all its internal unity, can be divided into three periods:
The 1st period is the initial, the 10th - the beginning of the 20s, when Tyutchev creates his youthful poems, archaic in style and close to the poetry of the 18th century.
2nd period - the second half of the 20s - 40s, starting with the poem "Glimpse", the features of his original poetics are already noticeable in Tyutchev's work. This is a fusion of Russian odic poetry of the 18th century and the traditions of European romanticism.
3rd period - 50s - early 70s. This period is separated from the previous one by a decade of the 1940s, when Tyutchev writes almost no poetry. During this period, numerous political poems, poems "in case" and a poignant "Denisyev cycle" were created. Sovremennik magazine
love lyrics
IN love lyrics Tyutchev creates a number of poems, which are usually combined into a “love-tragedy” cycle, called the “Denisiev cycle”, since most of the poems belonging to it are dedicated to E. A. Denisiev. Their characteristic comprehension of love as a tragedy, as a fatal force leading to devastation and death, is also found in early work Tyutchev, therefore it would be more correct to name the poems related to the "Denisiev cycle" without reference to the poet's biography. Tyutchev himself did not take part in the formation of the "cycle", therefore it is often unclear to whom certain poems are addressed - to E. A. Denisyeva or his wife Ernestina. In Tyut studies, the similarity of the “Denisiev cycle” with the genre of a lyrical diary (confession) and the motives of Dostoevsky’s novels (morbidity of feeling) has been emphasized more than once.
More than 1,200 letters from Tyutchev have come down to us.
Tyutchev and Pushkin
In the 1920s, Yu. N. Tynyanov put forward the theory that Tyutchev and Pushkin belong to such different areas of Russian literature that this difference excludes even the recognition of one poet by another. Later, this version was disputed and substantiated (including documented) that Pushkin quite consciously placed Tyutchev’s poems in Sovremennik, insisted before censorship on replacing the excluded stanzas of the poem “Not what you think, nature ...” with rows of dots, considering it wrong not to designate the discarded lines in any way, and on the whole he was very sympathetic to Tyutchev's work.
However, the poetic imagery of Tyutchev and Pushkin are indeed seriously different. N.V. Koroleva formulates the difference as follows: “Pushkin draws a person living an ebullient, real, sometimes even everyday life, Tyutchev is a person outside of everyday life, sometimes even outside of reality, listening to the instant ringing of an aeolian harp, absorbing the beauty of nature and bowing to her, yearning before the “deaf groans of time” (1). Tyutchev dedicated two poems to Pushkin: "To Pushkin's Ode to Liberty" and "January 29, 1837", the last of which radically differs from the works of other poets on Pushkin's death by the absence of direct Pushkin's reminiscences and archaic language in its style.
Museums
There is a museum-estate of the poet in Muranovo near Moscow, which was taken over by the poet's descendants, who collected memorial exhibits there. Tyutchev himself, apparently, has never been to Muranovo. On July 27, 2006, a fire broke out in the museum on an area of 500 m² from a lightning strike, two museum employees were injured in the fight against fire, who managed to save part of the exhibits.
The Tyutchev family estate was located in the village of Ovstug (now the Zhukovsky district of the Bryansk region). The central building of the estate, due to its dilapidated state, was dismantled in 1914 for brick, from which the building of the volost government was built (preserved; now - the museum of the history of the village of Ovstug). The park and the pond have been neglected for a long time. The restoration of the estate began in 1957 thanks to the enthusiasm of V.D. The surviving sketches recreated the building of the estate, into which the museum exposition moved in 1986 (it includes several thousand original exhibits). In the former building of the museum (former school) there is an art gallery. In 2003, the building of the Assumption Church was restored in Ovstug.
Family estate in with. Znamenskoye (on the Katka River) near Uglich ( Yaroslavl region). Until now, the house, a dilapidated church and a park of extraordinary beauty have been preserved. In the near future, the estate is planned to be reconstructed. When the war with the French began in 1812, the Tyutchevs gathered to evacuate. The Tyutchev family did not leave for Yaroslavl, but for the Yaroslavl province, in the village of Znamenskoye. There lived the grandmother of Fyodor Ivanovich Tyutchev from his father's side. Pelageya Denisovna had been seriously ill for a long time. Relatives found my grandmother alive, but on December 3, 1812, she died. Probably, after the death of their grandmother, they lived in Znamenskoye for 40 days according to Russian custom. Ivan Nikolaevich (the poet's father) sent his manager to Moscow to find out how things were going there. The manager, returning, reported: Napoleon had left the Mother See, the manor's house was intact, only it was hard to live in Moscow - there was nothing to eat, no firewood. Ivan Nikolaevich and his family decided not to return to the capital, but to go to their estate in Ovstug. Raich, the future mentor and friend of Fedenka Tyutchev, also left Znamensky with them. A year and a half after the death of my grandmother, the division of all property began. It was supposed to take place between three sons. But since the elder Dmitry was rejected by the family for marrying without parental blessing, two could participate in the section: Nikolai Nikolaevich and Ivan Nikolaevich. But Znamenskoye was an indivisible estate, a kind of Tyutchev's majorate. It could not be divided, changed or sold. The brothers did not live in Znamenskoye for a long time: Nikolai Nikolaevich was in St. Petersburg, Ivan Nikolaevich - in Moscow, besides, he already had an estate in the Bryansk province. Thus, Nikolai Nikolaevich received Znamenskoye. In the late 1920s, Nikolai Nikolaevich died. Ivan Nikolayevich (the poet's father) became the guardian of his brother's children. All of them settled in Moscow and St. Petersburg, with the exception of Alexei, who lived in Znamenskoye. It was from him that the so-called "Yaroslavl" branch of the Tyutchevs went. His son, Alexander Alekseevich Tyutchev, that is, the nephew of Fyodor Ivanovich, was the district marshal of the nobility for 20 years. And he is the last landowner of Znamensky.
Biography
Tyutchev (Fyodor Ivanovich) - famous poet, one of the most prominent representatives of philosophical and political lyrics. Born on November 23, 1803 in the village of Ovstug, Bryansk district, Oryol province, in a well-born noble family, who lived openly and richly in Moscow in the winter. In a house "completely alien to the interests of literature and especially Russian literature," the exclusive dominance of the French language coexisted with a commitment to all the features of the Russian old noble and Orthodox way of life. When Tyutchev was in his tenth year, S.E. was invited to be his tutor. Raich (see XXVI, 207), who stayed in the Tyutchevs' house for seven years and had a great influence on the mental and moral development his pupil, in whom he developed a keen interest in literature. Having excellently mastered the classics, Tyutchev was not slow to test himself in poetic translation. Horace's message to the Maecenas, presented by Raich to the society of lovers of Russian literature, was read at the meeting and approved by the most significant Moscow critical authority at that time - Merzlyakov; after that, the work of a fourteen-year-old translator, awarded the title of "employee", was published in the XIV part of the "Proceedings" of the society. In the same year, Tyutchev entered Moscow University, that is, he began to go to lectures with a teacher, and the professors became ordinary guests of his parents. Having received his PhD in 1821, Tyutchev was sent to St. Petersburg in 1822 to serve in the State Collegium of Foreign Affairs and in the same year went abroad with his relative Count von Osterman-Tolstoy (see XXII, 337), who attached him supernumerary official of the Russian mission in Munich. He lived abroad, with minor interruptions, for twenty-two years. Staying alive cultural center had a significant impact on his spiritual warehouse.
In 1826 he married a Bavarian aristocrat, Countess Botmer, and their salon became the center of the intelligentsia; Heine belonged to the numerous representatives of German science and literature who were here, whose poems Tyutchev then began to translate into Russian; the translation of "Pine" ("From the Other Side") was published in "Aonides" for 1827. There is also a story about Tyutchev's heated disputes with the philosopher Schelling.
In 1826, three poems by Tyutchev were published in Pogodin's almanac "Urania", and the following year, in Raich's almanac "Northern Lyre", several translations from Heine, Schiller ("Song of Joy"), Byron and several original poems. In 1833 Tyutchev, after own will, was sent by "courier" on a diplomatic mission to the Ionian Islands, and at the end of 1837 - already a chamberlain and state councilor - he, despite his hopes of getting a place in Vienna, was appointed senior secretary of the embassy in Turin. In the end next year his wife died.
In 1839, Tyutchev entered into a second marriage with Baroness Dernheim; like the first, and his second wife did not know a word of Russian and only later learned native language husband to understand his works. For unauthorized absence to Switzerland - and even while he was entrusted with the duties of an envoy - Tyutchev was dismissed from service and deprived of the title of chamberlain. Tyutchev again settled in his beloved Munich, where he lived for another four years. During all this time, his poetic activity did not stop. In 1829 - 1830 he published several excellent poems in "Galatea" by Raich, and in "Molva" in 1833 (and not in 1835, as Aksakov says) his wonderful "Silentium" appeared, only much later appreciated . In the face of Iv. Ser. ("Jesuit") Gagarin (see VII, 767), he found a connoisseur in Munich, who not only collected and extracted poems abandoned by the author from under a bushel, but also reported them to Pushkin for publication in Sovremennik; here, during 1836-1840, about forty poems by Tyutchev appeared under the general title "Poems sent from Germany" and signed by F.T. Then, for fourteen years, Tyutchev's works did not appear in print, although during this time he wrote more than fifty poems. In the summer of 1844, Tyutchev's first political article was published - "Lettre a M. le Dr. Gustave Kolb, redacteur de la "Gazette Universelle" (d" Augsburg) ". Then he, having previously traveled to Russia and settled business affairs, moved with his family to St. Petersburg.He was returned his official rights and honorary titles and was given the appointment to be on special assignments at the State Chancellery, a position he retained even when (in 1848) he was appointed senior censor at the Special Chancellery of the Ministry of Foreign Affairs In St. Petersburg society, he was a great success, his education, the ability to be both brilliant and profound, the ability to provide a theoretical justification for accepted views created an outstanding position for him.
At the beginning of 1849, he wrote an article "La Russie et la Revolution", and in the January book "Revue des Deux Mondes" for 1850, another article of his was printed - without a signature - "La Question Romaine et la Papaute". According to Aksakov, both articles made a strong impression abroad: very few in Russia knew about them. The number of connoisseurs of his poetry was also very small. In the same year, 1850, he found an outstanding and supportive critic in the person of Nekrasov, who (in Sovremennik), not knowing the poet personally and making guesses about his personality, highly valued his works. I.S. Turgenev, having collected with the help of the Tyutchev family, but - according to I.S. Aksakov - without any participation of the poet himself, about a hundred of his poems, handed them over to the editors of Sovremennik, where they were reprinted, and then published as a separate edition (1854). This meeting caused an enthusiastic review (in Sovremennik) of Turgenev. Since then, Tyutchev's poetic glory - without passing, however, certain limits - has been strengthened; magazines turned to him with a request for cooperation, his poems were published in "Russian Conversation", "The Day", "Moskvityanin", "Russian Bulletin" and other publications; some of them, thanks to anthologies, become known to every Russian reader in early childhood ("Spring Thunderstorm", "Spring Waters", "Quiet Night in Late Summer", etc.). The official position of Tyutchev also changed.
In 1857, he turned to Prince Gorchakov with a note on censorship, which went from hand to hand in government circles. Then he was appointed to the post of chairman of the committee of foreign censorship - the successor to the sad memory of Krasovsky. His personal view of this position is well defined in an impromptu, recorded by him in the album of his colleague Vakar: “We are obedient to the command of the highest, we were not very perky ... - We rarely threatened and rather not a prisoner, but an honor guard kept guard with her." The diary of Nikitenko - a colleague of Tyutchev - more than once dwells on his efforts to protect freedom of speech.
In 1858, he objected to the projected double censorship - observational and consistent; in November 1866, "Tyutchev, at a meeting of the press council, rightly noted that literature does not exist for gymnasiums and schoolchildren, and that it is impossible to give it children's direction". According to Aksakov, "enlightened, reasonably liberal chairmanship of the committee, often at odds with our administrative worldview, and therefore in the end limited in their rights, is remembered by everyone who valued live communication with European literature." ", about which Aksakov speaks, coincides with the transfer of censorship from the department of the Ministry of Public Education to the Ministry of Internal Affairs.
In the early seventies, Tyutchev experienced several blows of fate in a row, too heavy for a seventy-year old man; following the only brother with whom he had an intimate friendship, he lost his eldest son and married daughter. He began to weaken, his clear mind grew dim, his poetic gift began to betray him. After the first stroke of paralysis (January 1, 1873), he almost did not get out of bed, after the second he lived for several weeks in excruciating suffering - and died on July 15, 1873. Like a man he left by himself best memories in the circle to which he belonged. A brilliant interlocutor, whose bright, well-aimed and witty remarks were passed from mouth to mouth (causing in Prince Vyazemsky the desire that Tyutcheviana, "a charming, fresh, lively modern anthology" be compiled from them), a subtle and insightful thinker, with equal confidence versed in higher questions of being and in the details of the current historical life, independent even where he did not go beyond the limits of established views, a man imbued with culture in everything, from external address to methods of thinking, he made a charming impression with a special - noted by Nikitenko - "courtesy of the heart, which consisted not in observing secular decency (which he never violated), but in delicate human attention to the personal dignity of each. The impression of the indivisible dominance of thought - such was the prevailing impression that this frail and ill old man, always enlivened by the tireless creative work of thought, produced. The poet-thinker is honored in him, first of all, by Russian literature. literary heritage it is not large: several journalistic articles and about fifty translated and two hundred and fifty original poems, among which there are quite a few unsuccessful ones. Among the rest, on the other hand, there are a number of pearls of philosophical lyrics, immortal and inaccessible in terms of depth of thought, strength and conciseness of expression, scope of inspiration.
The talent of Tyutchev, who so willingly turned to the elemental foundations of being, itself had something elemental; in the highest degree it is characteristic that the poet, who, by his own admission, expressed his thoughts more firmly in French than in Russian, who wrote all his letters and articles only in French, and who spoke almost exclusively in French all his life, could use the innermost impulses of his creative thought give expression only in Russian verse; several French poems of his are quite insignificant. The author of "Silentium", he created almost exclusively "for himself", under the pressure of the need to speak out to himself and thereby clarify his own state of mind. In this regard, he is exclusively a lyricist, alien to any epic elements.
With this immediacy of creativity, Aksakov tried to link the carelessness with which Tyutchev treated his works: he lost the pieces of paper on which they were sketched, left the original - sometimes careless - concept intact, never finished his poems, etc. The latter indication is refuted by new research; poetic and stylistic negligence is indeed found in Tyutchev, but there are a number of poems that he reworked, even after they were in print. Indisputable, however, remains an indication of "the correspondence of Tyutchev's talent with the life of the author", made by Turgenev: "... his poems do not smell like a composition; they all seem to be written for a certain occasion, as Goethe wanted, that is, they are not invented, but grew by themselves, like a fruit on a tree." The ideological content of Tyutchev's philosophical lyrics is significant not so much in its diversity as in depth. The smallest place here is occupied by the lyrics of compassion, represented, however, by such exciting works as "Tears of the People" and "Send, Lord, your joy."
The inexpressibility of thought in the word ("Silentium") and the limits set to human knowledge ("Fountain"), the limited knowledge of the "human self" ("Look, as in the open space of the river"), the pantheistic mood of merging with the impersonal life of nature ("Twilight", “So; there are moments in life”, “Spring”, “Spring day was still noisy”, “Leaves”, “Noon”, “When, what in life we called our own”, “Spring calm” - from Uhland), spiritualized descriptions nature, few and brief, but in terms of coverage of mood almost unparalleled in our literature ("The storm subsided", "Spring thunderstorm", "Summer evening", "Spring", "Loose sand", "Not cooled down from the heat", " Autumn evening", "Silent night", "There is in the original autumn", etc.), associated with the magnificent proclamation of the original spiritual life of nature ("Not what you think, nature"), a gentle and bleak recognition of the limitations of human love (" Last love", "Oh, how deadly we love", "She sat on the floor", "Predestination", etc.) - these are the dominations shaping motifs of Tyutchev's philosophical poetry. But there is another motive, perhaps the most powerful and determining all the others; this is formulated with great clarity and force by the late V.S. Solovyov, the motive of the chaotic, mystical fundamental principle of life. "And Goethe himself did not capture, perhaps as deeply as our poet, dark root world existence, did not feel so strongly and did not realize so clearly that mysterious basis of all life, natural and human, - the basis on which the meaning is based. space process and fate human soul and the whole history of mankind.
Here Tyutchev is indeed quite peculiar and, if not the only one, then probably the strongest in the whole poetic literature". In this motif, the critic sees the key to all of Tyutchev's poetry, the source of its richness and original charm. The poems "Holy Night", "What are you howling about, night wind", "To the world of mysterious spirits", "Oh, my prophetic soul" , "As the ocean embraces the globe", "Night voices", "Night sky", "Day and night", "Madness", "Mall" aria "and others represent a unique lyrical philosophy of chaos, elemental ugliness and madness, as "the deepest essence of the world soul and the basis of the entire universe." Both the descriptions of nature and the echoes of love are imbued in Tyutchev with this all-consuming consciousness: behind the visible shell of phenomena with its apparent clarity lies their fatal essence, mysterious, negative and terrible from the point of view of our earthly life.
Night with special force revealed to the poet this insignificance and illusory nature of our conscious life compared with the "flaming abyss" of the elements of unknowable, but perceptible chaos. Perhaps a special mood that distinguishes Tyutchev should be associated with this bleak worldview: his philosophical reflection is always shrouded in sadness, a dreary awareness of his limitations and admiration for irremovable fate. Only Tyutchev's political poetry - as one would expect from a nationalist and realpolitik - is imprinted with cheerfulness, strength and hopes, which sometimes deceived the poet. On Tyutchev's political convictions, which found expression in his few and small articles, see Slavophilism (XXX, 310).
There is little original in them: with minor modifications, this political worldview coincides with the teachings and ideals of the first Slavophiles. And he responded to the various phenomena of historical life that resonated in Tyutchev's political views with lyrical works, the strength and brightness of which can captivate even those who are infinitely far from the political ideals of the poet. Actually, Tyutchev's political poems are inferior to his philosophical lyrics. Even such a benevolent judge as Aksakov, in letters not intended for the public, found it possible to say that these works of Tyutchev "are expensive only by the name of the author, and not in themselves; these are not real Tyutchev's poems with originality of thought and turns, with amazing paintings", etc. In them - as in Tyutchev's journalism - there is something rational, - sincere, but not coming from the heart, but from the head. To be a real poet of the direction in which Tyutchev wrote, one had to love Russia directly, to know her, to believe in her faith.
This - according to Tyutchev's own confessions - he did not have. Having stayed abroad from the age of eighteen to forty years, the poet did not know his homeland in a number of poems ("On the way back", "I see your eyes again", "So, I saw again", "I looked, standing over the Neva") he admitted that his homeland was not dear to him and was not "for his soul his native land." Finally, his attitude to the popular faith is well characterized by an excerpt from a letter to his wife (1843), cited by Aksakov ( we are talking about how, before Tyutchev's departure, his family prayed, and then went to Iverskaya Mother of God): "In a word, everything happened in accordance with the orders of the most demanding Orthodoxy ... Well, then? For a person who joins them only in passing and to the best of his convenience, there are in these forms, so deeply historical, in this world of Russian- Byzantine, where life and worship are one, ... there is in all this for a person equipped with a flair for such phenomena, the greatness of poetry is extraordinary, so great that it overcomes the most ardent hostility ... For to the feeling of the past - and the same old of the past, - the premonition of an incommensurable future joins fatally. This recognition throws light on Tyutchev's religious beliefs, which, obviously, were based on not a simple faith at all, but primarily theoretical political views, in connection with some aesthetic element. Rational in origin, Tyutchev's political poetry, however, has its own pathos - the pathos of convinced thought. Hence the strength of some of his poetic denunciations ("Away, away from the Austrian Judas from his coffin board," or about the Pope: "He will be destroyed by the fatal word:" Freedom of conscience is nonsense. ") He also knew how to give an expression of his faith that was outstanding in terms of strength and conciseness. to Russia (the famous quatrain "Russia cannot be understood with the mind", "These poor villages"), to its political vocation ("Dawn", "Prophecy", "Sunrise", "Russian Geography", etc.).
The significance of Tyutchev in the development of Russian lyric poetry is determined by his historical position: a younger peer and student of Pushkin, he was a senior friend and teacher of lyric poets of the post-Pushkin period; it is not unimportant that most of them belong to the number of his political associates; but it was appreciated earlier than other Nekrasov and Turgenev - and subsequent studies only deepened, but did not increase its significance. As Turgenev predicted, he has remained to this day a poet of few connoisseurs; a wave of public reaction only temporarily expanded his fame, presenting him as a singer of his moods. In essence, he remained the same "indecent", powerful in the best, immortal examples of his philosophical lyrics, a teacher of life for the reader, a teacher of poetry for poets. Particulars in its form are not irreproachable; in general, it is immortal - and it is difficult to imagine the moment when, for example, "Twilight" or "Fountain" will lose their poetic freshness and charm.
Most complete collection Tyutchev's works (St. Petersburg, 1900) concludes his original (246) and translated (37) poems and four political articles. The main biographical source is the book of the poet's son-in-law, I.S. Aksakov "Biography of Fyodor Ivanovich Tyutchev" (M., 1886). Wed also obituaries of Meshchersky ("Citizen", 1873, No. 31), Pogodin ("Moskovskie Vedomosti", 1873, No. 195), M. S. ("Bulletin of Europe", 1873, No. 8), Nikitenko ("Russian Antiquity", 1873, No. 8), anonymous - "Russian Messenger" (1873, No. 8), estimates and characteristics - Turgenev (in "Sovremennik" 1854, No. 4), Nekrasov ("Contemporary", 1850), Fet (" Russian word", 1859, No. 2), Pletnev ("Report of the Academy of Sciences", 1852 - 1865 - a note about F.I. Tyutchev, who in 1857 ran, but unsuccessfully, for membership in the academy), Strakhov ("Notes on Pushkin, St. Petersburg, 1888 and Kyiv, 1897), Chuiko ("Modern Russian Poetry", St. Petersburg, 1885), Vl. Solovyov (repeated in the collection "Philosophical Currents of Russian Poetry", St. Petersburg, 1896, from the Vestnik Europe", 1895, No. 4). Interesting biographical and critical details in the "Memoirs" of Prince Meshchersky (St. Petersburg, 1897), "Diary" Nikitenko (St. Petersburg, 1893), "Memoirs" Fet (M., 1890, part II), articles U - va ("T. and Heine", in the "Russian Archive": 1875, No. 1), A. ("Russian Bulletin", 1874, No. 11), "A few words about F.I. Tyutchev" ("Orthodox Review", 1875, No. 9), Potebnya ("Language and Nationality", in the "Bulletin of Europe", 1895, No. 9), "The Life and Works of Pogodin", Barsukov, "Tyutchev and Nekrasov" and " On the new edition of Tyutchev's works, "V. Bryusov ("Russian Archive", 1900, No. 3). Tyutchev's letters, very interesting, have not yet been collected; something is printed in the "Russian Archive" (to Chaadaev - 1900, No. 11), where information about Tyutchev is generally scattered - his famous witticisms, etc. A. Gornfeld.
Fedor Ivanovich Tyutchev (1803-1873) - Russian poet. Also known as a publicist and diplomat. Author of two collections of poems, holder of a number of the highest state titles and awards. Currently, Tyutchev's works are in without fail studied in several classes secondary school. The main thing in his work is nature, love, Motherland, philosophical reflections.
Short biography: young years and training
Fedor Ivanovich was born on November 23, 1803 (December 5, old style) in the Oryol province, in the Ovstug estate. The future poet received his primary education at home, studying Latin and ancient Roman poetry. Childhood largely predetermined the life and work of Tyutchev.
As a child, Tyutchev was very fond of nature, according to his memoirs, "lived the same life with her." As was customary at that time, the boy had a private teacher, Semyon Yegorovich Raich, a translator, poet and just a person with a broad education. According to the memoirs of Semyon Yegorovich, it was impossible not to love the boy, the teacher became very attached to him. Young Tyutchev was calm, affectionate, talented. It was the teacher who engendered in his student a love for poetry, taught him to understand serious literature, encouraged creative impulses and the desire to write poetry on his own.
Fedor's father, Ivan Nikolaevich, was a gentle, calm, reasonable person, a real role model. His contemporaries called him a wonderful family man, a good, loving father and husband.
The poet's mother was Ekaterina Lvovna Tolstaya, second cousin Count F. P. Tolstoy, the famous sculptor. From her, young Fedor inherited dreaminess, a rich imagination. Subsequently, it was with the help of his mother that he would meet other great writers: L. N. and A. K. Tolstoy.
At the age of 15, Tyutchev entered Moscow University in the Department of Literature, which he graduated two years later with a Ph.D. in verbal sciences. From that moment began his service abroad, in the Russian embassy in Munich. During his service, the poet made a personal acquaintance with the German poet, publicist and critic Heinrich Heine, philosopher Friedrich Schelling.
In 1826 Tyutchev met Eleanor Peterson, his future wife. One of the interesting facts about Tyutchev: at the time of meeting the poet, the young woman had been a widow for a year, and she had four young sons. Therefore, Fedor and Eleanor had to hide their relationship for several years. Subsequently, they became the parents of three daughters.
Interesting, that Tyutchev did not dedicate poems to his first wife; only one poem is known to be dedicated to her memory.
Despite the love for his wife, according to biographers, the poet had other connections. For example, in 1833, in the winter, Tyutchev met Baroness Ernestine von Pfeffel (Dernberg in his first marriage), became interested in a young widow, wrote poetry for her. To avoid scandal, the loving young diplomat had to be sent to Turin.
The poet's first wife, Eleanor, died in 1838. The steamer, on which the family sailed to Turin, was in distress, and this seriously crippled the health of the young woman. It was a great loss for the poet, he sincerely mourned. According to contemporaries, after spending the night at the tomb of his wife, the poet turned gray in just a few hours.
However, having endured the prescribed period of mourning, a year later he renewed his relationship with Ernestine Dernberg and subsequently married her. In this marriage, the poet also had children, a daughter and two sons.
In 1835 Fyodor Ivanovich received the rank of chamberlain. In 1839, he stopped his diplomatic activity, but remained abroad, where he did a lot of work, creating a positive image of Russia in the West - this was the main thing of this period of his life. All his undertakings in this area were supported by Emperor Nicholas I. In fact, he was officially allowed to speak independently in the press about political problems arising between Russia and Europe.
The beginning of the literary path
In 1810-1820. The first poems of Fyodor Ivanovich were written. As expected, they were still youthful, bore the stamp of archaism, very reminiscent of the poetry of a bygone century. In 20-40 years. the poet turned to various forms both Russian lyrics and European romanticism. His poetry during this period becomes more original, original.
In 1836, a notebook with poems by Fyodor Ivanovich, then still unknown to anyone, came to Pushkin.
The poems were signed with only two letters: F. T. Alexander Sergeevich liked them so much that they were published in Sovremennik. But the name of Tyutchev became known only in the 50s, after another publication in Sovremennik, which was then led by Nekrasov.
In 1844, Tyutchev returned to Russia, and in 1848 he was offered the position of senior censor at the Ministry of Foreign Affairs. At that time, a circle of Belinsky appeared, in which the poet takes an active part. Along with him there are such well-known writers like Turgenev, Goncharov, Nekrasov.
In total, he spent twenty-two years outside Russia. But all these years Russia appeared in his poems. It was “Fatherland and Poetry” that the young diplomat loved most of all, as he admitted in one of his letters. At this time, however, Tyutchev almost did not publish, and as a poet he was completely unknown in Russia.
Relations with E. A. Denisyeva
While working as a senior censor, visiting his eldest daughters, Ekaterina and Daria, at the institute, Fyodor Ivanovich met Elena Aleksandrovna Denisyeva. Despite the significant difference in age (the girl was the same age as his daughters!), They began a relationship that ended only with the death of Elena, and three children appeared. Elena had to sacrifice many for the sake of this connection: a career as a maid of honor, relationships with friends and a father. But, probably, she was happy with the poet. And he dedicated poems to her - even after fifteen years.
In 1864, Denisyeva died, and the poet did not even try to hide the pain of her loss in front of acquaintances and friends. He suffered from pangs of conscience: due to the fact that he put his beloved in an ambiguous position, he did not fulfill his promise to publish a collection of poems dedicated to her. Another grief was the death of two children, Tyutchev and Denisyeva.
During this period, Tyutchev quickly advances in the service:
- in 1857 he was appointed a real state councilor;
- in 1858 - chairman of the Foreign Censorship Committee;
- in 1865 - Privy Councillor.
Besides, the poet was awarded several orders.
Collections of poems
In 1854, under the editorship of I. S. Turgenev, the first collection of the poet's poems was published. The main themes of his work:
- nature;
- love;
- Motherland;
- meaning of life.
In many verses, tender, reverent love for the Motherland, feelings for her fate are visible. Tyutchev's political position is also reflected in his work: the poet was a supporter of the ideas of pan-Slavism (in other words, that all Slavic peoples united under Russian rule), an opponent of the revolutionary way of solving problems.
In 1868, the second collection of the poet's lyrics was published, which, unfortunately, was no longer so popular.
All the lyrics of the poet - both landscape, and love, and philosophical - are necessarily imbued with reflections about what is the purpose of man, about the questions of being. It cannot be said that some of his poems are devoted only to nature and love: all the topics are intertwined with each other. Every poem of a poet- this, at least briefly, but necessarily a reflection on something, for which he was often called a poet-thinker. I. S. Turgenev noted how skillfully Tyutchev depicts various emotional experiences of a person.
Poems recent years rather resemble a lyrical diary of life: here are confessions, reflections, and confessions.
In December 1872, Tyutchev fell ill: his eyesight deteriorated sharply, the left half of his body was paralyzed. On July 15, 1873, the poet died. He died in Tsarskoye Selo, and was buried at the Novodevichy cemetery in St. Petersburg. Over the course of his life, the poet wrote about 400 poems.
An interesting fact: in 1981, asteroid 9927 was discovered at the Crimean Astrophysical Observatory, which was named after the poet - Tyutchev.
Fedor Ivanovich Tyutchev was born on November 23 (December 5), 1803 in the estate of Ovstug, Oryol province.
In the biography of Tyutchev primary education received at home. He studied poetry ancient rome and Latin. Then he studied at the University of Moscow in the department of literature.
After graduating from the university in 1821, he began working at the College of Foreign Affairs. As a diplomat he goes to Munich. Subsequently, the poet spends 22 years abroad. Tyutchev's great and most important love in life, Eleanor Peterson, was also met there. In marriage, they had three daughters.
The beginning of the literary path
The first period in the work of Tyutchev falls on 1810-1820. Then youthful poems were written, very archaic and similar to the poetry of the last century.
The second period of the writer's work (20s - 40s) is characterized by the use of forms of European romanticism and Russian lyrics. His poetry during this period becomes more original.
Return to Russia
The third period of his work was the 50s - early 70s. Tyutchev's poems during this period are not published, and he writes his works mainly on political topics.
The biography of Fyodor Tyutchev at the end of the 1860s was unsuccessful both in his personal life and in his creative one. Tyutchev's collection of lyrics published in 1868, in short, did not receive much popularity.
Death and legacy
Troubles broke him, his health deteriorated, and on July 15, 1873, Fedor Ivanovich died in Tsarskoye Selo. The poet was buried in St. Petersburg at the Novodevichy cemetery.
Tyutchev's poetry has a little over 400 poems. The theme of nature is one of the most common lyrics of the poet. So landscapes, dynamism, the diversity of seemingly living nature are shown in such works by Tyutchev: "Autumn", "Spring Waters", "Enchant Winter", as well as many others. The image of not only nature, but also the mobility, the power of streams, along with the beauty of water against the sky, is shown in Tyutchev's poem "Fountain".
Tyutchev's love lyrics are another of the poet's most important themes. Violence of feelings, tenderness, tension are manifested in Tyutchev's poems. Love, as a tragedy, as painful experiences, is presented by the poet in poems from a cycle called "Denisiev" (composed of poems dedicated to E. Denisiev, the poet's beloved).
Tyutchev's poems written for children are included in school curriculum and studied by students of different grades.
Interesting life facts of the creativity and personal life of Fyodor Ivanovich Tyutchev are little studied, and this is due to the fact that the famous writer, despite his own publicity, did not prefer to talk about himself. Interesting facts about Tyutchev say that he was withdrawn and experienced any trouble alone. As you know, Tyutchev's biography is silent about many things. But still Interesting Facts about this writer can be useful for every fan of his work, and therefore it is important to study them.
1. By mother, Fedor Ivanovich Tyutchev is considered a distant relative of Tolstoy.
2. Tyutchev himself did not consider himself a professional.
3. The poet was weak in health.
4.C special interest Tyutchev learned many languages, namely: ancient Greek, German, Latin and French.
5. Knowing many foreign languages, Fedor Ivanovich had to study at the College of Foreign Affairs.
6. Eleanor Peterson is considered the first wife of Tyutchev. At the time of her acquaintance with Fedor Ivanovich, she already had four children.
7. Tyutchev's first teacher was Semyon Yegorovich Raich.
8. Tyutchev was considered a loving person. During the years of his life with his beloved wife, he had to commit adultery.
9. Fedor Ivanovich was not only a famous poet, but also a diplomat.
10. He received his primary education at home.
11. Tyutchev dedicated poems to every beloved woman.
12. Tyutchev had 9 children from all marriages.
13. Even Pushkin was dedicated to Tyutchev's poems.
14. Tyutchev - comes from a noble family.
15. Fyodor Ivanovich Tyutchev wrote his first poem at the age of 11.
16. In 1861, a collection of Tyutchev's poems was published in German.
17. Fedor Ivanovich is a classic of Russian literature.
18. This poet preferred to sing nature and lyrics in poetry.
19. Tyutchev was considered an avid heartthrob.
20. The third wife of Fyodor Ivanovich was 23 years younger than him. Tyutchev had a civil marriage with this woman.
21. Fedor Ivanovich was able to survive his “last love” for 9 years.
22. The poet was born in the Oryol province.
23. Until the end own life Fedor Ivanovich was interested in the politics of Russia and Europe.
24. The poet's health failed in 1873: he developed severe headaches, lost his sight, and became paralyzed in his left hand.
25. Tyutchev was considered the favorite of all women.
26. In 1822, Tyutchev was appointed a freelance official in Munich.
27. Researchers called Fedor Ivanovich Tyutchev a romantic.
28. Tyutchev was convinced that happiness is the most powerful thing all over the earth.
29. Fyodor Ivanovich's creativity was of a philosophical nature.
30. Tyutchev spoke with political articles.
31. The outstanding Russian poet was also an excellent political thinker.
32. Tyutchev died in Tsarskoye Selo.
33. Russophobia is the main problem, which Fedor Ivanovich Tyutchev touched upon in his own articles.
34. Misfortune haunted the poet since 1865.
35. Fedor Ivanovich Tyutchev died in great agony.
