Brief biography of Tyutchev for 4. Message on literature on the topic "biography of Tyutchev"

The poet F.I. Tyutchev, whose biography and work were known to few during his lifetime, received real national recognition only many years after his death. And only now is the value of his works for the Russian nation becoming clear.

Childhood and youth of F. I. Tyutchev

The place where the future poet was born was the Ovstug estate, located in Bryansk district

His parents came from an old noble family. Fyodor's father rose to the rank of court councilor and quit quite early. His mother, Ekaterina Lvovna Tyutcheva, had a greater influence on the boy’s development. Until the age of 12, Fyodor was taken care of by N.A. Khlopov, the uncle assigned to him. In November 1812, the family moved to live in their existing house in Moscow. Here, Raich S.E., a poet-translator and seminary graduate, was hired as a teacher for the boy. In 1818, his father introduced Fyodor to V. Zhukovsky. The (short) biography of Tyutchev provided by the researchers reports that it was from this moment that he was born as a thinker and poet. His imitations of Horace were read at the Society of Lovers of Russian Literature. And already at the age of 14, Fedor was elected as his employee. At Moscow University, of course, in its literature department, Tyutchev continued his education. There he met many aspiring writers, and there he was “infected” with Slavophile views.

marriage, new position

With a candidate's degree, Fedor graduated from the university three years earlier than expected. At the family council it was decided that he should enter the diplomatic service. His father took him to St. Petersburg. Soon, the 18-year-old boy was given the rank of provincial secretary. At the same time, Osterman-Tolstoy, in whose house Tyutchev temporarily lived, made sure that the young man received the position of supernumerary official of the Russian Embassy, which included Munich.

Apart from short breaks, Tyutchev lived there for 22 years. Here, in 1823, Fyodor met his first love, 15-year-old Amalia Lerchenfeld. But her father, noticing his daughter’s passion for Tyutchev, hastened to marry the girl to Alexander Krudener, who served as secretary of the Russian embassy. After her wedding, Tyutchev also quickly married Eleanor Peterson. He took a young widow with three children, and then they had children together, three daughters. In 1833, at one of the balls, Tyutchev was introduced to the old Baron Dernberg and his young wife Ernestina, 22 years old. A few days later her husband died. An affair began between Fyodor and Ernestina, which his wife soon found out about. She tried to kill herself, but she was saved, and Tyutchev promised to break up with the baroness. These events coincided with success in the literary field. A short biography of Fyodor Tyutchev has since seemingly changed for the better. The Russian authorities transferred the poet to the embassy in Turin.

Life abroad

Eleanor stayed with her children in St. Petersburg in the spring of 1838. When they were returning to Turin by ship, a fire broke out there. While rescuing the children, the woman experienced severe shock and was very weakened. Upon returning, Eleanor caught a cold and died in the arms of her husband in August of the same year. Overnight Tyutchev turned gray. But nevertheless, this event did not prevent him from secretly entering into an engagement with Ernestina in December of the same year in Genoa. They got married in the summer.

Tyutchev was fired from service and stripped of his rank. After 6 years, the couple returned to the poet’s homeland. Thanks to the fact that he approved of Tyutchev’s speeches for the unification of Eastern Europe with Russia, he was restored to the rank of chamberlain and given a position at the Ministry of Foreign Affairs. The poet's acquaintance with his new love, Elena Denisyeva, occurred in 1848. She was almost the same age as his daughters (24 years old). Their relationship was quite open and lasted 14 years. They had three children together. Denisyeva died before the poet, in 1864, from tuberculosis. After Tyutchev was promoted to actual state councilor.

Brief biography of Tyutchev: return to Russia

The poet blamed himself for Deniseva’s death. He immediately returned to his family, who remained abroad all this time. But a year later he left for Russia again. The most difficult period of his life began for him. First, Denisyeva’s two children died, then their mother, another son, only brother, and daughter.

The last days of the poet

In 1869, the poet was in Carlsbad for treatment. There he met Amalia, his first love. They spent a lot of time together, remembering their youth. Three years later, the poet was struck by paralysis when he went out for a walk, despite doctors’ warnings. The entire left side was affected. But even in this state, the poet continued to write feverishly. In the summer of 1873, Fyodor Ivanovich died in Tsarskoye Selo. He was buried at the Novodevichy St. Petersburg cemetery. Of course, the biography of Tyutchev outlined above is so brief that it could only highlight the main milestones in the life of the largest diplomat, publicist and poet.

Fyodor Ivanovich Tyutchev. Born on November 23 (December 5), 1803 in Ovstug, Bryansk district, Oryol province - died on July 15 (27), 1873 in Tsarskoe Selo. Russian poet, diplomat, conservative publicist, corresponding member of the St. Petersburg Academy of Sciences since 1857.

Fyodor Ivanovich Tyutchev was born on December 5, 1803 in the family estate of Ovstug, Oryol province. Tyutchev was educated at home. Under the guidance of the teacher, poet and translator S.E. Raich, who supported the student’s interest in versification and classical languages, Tyutchev studied Latin and ancient Roman poetry, and at the age of twelve he translated the odes of Horace.

In 1817, as a volunteer student, he began attending lectures at the Department of Literature at Moscow University, where his teachers were Alexey Merzlyakov and Mikhail Kachenovsky. Even before enrollment, he was accepted as a student in November 1818, and in 1819 he was elected a member of the Society of Lovers of Russian Literature.

Having received a university graduation certificate in 1821, Tyutchev entered the service of the State College of Foreign Affairs and went to Munich as a freelance attaché of the Russian diplomatic mission. Here he met Schelling and Heine and in 1826 married Eleanor Peterson, née Countess Bothmer, with whom he had three daughters. The eldest of them, Anna, later marries Ivan Aksakov.

The steamship "Nicholas I", on which the Tyutchev family is sailing from St. Petersburg to Turin, suffers a disaster in the Baltic Sea. During the rescue, Eleanor and the children are helped by Ivan Turgenev, who was sailing on the same ship. This disaster seriously damaged the health of Eleanor Tyutcheva. In 1838 she dies. Tyutchev is so sad that, after spending the night at the coffin of his late wife, he allegedly turned gray in a few hours. However, already in 1839, Tyutchev married Ernestina Dernberg (née Pfeffel), with whom, apparently, he had a relationship while still married to Eleanor. Ernestine's memories have been preserved of one ball in February 1833, at which her first husband felt unwell. Not wanting to stop his wife from having fun, Mr. Dernberg decided to go home alone. Turning to the young Russian with whom the baroness was talking, he said: “I entrust you with my wife.” This Russian was Tyutchev. A few days later, Baron Dörnberg died of typhus, the epidemic of which was sweeping Munich at that time.

In 1835 Tyutchev received the rank of chamberlain. In 1839, Tyutchev's diplomatic activities were 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 Imperial Majesty's Own Chancellery A.H. Benckendorff. The result of this meeting was Emperor Nicholas I’s support for all Tyutchev’s initiatives in the work to create a positive image of Russia in the West. Tyutchev was given the go-ahead to speak independently in the press on political problems of relations between Europe and Russia.

Nicholas I’s anonymously published article “Letter to Mr. Doctor Kolb” (“Russia and Germany”; 1844) aroused great interest of Nicholas I. This work was presented to the emperor, who, as Tyutchev told his parents, “found all his thoughts in it and allegedly asked who its author was.”

Returning to Russia in 1844, Tyutchev again entered the Ministry of Foreign Affairs (1845), where from 1848 he held the position of senior censor. Being one, he did not allow the Communist Party manifesto to be distributed in Russia in Russian, declaring that “those who need it will read it in German.”

Almost immediately upon his return, F.I. Tyutchev actively participated in Belinsky’s circle.

Without publishing any poems during these years, Tyutchev published journalistic articles in French: “Letter to Mr. Doctor Kolb” (1844), “Note to the Tsar” (1845), “Russia and the Revolution” (1849), “Papacy and the Roman question" (1850), as well as later, already in Russia, an article written "On censorship in Russia" (1857). The last two are one of the chapters of the unfinished treatise “Russia and the West,” conceived by him under the influence of the revolutionary events of 1848-1849.

In this treatise, Tyutchev creates a kind of image of the thousand-year-old power of Russia. Explaining his “doctrine of empire” and the nature of the empire in Russia, the poet noted its “Orthodox character.” In the article “Russia and Revolution,” Tyutchev proposed 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 also presented here.

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 7, 1857, Tyutchev received the rank of full state councilor, and on April 17, 1858, he was appointed chairman of the Committee of Foreign Censorship. In this post, despite numerous troubles and clashes with the government, Tyutchev remained 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 level in the state hierarchy of officials.

During his service, he received 1,800 chervonets in gold and 2,183 rubles in silver as awards (bonuses).

Until the very end, Tyutchev was interested in the political situation in Europe. On December 4, 1872, the poet lost freedom of movement with his left hand and felt a sharp deterioration in his vision; he began to experience 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 suffered a blow that paralyzed the entire left half of his body.

On July 15, 1873, Tyutchev died in Tsarskoe Selo. On July 18, 1873, the coffin with the poet’s body was transported from Tsarskoe Selo to St. Petersburg and buried in the cemetery of the Novodevichy Convent.

(November 23 (December 5), 1803, Ovstug, Bryansk district, Oryol province - July 15 (27), 1873, Tsarskoye Selo)

en.wikipedia.org

Biography

Father - Ivan Nikolaevich Tyutchev (1768-1846). He came from an old noble family.

Tyutchev received his home education under the guidance of Semyon Raich, who also later became the teacher of Mikhail Lermontov. He studied Latin and ancient Roman poetry, and at the age of thirteen he translated the odes of Horace. He continued his humanities education at the Department of Literature at Moscow University, where his teachers were Alexey Merzlyakov and Mikhail Kachenovsky. Even before enrolling as a student, in 1818 he was elected a member of the Society of Lovers of Russian Literature.

Having received a university certificate in 1821, Tyutchev entered the service of the State College of Foreign Affairs and went to Munich as a freelance attaché of the Russian diplomatic mission. Here he meets Schelling and Heine and marries Eleanor Peterson, née Countess Bothmer, with whom he has three daughters. The eldest of them, Anna, later marries Ivan Aksakov.

The steamship "Nikolai 2", on which the Tyutchev family travels from St. Petersburg to Turin, suffers a disaster in the Baltic Sea. During the rescue, Eleanor and the children are helped by Ivan Turgenev, who was sailing on the same ship. This disaster seriously damaged the health of Eleanor Tyutcheva. In 1838 she dies. Tyutchev was so sad that, after spending the night at the coffin of his late wife, he turned gray in a few hours. However, already in 1839 Tyutchev married Ernestina Dernberg (née Pfeffel), with whom, apparently, he had a relationship while still married to Eleanor. The first wife, extremely annoyed by her husband’s betrayal, even tried to commit suicide. Ernestine's memories have been preserved of one ball in February 1833, at which her first husband felt unwell. Not wanting to stop his wife from having fun, Mr. Dernberg decided to go home alone. Turning to the young Russian with whom the baroness was talking, he said: “I entrust you with my wife.” This Russian was Tyutchev. A few days later, Baron Dörnberg died of typhus, the epidemic of which was sweeping Munich at that time.

In 1839, Tyutchev's diplomatic activities were 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 Imperial Majesty’s Own Office A.Kh. Benckendorf. The result of this meeting was Emperor Nicholas I’s support for all Tyutchev’s initiatives in the work to create a positive image of Russia in the West. Tyutchev was given the go-ahead to speak independently in the press on political problems of relations between Europe and Russia.

The anonymously published brochure “Russia and Germany” (1844) by Tyutchev aroused great interest of Nicholas I. This work was presented to the emperor, who, as Tyutchev told his parents, “found all his thoughts in it and allegedly asked 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 one, he did not allow the distribution of the Communist Party manifesto in Russian in Russia, declaring that “whoever needs it will read it in German.” Without publishing any poems during these years, Tyutchev published journalistic articles in French: “Letter to Mr. Doctor Kolb” (1844), “Note to the Tsar” (1845), “Russia and the Revolution” (1849), “Papacy and the Roman question" (1850), as well as 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. Explaining his “doctrine about empire” and the nature of empire in Russia, the poet noted its “Orthodox character.” In the article “Russia and Revolution,” Tyutchev proposed 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 also presented here.

On April 17, 1858, the actual state councilor Tyutchev was appointed Chairman of the Foreign Censorship Committee. In this post, despite numerous troubles and clashes with the government, Tyutchev remained 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 freedom of movement with his left hand and felt a sharp deterioration in his vision; he began to experience 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 suffered a blow that paralyzed the entire left half of his body. On July 15, 1873, Tyutchev died in Tsarskoye Selo. On July 18, the coffin with the poet’s body was transported from Tsarskoye Selo to St. Petersburg and buried in the cemetery of the Novodevichy Convent.

Poetics

You can't understand Russia with your mind,
The general arshin cannot be measured:
She will become special -
You can only believe in Russia

According to Yu. N. Tynyanov, Tyutchev’s short poems are a product of the decomposition of voluminous works of the odic genre, which developed in Russian poetry of the 18th century (Derzhavin, Lomonosov). He calls Tyutchev’s form a “fragment,” which is an ode compressed into a short text. “Thanks to this, Tyutchev’s compositional structures are maximally tense and look like overcompensation for constructive efforts” (Yu. N. Chumakov). Hence the “figurative excess”, “oversaturation of components of various orders”, which make it possible to soulfully convey the tragic feeling of the cosmic contradictions of existence.

One of the first serious researchers of Tyutchev, L.V. Pumpyansky, considers the so-called most characteristic feature of Tyutchev’s poetics. “doublets” are images repeated from poem to poem, varying similar themes “with the preservation of all its main distinctive features”:

The vault of heaven, burning with the glory of the stars
Looks mysteriously from the depths, -
And we float, a burning abyss
Surrounded on all sides.
(“As the ocean envelops the globe...”)

She, between the double abyss,
Cherishes your all-seeing dream -
And the full glory of the starry firmament
You are surrounded from everywhere.
("Swan")

This determines the thematic and motivic unity of Tyutchev’s lyrics, the constituent parts of which are precisely Tynyanov’s “fragments.” Thus, according to Roman Leibov, “the interpreter is faced with a well-known paradox: on the one hand, “no individual poem by Tyutchev will be revealed to us in all its depth if we consider it as an independent unit” [A. Lieberman. About Tyutchev’s landscape lyrics // Russian Language Journal. XLIII, No. 144. (1989.) P. 105]. On the other hand, Tyutchev’s corpus is frankly “accidental,” before us are texts that are not institutionally attached to literature, not supported by the author’s will, reflecting the hypothetical “Tyutchev’s legacy” obviously incompletely. “Unity” and “crowdedness” 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 reluctance to see himself in the role of a professional writer, and even his disdain for the results of his own creativity. Apparently, this “Tyutchev does not write poetry, writing down already established 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: to the vague, often tautologically formulated (another parallel with folklore lyrics) core, Tyutchev applies various “correct” rhetorical devices, taking care of eliminating tautologies and clarifying allegorical meanings (Tyutchev’s text in this sense unfolds in time, repeating the general features of the evolution of poetic techniques described in the works of A. N. Veselovsky devoted to parallelism - from the undifferentiated identification of phenomena of different series to 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 “Lyric Fragment”: Genre and Context”).

Periodization

According to Yuri Lotman, Tyutchev’s work, amounting to a little more than 400 poems, with all its internal unity, can be divided into three periods:

The 1st period is the initial period, the 10th - early 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 “Glimmer”, 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 tradition of European romanticism.

3rd period - 50s - early 70s. This period is separated from the previous one by the decade of the 40s, when Tyutchev wrote almost no poetry. During this period, numerous political poems, poems “for the occasion” and the poignant “Denisiev 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 “Denisyevsky cycle,” since most of the poems belonging to it are dedicated to E. A. Denisyeva. Their characteristic understanding of love as a tragedy, as a fatal force leading to devastation and death, is also found in Tyutchev’s early works, so it would be more correct to name the poems related to the “Denis’ev cycle” without reference to the poet’s biography. Tyutchev himself did not take part in the formation of the “cycle,” so it is often unclear to whom certain poems are addressed - to E. A. Denisyeva or his wife Ernestine. Tyutchev studies have more than once emphasized the similarity of the “Denisyev cycle” with the genre of the lyrical diary (confession) and the motifs of Dostoevsky’s novels (morbidity of feeling).

More than 1,200 letters from Tyutchev have reached us.

Tyutchev and Pushkin

In the 1920s, Yu. N. Tynyanov put forward the theory that Tyutchev and Pushkin belong to such different directions of Russian literature that this difference precludes even the recognition of one poet by the other. Later, this version was disputed and it was substantiated (including documentary evidence) 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 incorrect not to indicate the discarded lines in any way, and in general was very sympathetic to Tyutchev’s work.

However, the poetic imagery of Tyutchev and Pushkin is indeed seriously different. N.V. Koroleva formulates the difference as follows: “Pushkin paints a person living an ebullient, real, sometimes even everyday life, Tyutchev - a person outside everyday life, sometimes even outside 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 on Liberty” and “January 29, 1837”, the latter of which is radically different from the works of other poets on Pushkin’s death in the absence of direct Pushkin reminiscences and archaic language in its style.

Museums

There is a museum-estate of the poet in Muranov, near Moscow, which came into the possession of the poet’s descendants, who collected memorial exhibits there. Tyutchev himself, apparently, had never been to Muranov. On July 27, 2006, a fire broke out in the museum due to a lightning strike on an area of 500 m2. In the fight against the fire, two museum employees were injured, who managed to save some of the exhibits.

The Tyutchev family estate was located in the village of Ovstug (now Zhukovsky district, Bryansk region). The central building of the estate, due to its dilapidated condition, was dismantled in 1914 into bricks, from which the building of the volost administration was built (preserved; now the museum of the history of the village of Ovstug). The park and pond were in a neglected state for a long time. The restoration of the estate began in 1957 thanks to the enthusiasm of V.D. Gamolin: the preserved building of a rural school (1871) was transferred to the created museum of F.I. Tyutchev, the park was restored, a bust of F.I. Tyutchev was installed, and in the 1980s The surviving sketches were used to recreate the estate building, into which the museum's exhibition moved in 1986 (including several thousand original exhibits). The former museum building (former school) houses an art gallery. In 2003, the building of the Assumption Church was restored in Ovstug.

Family estate in the village. Znamenskoye (on the Katka River) near Uglich (Yaroslavl region). The house, the dilapidated church and the park of extraordinary beauty have still been preserved. Reconstruction of the estate is planned in the near future. When the war with the French began in 1812, the Tyutchevs gathered to evacuate. The Tyutchev family did not go to Yaroslavl, but to the Yaroslavl province, to the village of Znamenskoye. Fyodor Ivanovich Tyutchev’s grandmother lived there on his father’s side. Pelageya Denisovna had been seriously ill for a long time. Relatives found the grandmother alive, but on December 3, 1812 she died. Probably, after the death of their grandmother, they lived in Znamensky 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 returned and reported: Napoleon has left the Mother See, the master's house is intact, but it's hard to live in Moscow - there is nothing to eat, there is 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 my grandmother’s death, the division of all property began. It was supposed to take place between three sons. But since the eldest Dmitry was rejected by the family for marrying without parental blessing, two could participate in the division: Nikolai Nikolaevich and Ivan Nikolaevich. But Znamenskoye was an indivisible estate, a kind of Tyutchev primogeniture. It could not be divided, exchanged or sold. The brothers had not lived in Znamensky for a long time: Nikolai Nikolaevich was in St. Petersburg, Ivan Nikolaevich was in Moscow, and besides, he already had an estate in the Bryansk province. Thus, Nikolai Nikolaevich received Znamensky. At the end of the 20s, Nikolai Nikolaevich died. Ivan Nikolaevich (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 Znamensky. It was from him that the so-called “Yaroslavl” branch of the Tyutchevs came from. His son, Alexander Alekseevich Tyutchev, that is, the nephew of Fyodor Ivanovich, was the district leader of the nobility for 20 years. And he is the last landowner of Znamensky.

Biography

Tyutchev (Fedor Ivanovich) is a famous poet, one of the most outstanding representatives of philosophical and political poetry. Born on November 23, 1803 in the village of Ovstug, Bryansk district, Oryol province, into 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 adherence to all the features of the Russian old noble and Orthodox way of life. When Tyutchev was ten years old, S.E. was invited to teach him. Raich (see XXVI, 207), who stayed in the Tyutchev house for seven years and had a great influence on the mental and moral development of his pupil, in whom he developed a keen interest in literature. Having mastered the classics perfectly, Tyutchev was not slow to test himself in poetic translation. Horace's message to 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 the fourteen-year-old translator, awarded the title of “collaborator,” 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 attend lectures with a teacher, and the professors became ordinary guests of his parents. Having received his candidate's degree in 1821, Tyutchev was sent to St. Petersburg in 1822 to serve in the State Collegium of Foreign Affairs and in the same year he went abroad with his relative Count von Ostermann-Tolstoy (see XXII, 337), who assigned him supernumerary official of the Russian mission in Munich. He lived abroad, with minor interruptions, for twenty-two years. Being in a living cultural center had a significant impact on his spiritual makeup.

In 1826 he married a Bavarian aristocrat, Countess Bothmer, and their salon became the center of the intelligentsia; Among the numerous representatives of German science and literature who visited here was Heine, whose poems Tyutchev then began to translate into Russian; a translation of "Pines" ("From the Other Side") was published in "Aonids" for 1827. A story about Tyutchev's heated debate with the philosopher Schelling has also been preserved.

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, at his own request, was sent as a “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. At the end of the next year his wife died.

In 1839, Tyutchev entered into a second marriage with Baroness Dernheim; like the first, his second wife did not know a word of Russian and only subsequently studied her husband’s native language in order to understand his works. For his 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 settled again 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 Raich's "Galatea", and in "Rumor" in 1833 (and not in 1835, as Aksakov said) his wonderful "Silentium" appeared, only much later appreciated. . In the person of Yves. Ser. ("Jesuit") Gagarin (see VII, 767) he found a connoisseur in Munich who not only collected and retrieved from hiding the poems abandoned by the author, 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)". At the same time, he, having previously traveled to Russia and settled his affairs in the service, moved with his family to St. Petersburg. He was restored to his official rights and honorary titles and given an appointment to serve on special assignments at the State Chancellery; he retained this position even when (in 1848) he was appointed senior censor at the special chancellery of the Ministry of Foreign Affairs He was a great success in St. Petersburg society: his education, the ability to be both brilliant and profound, and the ability to provide theoretical justification for accepted views created an outstanding position for him.

At the beginning of 1849, he wrote the article “La Russie et la Revolution”, and in the January book “Revue des Deux Mondes” for 1850, another article of his was published - without a signature: "La Question Romaine et la Papaute". According to Aksakov, both articles made a strong impression abroad: very few people in Russia knew about them. The number of connoisseurs of his poetry was also very small. In the same 1850, he found an outstanding and supportive critic in the person of Nekrasov, who (in Sovremennik), without knowing the poet personally and making guesses about his personality, highly rated 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) by Turgenev. From then on, Tyutchev's poetic fame - without, however, going beyond certain limits - was strengthened; magazines approached him with requests for cooperation, his poems were published in “Russian Conversation”, “Den”, “Moskvityanin”, “Russian Messenger” 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.). Tyutchev’s official position also changed.

In 1857, he turned to Prince Gorchakov with a note about censorship, which was passed around in government circles. At the same time, he was appointed to the position of chairman of the foreign censorship committee - the successor of the sad memory of Krasovsky. His personal view of this position is well defined in an impromptu recording he wrote in the album of his colleague Vaqar: “We are obedient to the command of the highest, at the thought of standing on the clock, we were not very perky ... - They rarely threatened and rather kept guard of honor rather than a prisoner with her." The diary of Nikitenko, Tyutchev's colleague, 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 gymnasium students and schoolchildren, and that it cannot be given a children’s direction.” According to Aksakov, “the enlightened, rationally liberal chairmanship of the committee, which often diverged from our administrative worldview, and therefore in the end limited in its rights, is memorable to all who valued lively communication with European literature.” The “restriction of rights” that Aksakov speaks of 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 severe for a seventy-year-old man; Following his only brother, with whom he had an intimate friendship, he lost his eldest son and married daughter. He began to weaken, his clear mind dimmed, his poetic gift began to betray him. After the first stroke of paralysis (January 1, 1873), he almost never got out of bed, after the second he lived for several weeks in excruciating suffering - and died on July 15, 1873. As a person, he left behind the best memories in the circle to which he belonged. A brilliant interlocutor, whose bright, apt and witty remarks were passed from mouth to mouth (raising in Prince Vyazemsky the desire that Tyutcheviana, “a charming, fresh, living modern anthology”, be compiled based on them), a subtle and insightful thinker who understood with equal confidence the highest questions of existence and in the details of current historical life, independent even where he did not go beyond the boundaries of established views, a man imbued with culture in everything, from external appeal to methods of thinking, he made a charming impression with a special - noted by Nikitenko - "courtesy of heart, which consisted not in observing secular decorum (which he never violated), but in delicate human attention to the personal dignity of everyone." The impression of the undivided dominance of thought - such was the prevailing impression produced by this frail and ailing old man, always enlivened by the tireless creative work of thought. The poet-thinker is honored in him, first of all, by Russian literature. His literary heritage is not great: 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, there are a number of pearls of philosophical lyricism, immortal and unattainable in depth of thought, strength and conciseness of expression, and scope of inspiration.

The talent of Tyutchev, who so willingly turned to the elemental foundations of existence, itself had something elemental; It is highly characteristic that the poet, who, by his own admission, expressed his thoughts more firmly in French than in Russian, wrote all his letters and articles only in French and all his life spoke almost exclusively in French, to the most intimate impulses of his creative thought could only be expressed in Russian verse; several of his French poems are completely insignificant. The author of "Silentium", he created almost exclusively "for himself", under the pressure of the need to speak out to himself and thereby understand his own condition. In this regard, he is exclusively a lyricist, alien to any epic elements.

Aksakov tried to connect with this spontaneity of creativity the carelessness with which Tyutchev treated his works: he lost the scraps of paper on which they were sketched, left the original - sometimes careless - concept untouched, never finished his poems, etc. The latter indication has been 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. What remains indisputable, however, is the reference to “the correspondence of Tyutchev’s talent with the author’s life,” made by Turgenev: “...his poems do not smell like composition; they all seem written for a certain occasion, as Goethe wanted, that is, they are not invented, but grew on their own, like fruit on a tree." The ideological content of Tyutchev's philosophical lyrics is significant not so much in its diversity as in its depth. The least place is occupied here by the lyrics of compassion, represented, however, by such exciting works as “Tears of Men” and “Send, Lord, Your Joy.”

The inexpressibility of thought in words (“Silentium”) and the limits set to human knowledge (“Fountain”), the limited knowledge of the “human self” (“Look, like on the river expanse”), the pantheistic mood of merging with the impersonal life of nature (“Twilight”, “So; there are moments in life”, “Spring”, “The spring day was still rustling”, “Leaves”, “Noon”, “When that in life we called ours”, “Spring calm” - from Uland), inspired descriptions nature, few and brief, but in terms of the scope of moods almost unparalleled in our literature (“The storm has subsided”, “Spring thunderstorm”, “Summer evening”, “Spring”, “Flowing sand”, “Not cooled down from the heat”, “ Autumn Evening”, “Quiet 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 joyless recognition of the limitations of human love (“ Last love”, “Oh, how murderously we love”, “She was sitting on the floor”, “Predestination”, etc.) - these are the dominant motifs of Tyutchev’s philosophical poetry. But there is one more motive, perhaps the most powerful and determining all the others; this is formulated with great clarity and power by the late V.S. Solovyov’s motive of the chaotic, mystical fundamental principle of life. “And Goethe himself did not capture, perhaps as deeply as our poet, the dark root of world existence, did not feel so strongly and was not so clearly aware of that mysterious basis of all life - natural and human - the basis on which meaning is based the cosmic process, and the fate of the human soul, and the entire history of mankind.

Here Tyutchev is truly quite unique and, if not the only one, then probably the strongest in all poetic literature." In this motif, the critic sees the key to all of Tyutchev's poetry, the source of its content and original charm. The poems "Holy Night", "What Are You Howling About , night wind”, “On the mysterious world of spirits”, “Oh, my prophetic soul”, “How the ocean embraces the globe”, “Night voices”, “Night sky”, “Day and night”, “Madness”, “Mall "aria" and others represent a one-of-a-kind lyrical philosophy of chaos, elemental ugliness and madness, as "the deepest essence of the world soul and the basis of the entire universe." Both descriptions of nature and echoes of love are imbued with this all-consuming consciousness in Tyutchev: behind the visible shell of phenomena with its apparent clarity, their fatal essence is hidden, mysterious, from the point of view of our earthly life, negative and terrible.

The night with particular force revealed to the poet this insignificance and illusory nature of our conscious life in comparison with the “burning abyss” of the elements of unknowable, but felt chaos. Perhaps this bleak worldview should be associated with a special mood that distinguishes Tyutchev: his philosophical reflection is always shrouded in sadness, a melancholy awareness of his limitations and admiration for irreducible fate. Only Tyutchev's political poetry - as one would expect from a nationalist and supporter of realpolitik - is imprinted with cheerfulness, strength and hopes, which sometimes deceived the poet. About 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 found a response 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. Tyutchev's actual political poems are inferior to his philosophical lyrics. Even such a favorable judge as Aksakov, in letters not intended for the public, found it possible to say that these works of Tyutchev “are dear only by the name of the author, and not in themselves; these are not real Tyutchev poems with originality of thought and turns, with amazingness 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, know it, believe it with faith.

This - according to Tyutchev's own admissions - he did not have. Having spent from eighteen to forty years of age abroad, the poet did not know his homeland in a number of poems (“On the way back”, “Again I see your eyes”, “So, I saw again”, “I looked, standing over the Neva”) admitted that his homeland was not dear to him and was not “his native land for his soul.” Finally, his attitude towards the people’s 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 the Iveron Mother of God): “In a word, everything happened in accordance with the orders of the most demanding Orthodoxy... Well? For a person who joins them only in passing and to the extent of his convenience, there are in these forms, so deeply historical, in this Russian-Byzantine world, where life and religious service constitute one thing... there is in all this for a person equipped with a flair for such phenomena, the extraordinary greatness of poetry, so great that it overcomes the most ardent hostility... For the feeling of the past - and the same old past - is fatally joined by a premonition of the incommensurable future." This recognition throws light on Tyutchev’s religious beliefs, which were obviously based not at all on simple faith, but primarily on theoretical political views, in connection with a certain aesthetic element. Rational by origin, Tyutchev's political poetry has, however, its own pathos - the pathos of convinced thought. Hence the power of some of his poetic denunciations (“Away, away from the Austrian Judas from his gravestone,” or about the Pope: “The fatal word will destroy him: “Freedom of conscience is nonsense.”) He also knew how to give an expression of his faith that was outstanding in strength and conciseness to Russia (the famous quatrain “You can’t understand Russia with your mind”, “These poor villages”), to its political calling (“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 comrade and teacher of the lyricists of the post-Pushkin period; It is not without significance that most of them belong to the number of his political like-minded people; but it was appreciated earlier than others by Nekrasov and Turgenev - and subsequent studies only deepened, but did not increase its importance. 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 “inexorable”, powerful teacher of life for the reader, teacher of poetry for poets in the best, immortal examples of his philosophical lyrics. Particulars in its form are not immaculate; in general, it is immortal - and it is difficult to imagine the moment when, for example, “Twilight” or “The Fountain” will lose their poetic freshness and charm.

The most complete collection of Tyutchev's works (St. Petersburg, 1900) contains 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. more 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 Bulletin" (1873, No. 8), assessments and characteristics - Turgenev (in "Sovremennik" 1854, No. 4), Nekrasov ("Sovremennik", 1850), Fet ("Russian Word" , 1859, No. 2), Pletnev ("Report of the Academy of Sciences", 1852 - 1865 - note about F.I. Tyutchev, who in 1857 ran, but unsuccessfully, for membership in the academy), Strakhov ("Notes about Pushkin ", St. Petersburg, 1888 and Kiev, 1897), Chuiko ("Modern Russian Poetry", St. Petersburg, 1885), Vl. Solovyov (reprinted in the collection "Philosophical Currents of Russian Poetry", St. Petersburg, 1896, from "Bulletin of Europe", 1895, No. 4). Interesting biographical and critical details in the "Memoirs" of Prince Meshchersky (St. Petersburg, 1897), Nikitenko's "Diary" (St. Petersburg, 1893), Fet's "Memoirs" (M., 1890, part II), articles by 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 "Bulletin of Europe", 1895, No. 9), "The Life and Works of Pogodin", Barsukova, "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 was published in the “Russian Archive” (to Chaadaev - 1900, No. 11), where information about Tyutchev is generally scattered - his famous witticisms, etc. A. Gornfeld.

TYUTCHEV Fedor Ivanovich (1803-1873).

Fyodor Ivanovich Tyutchev is a Russian poet. Born in the Oryol province, into a noble family. He was an affectionate, calm and gifted child. Tyutchev was greatly influenced by his home teacher Semyon Egorovich Raich, a poet-translator. He became a real comrade for his student. Encouraged by his teacher, the 12-year-old boy began to write poetry. Fyodor also fell in love with literary translations - he translated odes of the ancient Roman poet Horace. At the age of 15, Tyutchev entered Moscow University in the literature department.

After graduating from university, he served as a diplomat in Germany and Italy for more than 20 years. In 1836, Tyutchev’s poems fell into the hands of A. S. Pushkin. He was delighted and published 16 of them in his Sovremennik magazine. Tyutchev's first book of poems was published in 1854. He is the author of such famous poems as “Spring Waters”, “The earth still looks sad…”, “The First Leaf”.

Tyutchev was highly regarded by many famous Russian writers. N. A. Nekrasov called his lyrics one of the “few brilliant phenomena” of Russian poetry. His poems “are not destined to die,” wrote I. S. Turgenev. “You cannot live without Tyutchev’s book of poems,” said L. N. Tolstoy.

The report on Fyodor Tyutchev, presented in this article, will tell you about the great Russian poet, a representative of the “golden” age.

Message about Tyutchev

Childhood and teenage years of the future poet

He was born on November 23, 1803 in the village of Ovstug, in the Oryol province. His parents were noble and educated people. Therefore, they wanted to give their son an appropriate education: teacher Semyon Raich taught him at home, who instilled in him a love of poetry. Already at the age of 12, Fyodor was translating the works of Horace and trying to write poems. The boy's talent was amazing. At the age of 14 he was accepted into the staff of the Society of Lovers of Literature. And in 1816 Tyutchev became a volunteer student at Moscow University. In 1819 he entered the Faculty of Philology, which he graduated in just 2 years.

Life abroad

Having received a doctorate in literature, he got a job at the College of Foreign Affairs. In 1822, Tyutchev went to serve in Munich. For a while, Fyodor Ivanovich was forced to abandon his literary activities and devote himself to the diplomatic service. Nevertheless, he continued to write poetry, albeit for himself, without advertising it. He returned to his homeland only in 1825. Returning to Munich, he married Eleanor Peterson, taking custody of her 3 children from his first marriage. The couple also had their own children - 3 beautiful daughters. The city also gave him friendship with the philosopher Schelling and the poet Heine.

In the spring of 1836, Fyodor Ivanovich transferred his lyrical works to St. Petersburg, which were published in Pushkin’s magazine Sovremennik. In general, his German service lasted 15 years. In the spring of 1837, the poet and diplomat received leave and went to St. Petersburg for 3 months.

At the end of his vacation, he was redirected to Turin as first secretary and charge d'affaires of the Russian mission. His wife dies in Italy and a year later he marries Mrs. Ernestine Dernberg again. This was the beginning of the end of his diplomatic career, as he voluntarily went to Switzerland for a wedding.

Fyodor Ivanovich tried for 2 whole years to return to service, but in vain. He was permanently excluded from the list of Ministry officials. After his dismissal, Tyutchev lived for another 4 years in Munich, Germany.

The poet returned to his father's land in 1843. At first he lived in Moscow, then moved to St. Petersburg. In the spring of 1845, he was hired by the Ministry of Foreign Affairs. His career began to improve. But the poet’s wonderful poems and journalistic articles, although they were published, were never read.

After himself, Fyodor Ivanovich Tyutchev left 24 lyrical works, the article “Russian minor poets ».

The poet was very amorous. At first he was fond of Countess Amalia, then he married Eleanor Peterson. After her death, Tyutchev again married Ernestina Dernberg. But Fyodor Ivanovich cheated on her for 14 years with Elena Denisyeva, who became his third wife.
Him there were 9 children from three marriages.
He dedicated poems to his beloved women.
The constant activity of a statesman did not allow him to develop as a professional writer.
He dedicated two of his poems