Silentium tyutchev artistic means. Analysis of Tyutchev's poem Silentium Silentium (Silence)
Tyutchev is a talented Russian poet, romantic and classic who wrote primarily not for someone else, but for himself, revealing his soul on paper. Each of his poems is saturated with the truth, the truth of life. One gets the feeling that the poet is afraid to express his opinion in the eyes of people, sometimes even alone with himself he is afraid to confess his feelings and orders himself to be silent and not to reveal the secrets kept deep in his heart. Tyutchev wrote "Silentium" in 1830, just at the time of the departure of the era of romanticism and the arrival of the bourgeois-pragmatic era. The poem shows the author's regret for the days gone by and his lack of understanding of what will happen next.
Fyodor Ivanovich was a romantic at heart, pragmatism was alien to him, so the source of his inspiration disappeared with the arrival of July. The chaos that followed destroyed all the poet's hopes and expectations, leaving him in confusion and regret about the irretrievably lost era of romanticism. Almost all of Tyutchev's poems of that period were imbued with such a mood, "Silentium" was no exception. The author cannot get rid of the shadows of the past, but he makes a vow of silence to himself, running away from the bustle of the outside world and closing in on himself.
At the beginning of the poem, the poet describes the usual for his lyrical hero: stars in the night sky, water springs. The first symbolize something divine, higher power, and the second is an image of nature, something earthly and understandable to each of us. Tyutchev wrote "Silentium" to explain to people the harmony of God with Nature and how it affects humanity. On the other hand, everyone must know their own Universe, the microcosm that reigns in the soul.
In the middle of the poem, the poet asks questions about how to voice his thoughts correctly so that the other person understands you correctly, does not misinterpret the words, changing their meaning. Tyutchev wrote "Silentium" with a mute appeal to be silent and keep everything in oneself, to keep the secret of unspoken thought. You can also perceive the forced dumbness as a protest against everyday consciousness, the chaos that is happening around. In addition, the poet could resort to a romantic motive, thus conveying the loneliness of his lyrical hero, devoid of understanding.
Tyutchev's "Silentium" shows the complete impotence of the word, which is unable to fully convey what is happening in his inner experiences and hesitations. Each person is individual and unique in his judgments, thoughts and assumptions. A person has his own ideas about life, reacts in his own way to certain events, so it is not very clear to him how his feelings will be interpreted by other people. Each of us had moments when we were tormented by doubts whether they would understand what they would think or say.
Tyutchev wrote "Silentium" in order to prove that he believes in what will be understood by humanity. The poet simply wished to emphasize that there is no need at all to share every thought with the public, to discuss important issues with the first person he meets. In some situations, it is better to hide your feelings, keep your opinion to yourself, and calm your emotions. Everyone should have their own one hidden from prying eyes: why reveal it to people who will never understand and appreciate the ideas voiced.
The poem conveys the thoughts of F.I. Tyutchev that inner world a person is understandable only to himself and can never be fully seen by others. Words cannot convey all the dreams and dreams that we live with. "A spoken thought is a lie" - this is how the poet writes.
Each stanza in a work is a separate semantic part, completely self-contained. They are united only main thought poems about the strangeness of a person's inner world and the external, as well as the repetition of the final words in the last lines. (Epiphora)
The first stanza contains an energetic conviction (“be silent, hide and hide”), the words of a mentor invisible to the reader who seeks to help the seeker understand his spiritual world, learn to see all of its unique originality.
In the second stanza, persistent conviction turns into logical reasoning. The tone of the lyrical hero's mental monologue is changing, now he is not trying to tell someone his point of view, to teach the life of a foolish person who needs help. The author uses such a poetic device as a chain of rhetorical questions with which he addresses himself: “How can the heart express itself? How can another understand you? Will he understand how you live? " And then he concludes: "A spoken thought is a lie." This is how the poet expresses his idea that words are difficult to convey all the wealth and completeness. human soul.
In the third stanza, the admonition of a wise man is again heard, addressed to younger dreamers. He gives advice on how to preserve the silence and magic of an inexperienced mind:
Only be able to live in yourself -
There is a whole world in your soul
Mysteriously magical thoughts ...
There are few tropes in the work: there are three stanzas - three images: a comparison of "Silent like stars in the night" in the first, a parallel of mental life with unclouded keys - in the second, and opposition of the day's rays to the hidden world of "mysteriously magical thoughts" - in the third. In my opinion, a small number of tropes combined with elements of colloquial speech, the imperative mood of verbs makes the text look like a spell. Following the rhythm of the poem, the reader is immersed in a state of inner silence, the path to which the author is trying to tell us. This is how the poet tries to help those who do not hear the voice of their soul and lose themselves in the vanity of everyday life.
The poem seemed to me ambiguous and difficult to understand. However, after reading it, I saw in it a meaning that corresponds to my convictions: for those who have managed to truly understand themselves, who have learned to value their inner wealth, the vanity of the outside world cannot prevent them from being an integral and self-sufficient person. Only by being in harmony with yourself can you live full life and not depend on anyone.
Koroleva N.V. F. Tyutchev "Silentium!" // Poetic structure of Russian lyrics. - L .: Nauka, 1973 .-- S. 147-159.
Perhaps not a single work of Tyutchev has been given so many conflicting interpretations as the poem "Silentium!"
Leo Tolstoy marked this poem with the letter "G" - "depth" in the margins of the 1886 edition, meaning not only the depth of universal human content, but also the depth of Tyutchev's lyricism, expressed in "Silentium!" In the "Reading Circle" Tolstoy placed this poem on September 30, preceding it with something like a general epigraph for the reflections offered to readers on that day: "The more solitary a person, the more he can hear the voice of God always calling him." The quotes from Amiel and Pascal, Tolstoy's own maxims and conclusions, cited right there, allow us to understand exactly what depth of lyrical content their wonderful interpreter found for himself in Tyutchev's lines. "By the mere fact that a good intention has been expressed, the desire to fulfill it has already been weakened." - "V important issues life we are always alone, and our real story almost never can be understood by others. The best part of this drama is the monologue, or rather the soulful discourse between God, our conscience, and us. Amiel ". “Pascal says: a person should die alone. A person should live in the same way. The fact that the main thing in life is that a person is always alone, that is, not with people, but with God. " "Temporary detachment from everything worldly and contemplation in oneself of one's divine essence is the same nourishment of the soul necessary for life as food for the body", etc.
Does the text of Tyutchev's poem contain everything that L.N. Tolstoy? No.
Is there in the subtext of Tyutchev's poem the meaning that Tolstoy brought to it? In any case, in the first subtext, the nearest one is not. Does Tyutchev's poem provide an opportunity for such an interpretation of its deep, hidden meaning? Oh sure,
and we do not notice any stretch in Tolstoy's interpretation (and indeed there is none), as long as we remain within the two spiritual worlds - Tyutchev - Tolstoy, their contact, mutual penetration.
But now we go beyond them, and it turns out that the variety of deep, hidden meanings of Tyutchev's poem is endless.
K. D. Balmont: the first Russian poets to understand Tyutchev the great essence of the life of nature, its complete independence from human life, human thoughts, actions and passions and depicted its objective essence, its self-sufficient kingdom, the goals and laws of which the human mind can only suspect. But on the other hand, the human soul, the soul of a pantheist and symbolist artist, cannot obey visible world, but will rework, recreate it in its depths. "Tyutchev understood the need for that great silence, from the depths of which, as from an enchanted cave, illuminated by an inner light, transformed beautiful ghosts emerge." This is what, according to K. Balmont, the poem "Silentium!"
Viach. Ivanov: in "Silentium!" expressed "the awareness of the general truth about the growing discrepancy between the spiritual growth of the individual and external means of communication: the word has ceased to be tantamount to the content of internal experience." Following Vyacheslav Ivanov, a modern researcher of symbolism and modernism: “Tyutchev assumes that the world, especially the invisible, is so diverse and complex that the generally accepted human language is too poor to express the real phenomena of life and that this is the reason for the falsity of our speech:“ How can the heart express myself?<...>A spoken thought is a lie. "
And here is another interpretation of the same line: “In Tyutchev<.. .="">fought<...>two principles - femininity, lyricism, emotionality of the outlook - and the smugness, restraint and external coldness of a diplomat. Hence, "the spoken thought is a lie." Didn't the double, symbolic language of the diplomat shape Tyutchev's genre? "
However, Soviet literary criticism most often bypassed this "dangerous" line, constructing the concept of the poem, as a
forcibly, at the beginning of the third stanza: "Only know how to live in yourself - / There is a whole world in your soul / Mysterious and magical thoughts ...", and Tyutchev turned out to be a German romantic after Zhukovsky. This is exactly what he wrote about "Silentium!" D.D. Blagoy: Zhukovsky gave poetry a soul and a heart, but “it was the soul and heart of a lonely, withdrawn dreamer, cut off not only from public life, but to a large extent also from objective reality in general.
Only know how to live in yourself.
There is a whole world in your soul
Mysteriously magical thoughts -
such a formula for this romanticism will be given later in his famous poem "Silentium!" one of the most remarkable romantic poets in world literature is Tyutchev. "
Without multiplying more such examples and closing the circle, we will try, if possible, to combine the last interpretation with the first of the ones given by us: "In the fact that the main thing in life, a person is always alone ..." the desire to fulfill it has already been weakened ”; "Our real story can almost never be understood by others." Does this have anything to do with Zhukovsky's formula of romanticism? And in general, could Tolstoy be agitated by the formula of romanticism of "a lonely, withdrawn dreamer"? And at the same time - is the interpretation of D.D. Good? Perhaps one of the variants of the deep meaning of this poem is not only the youthful-romantic separation from the world, which for the aging sage turns into a problem of eternal human "non-contact", not only the triple inconsistency of the life of the heart, expressed about it and understood from what is expressed, only the egocentrism of self-contemplation ("When you explode, you will disturb the keys - / Eat them and be silent"), but also, indeed, the historical and literary analysis of the creative process, the awareness of oneself as a poet of romanticism?
Proceeding to the direct analysis of the construction and expressive means the poem "Silentium!", which remained forever in the history of Russian and world lyric poetry as one of the deepest comprehensions of the inner life of the human soul, let us make a reservation that we do not consider our interpretation to be either the most complete or final. Just as each epoch creates its own Hamlet, each generation reads and will read "Silentium!" In its own way. They will either leave one moral and psychological aspect in it, or introduce political meaning; either to cleanse it with your mental health, or to reflect the disintegration of your own personality. The remarkable qualities of the romantic method in lyrics make this possible.
And one more preliminary remark. As the main text for the analysis, we chose the text of "Contemporary" in 1836 (vol. III, p. 16), recognized as the main one in most Soviet editions of Tyutchev's poems:
Shut up, hide and thai
And their feelings and dreams -
Let in the depths of the soul
One get up and go
Admire them - and be silent.
How can the heart express itself?
How can another understand you?
Will he understand how you live?
A spoken thought is a lie.
Exploding, you will disturb the keys, -
Eat them - and be silent.
There is a whole world in your soul
Mysterious and magical thoughts;
They will be deafened by the noise outside
Daytime rays will disperse, -
Listen to them singing - and be silent! ..
Eighteen lines divided into three sextines. A three-part composition, each part is completely self-contained - in meaning, intonation, syntactic and musical. The connection of the parts is only in the development of lyric thought, which is the only one and constitutes a lyrical plot, not supported either figuratively or syntactically (compare, for example, another three-part poem by Tyutchev: "Like over hot ash ..." - 1st stanza, " My life is smoldering so sadly ... "- 2nd," Oh, heaven, if only once ... "- 3rd (I, 47).) This connection between the parts and the antithesis, so often tightly fastening Tyutchev's stanzas ("The Roman orator spoke ..." - "So! .. but, saying goodbye to Roman glory ..." (I, 36)). There is no external plot-landscape, external figurative scheme ("Send, Lord, your joy ...", "Look, as in the river space ..."). The only formal detail that the poet allows himself to reinforce, to emphasize the unity of the three frequent, is persistently repeated end rhymes and the last lines of the sextines:
As silent as the stars in the night -
Admire them - and be silent.
Exploding, you will disturb the keys, -
Eat them - and be silent.
Daytime rays will disperse, -
Listen to their singing - and be silent! ...
Persistent repetition - this artistic technique prevails in a poem, built as a call, as a conviction, as a desire to explain. "Be quiet, hide and tai" - the command of the first line was given three times. “Feelings and Dreams” is an insistent clarification. “Get up and go in” is a verb pair that covers the entire action from inception to the end; "Admire them - and be silent" - another verb pair, the fourth and fifth imperative forms of the verb in one stanza, not counting one more, less obvious order: "Let it be in the depths of the soul / Get up and enter it / Silently ...". Persistent repetition, the desire to convince sounds in the selection of rhymes - contiguous, accurate, masculine, and in seventeen cases out of eighteen rhymes are short, one- or two-syllable, abruptly sounding words.
The energy of persuasion is conveyed by the first stanza and its extremely peculiar syntax. It is structured as a single phrase, consisting of three sentences, of which at least two, and maybe all three are in a complex subordinate relationship with each other, but this connection is not clarified by unions, but as if deliberately shaky. And this is not a technique of asindeton (deliberate non-union), but it seems that the fragility of a concessive, determinative or causal relationship cannot be expressed by anything other than the dash set by Tyutchev (“Keep quiet, hide and thai / And your feelings and dreams -”). The two subsequent sentences clarify what (quality through action) both equally living active principles of the first sentence are, one of which is a person, the one who “is silent, hides and conceals”, and the other is feelings and dreams that are “silent, like stars in the night ", they rise and set, that is, they are born, I live, I die, and a person looks deep into himself, sees them, admires them - and is silent about them, that is, is with them in some kind of emotional colored relationships ("admire them"). And in the word "let it go" - and commanding feelings ("let it ... get up and enter ... silently") and concession (even if ... "admire!").
To whom is this conviction directed? To a dissenter? To the objector? A like-minded person, silent, but nodding his head in agreement? Taken by surprise, not thinking about it and now frightened by the paradox of the formulation thrown in his face? Or, finally, to yourself or your own double?
Over and over again, re-reading the poem, oversaturated with imperative intonation, we are convinced that it does not bear the character of a dispute and it does not have an addressee - a dissenter with whom they argue. Tyutchev built similar poems differently ("Pushkin's ode to freedom", "A. N. M.", "Not what you think, nature ...", "When decrepit forces ...", etc. ). He did not hide the dispute itself, did not lead it into subtext, even brought the judgment with which he argued, gave a clear, unacceptable phenomenon for himself (“And senile love is shameful / Grumpy senile
fervor "- I, 209). In the poem "Silentium!" no controversy. Rather, it comforts the desperate, explains to the bewildered one (another, oneself?) How to live in peace. Moreover, the world is not hostile to man, it is simply alien to him, external, "external" in relation to the life of his soul.
All this should be thought over in order to understand the meaning of the composition of the poem, the proportionality of its three parts. The first stanza is an energetic conviction, a strong-willed pressure, addressed to oneself, to another, but to a loved one and a weak person, who needs energetic help with a word from a more experienced, more thoughtful, or just himself, but matured: “Be quiet, hide and hide. .. ". And then there is calmness: your feelings will not die from this, but they will still live the same wonderful life, get up and go into the depths of the soul, "like stars in the night" (options: "Like peaceful stars in the night", "Like clear stars in nights ") -" admire them. " The older friend takes care of the younger one; a grown-up person (what exactly is in the subtext - faced with “the all-powerful human vulgarity”? just a secular person giving a lesson: “Learn to rule yourself?) teaches a young romantic, in whose soul beautiful stars of feelings and dreams really rise and set. Another explanation for the replacement of the option "And thoughts and dreams" by "And feelings and dreams": why hide and conceal a thought? Feeling, dream - yes, but thought - no. The persuader himself does not conceal his thought, but vigorously expresses it, almost imposing it on an invisible interlocutor. This is the first stanza.
In the second stanza, energetic pressure, persistence give way to persuasion with the help of logical reasoning, a system of evidence. However, the logic of the persuading one, with all the outward semblance of scientific logic, retains all the features of the individual paradoxicality of seeing the world, thinking about the world and depicting one's thoughts and conclusions in a work as an object of art instead of a truly really existing world, which are characteristic of the writer of romanticism. The generalization of individual experience, acquired mainly in reflection, to the general validity of the law is the false side of the romantic method. But the individual experience itself and lyrical thinking about it are true, authentic, and, having found the appropriate form for their expression, the poet will convince of the authenticity of his thoughts about life even “the craving for gels of other eras, which will hastily bring the small realities of everyday situations under the paradoxical generalization of an alien century century of his. The method of romanticism cannot prevent this - grounding, realization in the reader's perception.
So, the second stanza is a lyrical conviction, the intonation of a confessional conversation: "Well, agree that ..." you
Do you live? / A spoken thought is a lie "). We know about the deep life of feelings and dreams from the first stanza. In the second it comes about sociability, about the ability to convey in a word the life of the heart, soul, subconsciousness, that is, the whole life of the human spirit, which is not reduced to the work of the mind and which at times Tyutchev considered much more important than the life of "this poor mind", powerless in comprehending the deep essence of things. In this context, the phrase “A spoken thought is a lie” loses the character of an absolute judgment, its meaning is limited: the story about the life of the heart is false in relation to the very life of the heart. This is one level of non-contact. Nearby are two others: “How can another understand you? / Will he understand what you live by? " How can another person understand your already false speech about the life of the heart, and how, in general, can another person understand what is happening in the depths of your soul, alien to him? Trying to overcome these obstacles, you will only spoil everything, disturb the beauty and peace of your inner life, and still achieve the goal: "By blowing up, you will disturb the keys - / Eat them - and be silent." Tyutchev is unusually stingy with the trails in Silentium! Three stanzas - three images: a comparison “Silent as stars in the night” in the first, a parallel of mental life with unclouded keys - in the second and the image of daytime rays, dispersing the singing world of “mysteriously magical thoughts” - in the third. Both the stars and the keys are images that serve to express the inner life, the depths of the soul. Daytime rays are a symbol of the outside world, as well as outside noise.
About dangerous consequences the possible contact of these two worlds - internal and external - says, warning, the third stanza. Warns, calming, persuading that it is not scary:
Only be able to live in yourself -
There is a whole world in your soul
Mysteriously magical thoughts ...
The thought returns to the first stanza, where the person and his feelings and dreams were spoken of as two living beings. Mysteriously magical thoughts are not thoughts, they are romantic dreams, shades of states, which are so interesting for a young romantic imagination to overhear in oneself. In adulthood, they can bring a smile, but they will not be funny if they were sincere. Contact with real life they can't stand it. "They will be deafened by the outside noise, / Daytime beams will disperse." Can you regret it? In youth, at the very beginning of the path of sobering up, it is possible. A person who has already come into contact with the coldness of the outside world and its "external noise", when looking at
a romantic, still full of dreams soul, which still has all this - it is possible, and he will try to help the romantic to preserve his wonderful "mysteriously magical" inner world for a longer time. Tyutchev wrote about this in his famous "Silentium!" But, like any romantic work, freed from realities, which has become, so to speak, a "clot of pure lyricism", it easily lends itself to subjective interpretation. For example, let’s forget about 15-17 lines opposing the external world precisely “mysterious and magical thoughts”, focusing on the beginning of the third stanza - “You can only live in yourself,” - and the poem will change its meaning. It will stop talking about a young romantic soul, but will already talk about the eternal disunity of people, about the impossibility of one person fully comprehending the soul of another and about the fact that in the main thing, in life, a person is always alone. And in this new sense, the poem will be alive for people of all eras, because it speaks of the eternal, rooted in human nature.
With the great tact of the artist, who remains deeply truthful even within the framework of the romantic method, Tyutchev avoided hyperbole in depicting the inner and outer world and in showing the interaction of the soul with the world. He did not begin to make the outside world neither scary nor cruel, he left it - nothing.
They will be deafened by the noise outside
Daytime rays will disperse, -
no emotional assessment, no logical assessment. Any outside world. "Rumor" in 1833 and "Contemporary" in 1854 gave versions of these lines:
They will be deafened by the noise of life,
Disperse the rays of the day, -
They will be drowned out by the outside noise,
Daytime rays will blind:
The epithet "everyday" was everyday and spoke of everyday life ("Not for everyday excitement ..."). He more closely tied the idea of the poem to the theme of the fate of the romantic in the "sea of life". "Blind" - more sharply than "disperse", especially in the figurative context of all Tyutchev's work, where the glow of the daytime sun almost always acts as a force hostile to man. Nevertheless, this is also not an assessment, but a statement: if your dreams open up to the outside world, the outside noise will deafen or drown them, and the day's rays will blind you. And the person will no longer hear the singing of his thoughts ("Listen to them with the singing - and be silent! .."). It is characteristic that in the poem about silence is the only sounding- the man himself is silent, the stars are silent, even the keys are represented only by their clearness and blatodatism ("Eat them"). And only the thoughts of the romantic sing - this harmonic
The natural sound is opposed to the outside noise, the sound is inharmonious.
The poem begins with the call “Be quiet! ..”, and each of the three stanzas ends with the same refrain. Each time this is a new refinement of the call to live inner life feelings: "Admire the name - and be silent", "Eat them - and be silent", "Listen to them singing - and be silent! ..". This is the composition of the poem.
Lexically "Silentium!" sustained in the neutral style of the lyrics of the 1830s, with rare splashes of words high style(form plural"One"; "Stars" instead of "stars" - in parallel to Lomonosov's "There are no stars, the bottom abyss"; construction of a phrase-aphorism on the type of the Roman oratorical thesis: "A spoken thought is a lie"). At the same time, Tyutchev's vocabulary was never oversaturated with "archaisms", their use is always strictly motivated by the tasks of meaning and style. Classic example to that - the poem "Fountain": a fountain - about a real structure, a fountain; "Water cannon" - about a mortal thought ("About a mortal thought, a water cannon ..."). The same nonrandomness of the use of high vocabulary in "Silentium!" “A spoken thought” is not just a thought, spoken, spoken. It is also the opposite of the word "unspeakable", which is much more familiar and common in high style. The meaning of this word is extraordinary, indescribable: ineffable light, ineffable kindness. Consequently, the uttered is also the ordinary, which has renounced ineffability. It seems that for the readers of the 19th century this meaning of the word "uttered" was much more obvious, lay closer to the surface of the text than for us.
In parallel with individual high-style utterances - colloquial syntax: “Let it be in the depths of the soul”, “How can the heart express itself? / How can another understand you? " In the last two questions, all four words are equally stressed, equally highlighted in voice, as we would do in colloquial speech, in a real dispute. At the same time, say, two pronouns "how", equally emphasized by the semantic stress of the question, are in different positions in relation to the "languor of the iambic tetrameter, which the poem is written with: in the first case, in the place of an unstressed syllable, in the second, under stress. The spondey (“Like to the heart ...”) arising in the first case makes a semantic pause during the pronunciation of the line, which highlights the first “how” no worse than its prolonged pyrrhic after the stressed syllable (“express”).
Here we come to the most interesting question- the rhythm of the poem.
To say about Silentium! That this work was written with iambic tetrameter is tantamount to saying nothing. The rhythm of Tyutchev's phrase and the system of stresses of the line are so free of conventional verse size that fantastic theories about the size of this poem arose in Tyutchev studies.
nia - iambic with the inclusion of three lines of amphibrachia. They meant the lines: "One gets up and sets," "Silently, like the stars in the night" and "Daytime will disperse the rays." And no one was embarrassed that the versions of these lines that existed before the Sovremennik in 1836 and that arose after it were not at all amphibrachic and that the poet did not select the variants along this line (the introduction of lines of one size into another). Apparently, another key must be found to the music of Tyutchev's verse.
To make it clearer what we want to find in "Silentium!", Let's first give another example, more explicit. The poem "The feast is over, the choirs are silent ..." (1850) was written by a four-foot choir; Having defined this, we will try to immediately forget our own definition and say otherwise: the beginning of the poem is built on two-struck lines, the music of which is determined by the repetition and combination of stressed vowels "o" and "and". The lines of the poem will then be arranged like this:
Not admitted to the wines
Further, the three-beat lines are mainly arranged with the sounds "a", "e", and only in one, the most important in meaning and the longest - the only four-beat line, to which the increasing tension of intonation leads - "Finishing púr, we got up", - sounds "A" and "e" are again replaced by ascending to the beginning "o" and "and", closing with another "a" - "got up" (I, 122).
In this system of calculating the rhythm of the verse, the lines "The choirs are silent" and "The amphorae are emptied" will be considered equal in the number of stresses.
If we approach from this point of view to the disclosure of the secret of the rhythm of Tyutchev's "Silentium!", It turns out that it is written mainly in a three-beat line:
Silence, hide and tau
And feelings and dreams of their own -
Let it go into the depths of the soul
They get up and go oné
Silently, like the stars at night, -
Love it - and be silent.
If the poem is read in this way, the line “Ones rise and enter” will be rhythmically absolutely equivalent to the lines “Ones rise and fall” and “Ones rise and come in”, as it apparently was for Tyutchev, who did not hear a rhythmic interruption in this line. Something here was from the freedom of combinations of long and short
syllables of Greek versification, something - from German versification, in particular, close to the folk verse of Heine with his attention to stress and complete disregard for the number of unstressed syllables. At the same time, there was certainly some additional shade in the sound of the string, where the real stress and that which the iambic tetrameter demanded did not coincide. In the word "come" stressed "o" is longer than other stressed vowels, and the end of the word "-dyat" is pronounced a little more clearly than usually the endings of words in Russian, which are not stressed. The word "come in" is chanted a little.
The slowness of the four-beat next line ("Silently like stars in the night") seems to correspond to the slowed-down flow of the action - the ascent and setting of the night luminaries. It is impossible to imagine a different pronunciation - amphibrachic. By the way, in the other two versions, where Tyutchev avoided the obsolete form of the "s", he could easily have retained the amphibrach if he needed it ("Like dumb stars in the night", for example, is meaningfully close to "Silently"). But the fact of the matter is that there is no amphibrach in this poem. Only by abandoning this absurd idea can one understand the beauty of the music of Tyutchev's masterpiece.
The second stanza opens with two four-beat lines, preparing the third - five-beat:
Will he understand what you live for? /
The abruptness of the spondeus emphasizes the bitterness of the question. Even in cases where the number of real and formal accents coincides (four), they, as a rule, do not coincide in places.
A spoken thought is a lie.
Formally, in this line, three out of four stresses are located on the word "uttered", and two words that are very important in their meaning - "thought" and "is" - are generally devoid of formal stress. Nevertheless, only in this way - with the stress on the first unstressed iambic syllable, with the spondeus in the last stop - can this line be pronounced. And again - two three-beat lines, ending the second stanza, the rhythm of which resembles the rhythm of the beginning of the poem. The three-beat lines also end the third stanza:
Mysterious magic houses;
They are deafened by the noise of the street,
Daylight will scatter the rays, -
Listen to their song - and be silent! ..
Again, if from the point of view of three-striking approach to the line "Daytime will disperse the rays", it is equivalent in rhythm to the lines "Disperse the daytime rays" and "Daytime will blind the rays".
Musically, the poem is arranged in such a way that the stressed vowel of the rhyme (adjacent) is almost always still supported by the same stressed vowel somewhere in the depth of the line:
Silently and hide and that and
And feelings and dreams are theirs and.
Let it take a shower e in the depths e
They get up and come in e.
The same:
Mysterious magic d at m
They will be stunned by the nar at zhny w at m.
Attention to the musical combination of stressed vowels is very characteristic of Tyutchev. At the same time, the selection of unstressed - say, "l" in the lines
Be quiet, "break off and thai
And their feelings and dreams -
also gives additional harmony to the musical phrase. Attention to the music of verse was a very important part of the aesthetic system of romantics, music was part of that harmony, of the order to which they aspired, After all, it was Tyutchev who later said about Zhukovsky:
His soul rose to the ranks:
He lived harmoniously, he sang harmoniously ... (I, 151)
It is no coincidence that the poet calls on the romantic to listen attentively to the singing of "mysterious and magical thoughts" in his own soul - dreams must be harmonious, must sing. Harmony of proportionality of parts, harmony of meaning and form, harmony of phrases and lines, harmonic parsimony of "non-material" images, corresponding to the lyrical "spirituality" of the content - these are the main means of expression with which Tyutchev created his masterpiece of romantic lyrics - eighteen lines about silence.
L.N. Tolstoy. Reading circle. Ed. 3rd. M., 1911, pp. 292-293.
K. Balmont. Elementary words about symbolic poetry. In the book: K. Balmont. Mountain peaks. Ed. "Grif", M., 1904, p. 88.
Viach. Ivanov. The precepts of symbolism. Apollo, 1910, no. 8, p. 5.,
I. Anger. Modernism and Socialist Realism, bidrag (Lund), 1961, v. 4, no. 17, s. 152.
H. Aseev. Work on the verse. Ed. "Surf", L., 1929, pp. 76-77.
Sometimes they wrote: "The thought of the inexpressibility of a person's inner world is a fundamental Tyutchev judgment, which testifies to the idealistic nature of Tyutchev's philosophical and aesthetic views." (VN Kasatkina. On the question of the aesthetic views of FI Tyutchev. In the book: Questions of artistic method and style. Publishing house of Tomsk University, Tomsk, 1964, p. 131). Less often searched inner meaning: “You can notice, by the way, that Tyutchev's aphorism (“ a thought uttered is a lie ”), which was then so popular among decadents, allows, in addition to the external, an understanding of the“ utterance ”of thought as an act of creativity, in which the initial state of mind is transformed, becomes art , and the created fiction looks like a "lie" in relation to the initial state "(V.D. 1964, p. 177).
D.D. Good. The main lines of development of Russian literature of the first half of the XIX century. "Izvestia of the USSR Academy of Sciences", dep. literature and language, 1959, vol. XVIII, no. 3, p. 229.
F.I. Tyutchev. Lyrics, vol. I, Ed. "Science", M., 1066, p. 46 (Literary monuments). Further, references to this edition are given in the text (Roman numerals indicate a volume, Arabic numerals - a page). Among the best poems of Tyutchev is "Silentium!" has a very special destiny. The poet did not keep drafts, in the editions of his poems the section "Other editions and variants" is extremely poor; "Silentium!" - the only work that has come down to us in three editions. And yet its editions are such that they testify not to a thorough search for a word, but to a seemingly complete negligence of the author, either vaguely, from memory, reproducing a forgotten text, or not at all needing a literal accurate recording of his genius creation.
The rest of the changes are much more difficult to explain. How is the line "Like the stars clear in the night" more accurate or better than "Like the stars are peaceful in the night"? Whether the poet himself did not care which epithet to put, or really we are dealing in 1854 with an extraneous, editorial revision, the so-called Turgenev-Sushkov edition, and the purpose of this revision is most often not to correct the meaning, but to correct the rhythm, which in the version "Contemporary" in 1836 deviated far from the traditional? One gets the impression that both the author himself and his editors, who have deeply penetrated the secret of Tyutchev's creative process, are much more important than finding and consolidating a particular epithet, conveying the most complex musical fabric of a work in which the absolute persuasiveness of the intonation of challenge, persuasion, reasoning with oneself, as it were, with an invisible interlocutor, is achieved by completely liberating the music of a real phrase from the size formally imposed on it - the iambic tetrameter.
Such freedom of handling his own text was not characteristic of Tyutchev, neither in the early period of his work, when he translated Horace, imitated Zhukovsky and Batyushkov, was fond of Derzhavin, nor in the late 1850-1860s, when Tyutchev's lyrics can rightfully be considered one of the remarkable achievements of Russian realism in lyrics. "Silentium!" - a work of romanticism, this gives the key to both understanding the nature of its expressive means, clear and unstable at the same time, and to understanding its meaning, romantically ambiguous, which did not indicate the reality of the situation with a single detail, but conveyed the reality of the state, dialectic of feeling, romantic beauty with utmost precision and the power of a deep soul, standing above the world, and the romantic longing of this soul, not understood by the world.
"Be quiet, hide and hide / And your thoughts and dreams" - Tyutchev prints in the "Rumor" in 1833, causing the reader to associate with the well-known Talleyrand aphorism. "And their feelings and dreams" - "Contemporary" 1836. "Let it be in the depths of the soul / One gets up and hides ..." - "Rumor". "One gets up and walks in" - "Contemporary". "And they will rise and come in" - "Contemporary" in 1854 and then the first edition of Tyutchev's poems was published. "Like Peaceful Stars in the Night" - "Rumor". "Silent as stars in the night" - "Contemporary". "Like the stars are clear in the night" - "Contemporary" and the 1854 edition. And so on. It is more or less easy to find the rationale for the first of these changes ("And thoughts and dreams" to "And feelings and dreams"): firstly, the compositional development of the poem - about "thoughts" and "thoughts" will be discussed in the second, then in the third stanza, so it is too early for them to appear in the first, and secondly, the musical ear might have thought that the number of sonorants in the first two lines was excessive, especially the “lowing” syllables - “mo”, “we”, “me” , while the abrupt “ch” of the very first word of challenge, which sets the musical-semantic tone of the first stanza, had to be confirmed again and again ..
About the "world image" of the poet and the poem "Silentium!" see in the book: Ya.O. Zundelovich. Etudes about Tyutchev's lyrics. Samarkand, 1971, pp. 74-63.
The poem "Silentium!" was subjected to a huge number of the most contradictory interpretations and is still considered the most mysterious in his work. A brief analysis of “Silentium” according to the plan can be used in the lesson of Russian literature in grade 10 to give students an idea of this work.
Brief analysis
History of creation- the exact date of its writing is unknown, but approximately it dates back to 1830. For the first time in print it came out three years later in the newspaper "Rumor".
Poem theme- preserving your spiritual world from external influence, confronting the environment and preserving inner treasures.
Composition- three-part, and Tyutchev himself divides it, ending each part with the words "and shut up!" All of them
genre- this is a philosophical lyrics, which, with the ambiguity characteristic of Tyutchev, reveals the topic of mutual understanding of people or lack of it.
Poetic size- iambic tetrameter with pyrrhic.
Metaphors – “Ones rise and enter”, “express themselves to the heart”, “blow up, disturb the keys”, “eat them - and be silent”, “there is a whole world in your soul”, “they will be deafened by the noise”, “listen to their singing”.
Epithets – "In the depths of the soul"
Comparison – “Like stars in the night”, “uttered thought”, “whole world”, “mysterious and magical thoughts”, “daytime rays”.
History of creation
The history of creation is silent about the exact date of writing the poem, but traditionally it dates back to 1830. However, this work had several editions at once - it was published twice in Sovremennik and once in the newspaper Rumor. It was in this edition that it was first published in 1833. It is curious that during the second publication in Sovremennik, a mistake was made in the 16th stanza.
It is interesting that its name, which translates as “Silence,” is given another shade of meaning - it was with this Latin word that students of German classical universities were called to order. Thus, it can be interpreted not only as a call for silence, but also as an indication of the need to listen. This interpretation is based on the fact that Tyutchev at one time lived in Germany for a long time and attended many lectures at the main university of Munich.
Topic
The verse is dedicated to a topic that worried many poets - the loneliness of a creative person and the need to protect your inner world, to preserve its integrity. Tyutchev expresses the last thought quite categorically, using the imperative mood.
In addition to the main idea, the poem contains other ideas that the author develops. So, he talks about lies, which can be considered a side topic. Tyutchev says that only silence helps to make thoughts (and therefore poetry) free from vain thoughts and the usual desire to please, which is inherent in all people, including those who write poetry.
Composition
The eighteen-line poem is divided into three stanzas, each of which can be considered an independent work, but the thematic unity turns them into a single work, held together by a common thought. But there is also a formal unifying means - this is the verb “be silent”, used at the end of each stanza in the imperative mood.
Thus, the composition "Silentium!" - three-part, where the first part is the call of the lyric hero to the reader: he tells him to be silent, not revealing his soul and his heartfelt impulses to anyone. The second stanza argues for the position expressed in the first - the poet explains to his reader exactly why he believes that silence is necessary.
Finally, the third stanza shows what can happen to a person who decides to bare his soul to the world. Tyutchev describes all the threats that await him and says that the best way out would be the same silence, the need for which was mentioned in the first stanza. Thus, the composition is looped in a peculiar way.
genre
By genre, the poem is philosophical lyrics. Important role the poetic meter also plays: thanks to the iambic tetrameter with perrichia, the poet's message is as simple and clear as possible, but at the same time convincing. Pairing rhyme with an accurate masculine rhyme also greatly simplifies perception.
Expression tools
Various artistic means, such as the:
- Metaphors- “they get up and come in”, “express themselves to the heart”, “blowing up, disturb the keys”, “eat them - and be silent”, “there is a whole world in your soul”, “they will be deafened by the noise”, “listen to their singing”.
- Epithets- "in the depths of the soul"
- Comparison- “like stars in the night”, “uttered thought”, “the whole world”, “mysterious and magical thoughts”, “daytime rays”.
One of the lines of this poem - "A spoken thought is a lie" - quickly became an aphorism, as well as a real author's credo of Tyutchev, who believed that only loneliness helps the poet to create and maintain sincerity.
"Silentium!" Fedor Tyutchev
Shut up, hide and thai
And their feelings and dreams -
Let in the depths of the soul
One get up and go
As silent as the stars in the night -
Admire them - and be silent.How can the heart express itself?
How can another understand you?
Will he understand how you live?
A spoken thought is a lie.
Exploding, you will disturb the keys, -
Eat them - and be silent.Only be able to live in yourself -
There is a whole world in your soul
Mysterious and magical thoughts;
They will be deafened by the noise outside
Daytime rays will disperse, -
Listen to them singing - and be silent! ..
Analysis of Tyutchev's poem "Silentium!"
It's no secret that their early works Fedor Tyutchev created exclusively for himself, formulating his thoughts and feelings in such an unusual way. Being a diplomat and well-known enough statesman, he did not aspire to literary fame. And only the persuasion of one of his colleagues, who believed that Tyutchev's poems were really delightful, forced the poet to publish some of them.
Among the first works that were published in Russian magazines, it is worth noting the poem "Silentium!" This work has undergone several revisions, as the author considered it to be quite frank and very personal in order to present it to the readers' judgment. Nevertheless, it was this work that brought the aspiring poet and accomplished diplomat the fame of a very subtle, romantic and not devoid of philosophical worldviews of a writer.
The poem "Silentium!" saw the light of day in 1830, but it is assumed that it was created much earlier. And the reason for writing such an unusual work, both in form and in content, was Tyutchev's marriage to Eleanor Peterson a few years after joining the diplomatic service. The poet was madly in love with his young wife and after the wedding he considered himself for real happy man... However, the presentiment of imminent disaster still haunted Tyutchev. The poem "Silentium!" ...
It begins very atypically for a poet who was later destined to become the ancestor of Russian romanticism. The first lines are an appeal to be silent, hiding their feelings and thoughts, which can be explained by the nature of Tyutchev's diplomacy. However, the poet further develops his thought, noting that dreams remind him of the stars in the night, which are also ephemeral and distant. Therefore, the author urges, addressing an unknown interlocutor: "Admire them - and be silent!" By the second participant in this strange dialogue, many researchers of Tyutchev's work mean his wife Eleanor. However, the poet's appeals are addressed not to a woman, but to a man.... Taking into account the fact that Tyutchev did not plan to show his first poems to anyone at all, it is easy to guess that the author is conducting this unusual conversation with himself. And it is to himself that he orders to be silent, believing that only in this way will he be able to protect his personal happiness, his hopes and dreams from encroachments. At the same time, the poet points out that “the spoken thought is a lie,” and this phrase contains a hint of biblical truths that say that human thoughts are subject only to God, and the devil is able to overhear words. Apparently, Tyutchev is desperately afraid of something, and this fear makes him withdraw into himself, to be much more restrained in conversations, actions and judgments.
If we compare the facts, it turns out that it was at this time that the poet met his future wife and made her an offer. He does not comfort himself with the hope that the nee Countess Botmer will agree to become his wife. However, contrary to expectations, she receives permission for marriage from the relatives of Eleanor and for a long time can't believe her happiness. Tyutchev is so grateful to fate for this unexpected gift that he is afraid to frighten off his family well-being with an extra word or thought. That is why, occasionally breaking away from his "mystical and magical thoughts", the poet orders himself: "Listen to them singing - and be silent!" ... The author seems to have a presentiment that his personal happiness is not destined to last forever. Indeed, in 1838, after an unsuccessful return to Russia, accompanied by a shipwreck, Eleanor Tyutcheva dies in the arms of the poet. Thus, his fears become reality. According to eyewitnesses, after the death of his wife, Fyodor Tyutchev became completely gray-haired in a few hours. And - completely abandoned the illusions that he could be happy.
