Day and night Tyutchev theme. Day and night in poetry F

In each of his poems one feels not
only the eye of an artist, but also the mind of a thinker.
V. Bryusov

Among the poets of the 19th century, F. I. Tyutchev stands out for his desire to comprehend the secrets of the universe, unravel the language of nature, understand the meaning and capabilities of man in the natural world. As a philosopher, Tyutchev shares pantheistic views. Man is a part of the great world of nature, which has a true being. And man is only her "dream", "thinking reed". And this "thinking reed" is trying to understand everything mysterious, mysterious in the incomprehensible, but close to him world of nature.

In Tyutchev's poetry there is a special pair theme: day and night. It is revealed not only in the poem of the same name, but also in many other works of the poet, which can be divided into "day" and "night".

In the poem "Day and Night" Tyutchev presents the day as a "golden veil", "hiding from man the mysterious and bottomless world of spirits, the world of space":

Day - this brilliant cover - Day, earthly revival, Souls of the aching healing, Friend of men and gods!

But the night tears "from the fatal world" "the fabric of the fertile cover." And the abyss of space “with its fears and darkness” is exposed before a person. And a person feels his insignificance and defenselessness in front of a huge and mysterious space:

And there are no barriers between her and us - That's why we are afraid of the night!

The human soul is a receptacle for two worlds: the “day world” and the “night chaos”. At night, a person especially feels his involvement in space. In the poem "Insomnia", the hero of Tyutchev reads "a tormenting night story." It awakens a sleeping conscience, it reminds of the inevitable course of time, it makes you look at life from the outside:

And our life stands before us, Like a ghost, on the edge of the earth.

Tyutchev's stars are the "living eyes" of a deity that forever look at the earth, at a person. But we only see them at night. They are both spectators and judges, and an eternal reminder to man of his inextricable connection with the universe, with the world soul.

Tyutchev's night is also a symbol of the elements, powerful, omnipotent. The day is the "golden carpet" of civilization, a mirage that can be destroyed by the elements. What can pacify the elements, protect civilization and man? One of these barriers is beauty and poetry. Poetry is not afraid of painful spectacles, it is inspired by truth, whatever it may be: material from the site

Only the Muses disturb the virgin soul In prophetic dreams, the gods disturb, -

Tyutchev writes in one of the "night" poems - "Vision". Tyutchev's poetry is a messenger of heaven, a kind of mediator between God and people, between heaven and earth, day and night. Her role is conciliatory:

Among the thunders, among the fires, Among the seething passions, In elemental, fiery discord, She flies from heaven to us - Heavenly to earthly sons, With azure clarity in her eyes - And on the rebellious sea Pours a conciliatory oil.

Perhaps it is worth introducing a little poetry into our lives, its beauty and reason, and it will become easier to bear the burden of the day and the judgment of the night. And the secrets of the universe will become closer and clearer.

Analysis of the poem

1. The history of the creation of the work.

2. Characteristics of the work of the lyrical genre (type of lyrics, artistic method, genre).

3. Analysis of the content of the work (analysis of the plot, characterization of the lyrical hero, motives and tone).

4. Features of the composition of the work.

5. Analysis of the means of artistic expression and versification (presence of tropes and stylistic figures, rhythm, meter, rhyme, stanza).

6. The meaning of the poem for the entire work of the poet.

We can attribute the poem to philosophical lyrics, its main theme is the traditional opposition of day and night for romanticism as images symbolizing the two polar states of the human soul. Style is romantic. Genre - lyrical fragment.

The poem opens with the image of a bright, joyful day:

To the world of mysterious spirits,
Above this nameless abyss,
The cover is thrown over with gold-woven
High will of the gods.
Day - this brilliant cover -
Day, earthly revival,
The souls of the sick are healed,
Friend of man and gods!

However, soon the day turns into night, and other feelings come to life in the soul of the lyrical hero - fear, helplessness. His “night abyss” opening up to his gaze gives rise to Chaos, which opposes Harmony in the lyrical world of Tyutchev. All hidden, secret night makes clear. A person remains alone with his own soul, with the whole Universe, he cannot escape from his own experiences. And here the hero is already opposed to the Universe. In the same plan, we can consider here the symbolism of light and darkness. The mist of the night destroys the barriers between a person and the deepest movements of his soul, brings to life everything that was covered with the “brilliant cover” of the day. But what is hidden there, in the depths of the subconscious of the lyrical hero? The poet does not give a direct answer to this question:

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

Here we already meet numerous verbs, a short passive participle and participle: “fades”, “has come”, “came”, “throws away”, “torn off”, “naked”. Tyutchev's night is stronger than day, it is active, it suppresses the hero. And here we come close to philosophical reflection about a person, about the dark and light sides of his soul. If a person adheres to the norms of goodness and reason, then Chaos will not be able to destroy him. If he is anarchic and self-willed, then Nature will turn her dark side to him.

The same motif of a person’s impotence before the elements of the Night is also heard by Tyutchev in the poem “The Holy Night Has Ascended into the Sky”:

And, like a vision, the outside world is gone...
And a man, like a homeless orphan,
It stands now, and weak and naked,
Face to face before the dark abyss.

He will leave for himself -
The mind is abolished, and the thought is orphaned -
In his soul, as in the abyss, he is immersed,
And there is no outside support, no limit ...

The poem is written in iambic four-foot, eight lines, rhyming - ring. The poet uses the following means of artistic expression: epithets (“above ... the nameless abyss”, “brilliant cover”, from the fatal world”), metaphor (“From the fatal world, the Fabric of the fertile cover, Having torn off, throws away”), inversion (“The cover is thrown over the golden-woven ”), assonance (“The veil is thrown over with gold-woven”), alliteration (“By the high will of the gods”). We find high vocabulary (“veil”, “blessed”) and archaisms (“spirits”, “earthly”, “this”, “darkness”).

The poem "Day and Night" is one of the best in the poet's work. It subtly and accurately conveys the attitude of Tyutchev, “the poet of night revelations, the poet of heavenly and spiritual abysses. He seems to be whispering with the shadows of the night, catching their vague life and conveying it without any symbols, without any romance, in quiet, quivering words... This is the contemplation of the world in its nocturnal spontaneity, in its chaotic divine truth... Human life is embraced by dreams, and a bright day is precisely a dream from which we awaken into life, into death.

The poem "Day and Night" was written by F.I. Tyutchev in 1839. First published in the same year in the Sovremennik magazine. Then it was reprinted in Sovremennik in 1854 and 1868. L.N. in his collection of poems, the poet noted this work with the letters “T. G.K.!” (Tyutchev. Depth. Beauty).
We can attribute the poem to philosophical lyrics, its main theme is the traditional opposition of day and night for romanticism as images symbolizing the two polar states of the human soul. Style is romantic. Genre - lyrical fragment.
The poem opens with the image of a bright, joyful day:

To the world of mysterious spirits,
Above this nameless abyss,
The cover is thrown over with gold-woven
High will of the gods.
Day - this brilliant cover -
Day, earthly revival,
The souls of the sick are healed,
Friend of man and gods!

Calm, solemn intonations convey the feelings of the lyrical hero. The image of the day is created by numerous applications that are used here in a certain semantic gradation: “this brilliant cover”, “earthly revival”, “Healing of the souls of the sick”, “Friend of man and gods!”. The day is clarity, order, peace of mind. Man is in harmony with God and the Universe. The researchers noted that in the first part of the poem there is no movement, dynamics. There are no verbs here, only the passive participle "thrown over" is used, the day, thus, becomes passive, inactive for Tyutchev.
However, soon the day turns into night, and other feelings come to life in the soul of the lyrical hero - fear, helplessness. His “night abyss” opening up to his gaze gives rise to Chaos, which opposes Harmony in the lyrical world of Tyutchev. All hidden, secret night makes clear. A person is left alone with his own soul, with the whole Universe, he cannot get away from his own experiences. And here the hero is already opposed to the Universe. In the same plan, we can consider here the symbolism of light and darkness. The mist of the night destroys the barriers between a person and the deepest movements of his soul, brings to life everything that was covered with the “brilliant cover” of the day. But what is hidden there, in the depths of the subconscious of the lyrical hero? The poet does not give a direct answer to this question:

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

And, like a vision, the outside world is gone...
And a man, like a homeless orphan,
It stands now, and weak and naked,
Face to face before the dark abyss.
He will leave for himself -
The mind is abolished, and the thought is orphaned -
In his soul, as in the abyss, he is immersed,
And there is no outside support, no limit ...

The composition of the work is based on the principle of antithesis. We can distinguish two parts. In the first part, the poet creates the image of the day, in the second part - the image of the night.
The poem is written in iambic four-foot, eight lines, rhyming - ring. The poet uses the following means of artistic expression: epithets (“above ... the nameless abyss”, “brilliant cover”, from the fatal world”), metaphor (“From the fatal world, the Fabric of the fertile cover, Having torn off, throws away”), inversion (“The cover is thrown over the golden-woven ”), assonance (“The veil is thrown over with gold-woven”), alliteration (“By the high will of the gods”). We find high vocabulary (“veil”, “blessed”) and archaisms (“spirits”, “earthly”, “this”, “darkness”).
The poem "Day and Night" is one of the best in the poet's work. It subtly and accurately conveys the attitude of Tyutchev, “the poet of night revelations, the poet of heavenly and spiritual abysses. He seems to be whispering with the shadows of the night, catching their vague life and conveying it without any symbols, without any romance, in quiet, quivering words... This is the contemplation of the world in its nocturnal spontaneity, in its chaotic divine truth... Human life is embraced by dreams, and a bright day is precisely a dream from which we awaken into life, into death.

Fedor Ivanovich Tyutchev was born on November 23, 1803. He was not from a simple peasant family. For a long time, Fedor Ivanovich Tyutchev was homeschooled.

Fedor Ivanovich Tyutchev began to write poems at an early age. Fyodor Ivanovich Tyutchev wrote his first poem when he was seven years old.

Fedor Ivanovich Tyutchev, experienced in his life many tragic moments that fate presented him. The most important and bitter blow in his life happened in his middle age, his beloved wife dies. The whole night, Fedor Ivanovich Tyutchev, spends at the coffin of the deceased, after which he turns gray in a few hours, one might say before our eyes, from a tragic upset and experience.

Throughout his life, Fedor Ivanovich Tyutchev wrote more than four hundred immortal poems, the subject matter of which was mainly about reflection on a psychological topic. The poems of Fyodor Ivanovich Tyutchev had a philosophical character. Here, for example, is one of the immortal poems of Fyodor Ivanovich Tyutchev, which is called “Day and Night”.

On the world of mysterious spirits, over this nameless abyss, a cover thrown over by the high will of the gods, woven with gold. In these lines, the author speaks of a white day, which was presented by higher powers.

Day - this brilliant cover day, earthly revival, souls of the aching healing, friend of man and gods! In these lines, the author also describes a white day, which is intended for all living things, that it is in broad daylight that one can stay awake and enjoy life, and also writes that a white day can even cure a sick person.

But the day fades - the night has come; She came - and, from the world of the fatal fabric, the blessed cover, tearing, throwing away ... and the abyss is naked to us with its fears and mgs, and there are no barriers between it and us - that's why the night is terrible for us! In these lines, the author describes the night as a warlike dark time of the day. That it is with the onset of night that people discover their fears and the gloomy thoughts that disturb them.

Analysis of the poem - Day and night

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

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

So, the analyzed poem:

To the world of mysterious spirits,

Above this nameless abyss

The cover is thrown over with gold-woven

High will of the gods.

Day - this shining cover -

Day - earthly revival

Souls of the aching healing,

Friend of man and gods!

Came from the fatal world

The fabric of the fertile cover,

Tearing off, throwing away...

And the abyss is naked to us

With your fears and darkness

And there are no barriers between her and us -

That is why we are afraid of the night.

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

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

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

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

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

Already in the pier the magic boat came to life;

The tide is rising and taking us fast

Into the immensity of dark waves.

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

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

Day, earthly revival,

Souls of the aching healing,

Friend of men and gods!

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

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

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

But the day fades - the night has come;

Came - and from the fatal world

The fabric of the fertile cover,

Tearing off, throwing away...

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

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

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

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

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

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

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

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

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

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

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

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

Day and night Tyutchev theme. Day and night in poetry F

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