The favorite poet of Lev Nikolayevich Tolstoy, an author deeply respected by Pushkin, Nekrasov and Turgenev, occupied a special place in the literature of the 19th century. As a representative of philosophical poetry, providing the reader with the opportunity to reflect on the mysteries of the universe, Fyodor Ivanovich Tyutchev wrote poems filled with deep images. One of the most striking, according to contemporaries and critics, is the work “There is melodiousness in the sea waves...”, written on May 11, 1865.

There is melodiousness in the sea waves,
Harmony in spontaneous disputes,
And the harmonious musky rustle
Flows through the unsteady reeds.

Equanimity in everything,
Consonance is complete in nature, -
Only in our illusory freedom
We are aware of the discord with her.

Where and how did the discord arise?
And why in the general choir
The soul doesn’t sing like the sea,
And the thinking reed murmurs?

The poem is compositionally divided into two parts, having opposite moods and two main themes. The reflections of the lyrical hero are aimed at realizing the harmony that unites the elements. In this case, special attention is paid to the description of the landscape and its subtleties. The hero enjoys what he sees. The measured rumble of the waves and the rustle of the reeds evoke a feeling of peace in the hero. The author perceives even the elements only as an opportunity to restore the disturbed balance in the forces of nature.

Further, the reflections of the lyrical hero lead to human relationships. And so the author develops the idea that people live separately, exist separately from nature. And this independence, which a person perceives as freedom, contrasts him with the world around him. The author asks a philosophical question: why can’t people exist as harmoniously as natural elements? His soul, which should sound in tune with the universe, but torn by internal contradictions, realizes the need to exist in harmony with nature.

In the fourth stanza, which is not published in popular publications, the lyrical hero turns to biblical wisdom and calls the cry of the soul “the voice of one crying in the wilderness.” Neither earth nor heaven provides an answer to the question, since it lies in the depths of human essence itself. Nature cannot give a feeling of harmony, it only sets an example for people. Therefore, Tyutchev portrays a person in the form of a reed that grows on the very edge of the sea, tries to grumble, but dies without unity with nature, deprived of its nutritional power.

Artistic techniques used by the author

Based on the fact that the poem “There is melodiousness in the sea waves...” contains philosophical thoughts, it is classified as a lyrical work filled with deep sadness, characteristic of Tyutchev’s work. The variety of artistic techniques used by the author in the first part of the work, separated from the second by syntax, helps to colorfully describe the harmonious state of nature. The use of metaphors, a technique used by Tyutchev constantly, enlivens the sea waves, reeds and gives the reader a ready-made picture of the living beauty of nature.

A large role in creating a sublime atmosphere that encourages the reader to philosophy is played by the use of borrowed elements belonging to the Holy Scriptures, quotes from the great French philosopher Blaise Pascal and the ancient Roman poet. In this case, Ausonius’s phrase acts as an epigraph that complements the main theme of the poem. Quotes, organically inserted into the text without an explicit indication of the source, with the help of associations and appeal to the deep human memory of an educated person, allow the reader to expand the boundaries of awareness of the main idea. A small four-foot poem cannot contain answers to the questions of the universe, therefore Tyutchev, with the help of artistic techniques, allows the reader to look for the answer in philosophical reflections.

History of writing

Due to the prevailing circumstances, Fyodor Ivanovich was forced to live in St. Petersburg for a long time of his life. The noisy, dirty city and its special climate oppressed the writer. In addition, this had a negative impact on Tyutchev’s health. So he took long walks in the suburbs. The splendor of nature, its severity and inexplicable beauty prompted the author to philosophical reflection. In total, the writer spent thirty years in St. Petersburg. Of these, the first ten are only on short visits. However, even these short trips to the Northern capital made it possible to find solace in the nearby sea expanses, forests and fields.

Where ordinary people saw only a formidable element, Fyodor Ivanovich found harmony and unity. Most residents of the Baltic Sea coast perceived the endless raging expanses solely as a means of subsistence, a source of food and profit. For Tyutchev, the sea was a source of inspiration.

The poem “There is melodiousness in the sea waves...” was written during one of the walks along the coast. Its sadness and drama are based on the author’s personal experiences. It was May 11, 1865 that marked nine days since the death of his children. Due to a serious illness, the one-year-old son and daughter of his beloved woman died, which the writer took very seriously.

Initially, the poem written on the road did not have a title. His first publication in the magazine “Russian Bulletin”, in the same year, 1865, was entitled “Imitation” by editor V. Bryusov. An interesting feature of this publication is that the poem had all four stanzas. In subsequent editions, the author reduced it to three quatrains. The last stanza, as a rule, was printed in the notes or the “variants” section. Numerous autographs written by Tyutchev offer varying numbers of stanzas. The last collection of essays, published during Fyodor Ivanovich’s lifetime, also contained the poem in an abridged version.

Contemporaries associate such changes with the feedback received from Ivan Sergeevich Aksakov, who, in letters to the author’s daughter, Anna Fedorovna, spoke of the poem as beautiful and full of meaning, but the publicist was confused by the last stanza in which he found foreign words.

Philosophy in the works of Tyutchev

The first dates back to the 20s of the 19th century; works written during this period are superficial, but have hidden philosophical overtones; they combine concepts such as love and nature;

The second period lasted throughout the 30-40s, disturbing notes sounded in the works of the great poet, philosophical thoughts became more and more profound, the most popular topic was the travel and relocation of the literary hero;

The third and final period is colored with notes of deep despair and hopelessness.

Although the philosophical direction is the main theme of almost all of Tyutchev’s works, this cannot be considered his characteristic distinguishing feature. Rather, this direction is a fashionable trend, reflected in the literature of that time.

Life in Germany, where Fyodor Ivanovich held a diplomatic position, allowed him to conduct a comparative analysis of backward Russia and reformist progressive ideas that were actively cultivated in Europe. Returning to their homeland showed that the principles of the new civilization are reflected in the minds of their compatriots. This frightened and saddened the poet. In his works, he anticipates political, social and personal crises that may arise based on upcoming changes.

Tyutchev devotes a special role in his work to reflections on the role of the Slavs in the fate of the whole world. It is here that you can see the first ideas that the unification of the Slavic peoples, with their original faith and customs, will help form a strong and influential state. However, Tyutchev saw Byzantium as the center of this new Orthodox state, and Sofia as its shrine.

Another theme of the writer’s philosophical reflections is the fragility of human life, the illusory nature of existence and the opposition of natural harmony to the internal discord of man. At the same time, the poet presents life as something fleeting, passing away, after which only a faint trace, sadness and memories remain. Loneliness is a basic condition inherent in every person. The desire to touch the universe, to find for oneself the values ​​of the surrounding world is the main goal of life. But the main problem is that his activities are useless. Man in Tyutchev’s work is only a contemplator of nature. At the same time, the endless beauty and power of nature and the transience of human life are the basis for thinking about meaning and inner harmony.

Visual commentary on the poem by F. I. Tyutchev “There is melodiousness in the sea waves.”

The expression “Music rustle” in F. I. Tyutchev’s poem “There is melodiousness in the sea waves.”

Est in arundineis modulatio musica ripis. 1

Harmony in spontaneous disputes,
And slim rustle
Flows through the unsteady reeds.

Equanimity in everything,
There is complete harmony in nature, -

We are aware of the discord with her.

Where and how did the discord arise?
And why in the general choir
The soul sings something other than the sea,
And he grumbles?

And from the earth to the extreme stars
Still unrequited to this day
,
Souls of desperate protest?

There is a musical system in the coastal reeds (lat.).

May 11. St. Petersburg. “There is a melodiousness in the waves of the sea...” (Lyrics. T. I. S. 199, 423-424 (dated according to the list of M. F. Birileva); PSSP. T. 2. P. 142, 508-511.)

The poem “There is melodiousness in the sea waves” by a poet whose work is traditionally classified as “pure” art was written on May 11, 1865, at a difficult time for the poet. It is noteworthy that after reading this creation, L. N. Tolstoy wrote: “Depth!” We, representatives of the 21st century, also want to comprehend this “depth” that the writer noticed.

Reading the first stanza of the poem, you involuntarily ask the question: “What is the Musik rustle”?

Semantics of the word

musicia- “music”, tslav., other Russian. musicia (from the 12th–18th centuries; see Ogienko, RFV 77, 168). From Greek μουσική. Later, instead of it - music (see)

"Musikian" -(obsolete) – musical

musicia(-sѵk-, -ia), and, and. Slav. Same as. Feasting and the Royal meal, .. with sweet singing, trumpets, and music. Ved. II 258. Suddenly the goddess Fortuna appeared<на сцене>, sitting on a ball, and in his hands having a wheel, which also had movement according to music. Arg. II 248. This voice was Malorova’s daughter singing in the night; I knew that the sound of pleasant music could touch my soul. See. II 151. | In comparison The voice is sweet, like music. Beaver. Hers. 237.

Musician(-zik-, -zyk-, -sѵk-), oh, oh. Those hours<на воротах ратуши>beat the hour with musical agreement. Put. Tlst. I 321. We suddenly heard .. voices of different musical instruments. Marquis V 88. Corrupting the spiritual forces of the Musik voices there<в царских чертогах>audible. Hrs. Cadmus 27.

This word was already considered obsolete in the 19th century. But why exactly does the musky rustle flow through the reeds? For what purpose does the poet use this archaism? And as Yu. N. Tynyanov wrote: “Tyutchev develops a special language, exquisitely archaistic.”

Therefore, there is no doubt that archaism was a conscious part of his style. It is no coincidence that Fyodor Ivanovich uses this epithet. Let us turn to the epigraph of the poem: “Est in arundineis modulatio musica ripis.” , which means “There is a musical structure in the coastal reeds.” The lines belong to the Roman poet of the 4th century. BC e Ausonia. - Ausonius Decimus Magnus poet; genus. OK. 310, Burdigala (modern Bordeaux, France), d. at 393/394 ibid. He came from a noble Gallic family. From 334 to 364 he was a teacher of grammar and rhetoric in Burdigal; with 364 - educator of the future imp. Gratian (375–383). Under Gratian, A. held high positions in the Roman Empire, was prefect of Gaul, and in 379 - consul.

He came from a noble Gallic family. From 334 to 364 he was a teacher of grammar and rhetoric in Burdigal; with 364 - educator of the future imp. Gratian (375–383). Under Gratian, A. held high positions in the Roman Empire, was prefect of Gaul, and in 379 - consul. In his poetry erudition in the field of classicalAusonius Decimus Magnus AndGreek poetry is combined with rhetorical skill; Most of A.'s heritage consists of lit. experiments: Eclogae (Book of Eclogues), Griphus ternarii numeri (Vulture of the number three), Technopaegnion (Technopegnia). A.'s poetry is largely autobiographical: the cycles Parentalia (About relatives), Commemoratio professorum Burdigalensium [ 3 ] (About the teacher).

Again the question: Ausonius was not considered one of the outstanding poets of the Roman Empire. But here is what M. L. Gasparov writes in his article “Ausonius and his time.”

“Sometimes it is said that great poets differ from small ones in that even a small work of the greats contains a picture of the big world.” This is not so: minor poets are also capable of this when they have a reliable set of working techniques in their hands. Ausonius contained his broad and structurally clear picture of the world in modest praise of a not-too-large river; Ancient rhetoric gave him the means for this.

It should be noted that poetic recognition did not come to Tyutchev immediately, and his work was not highly appreciated by his contemporaries.Let's go back to the source

Ausonius
There is a musical structure in the coastal reeds;
We once heard its harmony,
And everyone knew the notes, and everyone fell silent

They read it by heart in those distant centuries;
And we held the secrets of existence in our hands,
And in the middle of the water we did not die of thirst...
But what is betrayed once will not be repeated twice,

Just as life will not be resurrected in withered petals.
That music is gone, the harmony has fallen apart,
And, wise, we only have the legend left,

Like a goat-footed god at midday
I cut the reeds and amused myself with the wonderful sound,
How he invited the nymphs to a round dance with his play,

And how I felt sorry for people who had forgotten about heavenly...

There is melodiousness in the sea waves,
Harmony in spontaneous disputes,
And slim rustle
Flows through the unsteady reeds.

Equanimity in everything,
There is complete harmony in nature, -
Only in our illusory freedom
We are aware of the discord with her.

Where and how did the discord arise?
And why in the general choir
The soul sings something other than the sea,
And he grumbles?

And from the earth to the extreme stars
Still unrequited to this day
,
Souls of desperate protest?

F. I. Tyutchev

Comparing the two poems, we understand that the musikan rustle can flow from the reeds into which the nymph Syringa, spoken of in ancient Greek myths, turned.

Pan and Syringa Before the arrows of the golden-winged Eros passed Pan, he fell in love with the beautiful nymph Syringa. The nymph was proud and rejected the love of everyone. Her favorite pastime was hunting, and Syringa was often mistaken for Artemis, so beautiful was the young nymph in her short clothes, with a quiver over her shoulders and a bow in her hands. Like two drops of water, she then resembled Artemis, only her bow was made of horn, and not golden, like that of the great goddess. One day I saw Pan Siringa and wanted to approach her. The nymph looked at Pan and fled in fear. Pan could barely keep up with her, trying to catch up with her. But the path was blocked by a river. Where should the nymph run? Siringa stretched out her hands to the river and began to pray to the god of the river to save her. The river god heeded the nymph's pleas and turned her into a reed. Pan ran up and wanted to hug Syringa, but he only hugged a flexible, quietly rustling plant. Pan stands, sighing sadly, and in the gentle rustling of the reeds he hears the farewell greetings of the beautiful Syringa. Pan cut several reeds and made a sweet-sounding pipe out of them, fastening the unequal ends of the reed with wax. The god of the forests named the pipe Syringa, in memory of the nymph. Since then, the great Pan loves to play the syringa pipe in the shade of forest trees, resounding with its gentle sounds in the surrounding mountains.

Nicolas Poussin. Pan and Syringa

Start date: 1637. End date: 1638.

Dresden. Gallery of old masters.

Pan and Syringa

Francois Boucher. Pan and Syringa.1759. National Gallery, London.

Varen Charles Nicolas. France, Paris. Last quarter of the 18th - beginning of the 19th century.

State cultural institution of the Yaroslavl region "Rybinsk State Historical, Architectural and Art Museum-Reserve"

Alexander Voronkov. Pan and Syringa, 1997

Actually, the ancient Greeks called a syringa a musical instrument, a pipe, which was considered to belong to the Arcadian god Pan and at the same time to the Greek shepherds. The Romans called syringa arundo, calamus, fistula. Syringa was done as follows. They took seven (sometimes eight or nine) hollow stems of reeds and attached them one to another with wax, and the length of each tube was made different so that it was possible to have a full range. There were also syringas from a single stem; in this case, they were played in the same way as modern flutes are played, namely through the side holes. Syringa became the ancestor of the modern organ.

Syringa or syrinx (Greek συριγξ) has two meanings: - the general name of the ancient Greek wind instruments (reed, wooden, flute type (longitudinal), as well as the ancient Greek shepherd's multi-barreled flute or Pan flute.

The Pan Flute is a multi-barrel flute. The instrument consists of a set of reed, bamboo and other tubes of different lengths, open at the upper end, fastened with reed strips and a rope. Each tube produces 1 main sound, the pitch of which depends on its length and diameter.
consisting of several (3 or more) bamboo, reed, bone or metal. Pipes range in length from 10 to 120 cm. Large panflutes, as well as double-row ones, are played by two people.
The name of the Pan Flute comes from the name of the ancient Greek god Pan, the patron saint of shepherds, who is usually depicted playing a multi-barrel flute.

Roman copy of a Greek sculpture found in Pompeii "Pan teaching Daphnis to play the syringa."

Pablo Picasso . Flute Pana 1923. France, Paris, Musee National Picasso

Arthur Wardle. Pan Flute 1889, gallery in London.

Thomas Eakins Arcadia 1883 Metropolitan Museum of Art (New York)

Kuvikly [ 6 ] (kugikly) - Russian version of the “Pan flute”. Among the Russians, Pan Gasri was the first to draw attention to the flute, who gave a very inaccurate description of it under the name flute or svirelka. Dmitryukov wrote about kuvikla in the Moscow Telegraph magazine in 1831. Throughout the 19th century. In the literature, from time to time there is evidence of playing the kuvikla, especially in the Kursk province. Cuvikles are a set of 3-5 hollow tubes of various lengths (from 100 to 160 mm) and diameters with an open upper end and a closed lower end. This tool was usually made from the stems of kugi (reeds), reeds, bamboo, etc., with the stem knot serving as the bottom.

The musky rustle “flows through the unsteady reeds.” The image of these plants has been poeticized since ancient times. If you visualize the plants from which these musical instruments were produced, you can imagine the following pictures. [ 7 ]

The list of botanical species that fits the vague category of “biblical reed” undoubtedly includes two representatives of the Poaceae family. This: Common reed- Phragmites communis, A perennial long-rhizome grass widespread throughout the planet. The stem is hollow like almost all cereals. Height up to 4-5 m. Grows in water, along the banks and on land, and can live on moderately saline soils (but on land it is smaller). The panicle inflorescence is large and beautiful due to the long hairs in the spikelets. The leaves can turn with the wind due to the ability of the lower tubular part of the leaf (the sheath) to rotate around the stem. Young shoots and rhizomes are edible.

The second type of semi-aquatic grass, undoubtedly known to the Bible -Cyprus reed (giant) - Arundo donax. Height up to 6 m. Does not escape water, which makes it different from the previous species, with which it is generally similar in many other biological characteristics. The leaves are long, up to 6 cm wide (more than the previous species). Originally distributed throughout the Mediterranean, from where it was brought by man further east, in particular, in ancient times it came as an economic and building plant to Central Asia, and in modern times to the Western Hemisphere. In California, for example, it has turned into an annoying alien species, actively suppressing native plants, spreading throughout all ponds and watercourses, clogging water intakes and creating a constant threat of fires. In Russia it is found only in the warmest territories (in particular, in Transcaucasia).

Just like the reeds Bulrush grows near water in a huge mass of thousands of stems. Its flowers and inflorescences are completely different from those of cereals, and this type of reed has no developed leaves at all. The stem, up to 3 m high, looks like a long vertical green whip with a panicle of spikelets at the top. Reeds do not have hollow stems. Their stems are filled with soft, spongy tissue.

But in F.I. Tyutchev’s poem the reed is not simple, but thinking. Hence the question: why is he a thinker?

Tyutchev, following Blaise Pascal, says that a person - only a reed, the weakest of nature’s creations, but a “thinking reed.” The greatness of man, according to Pascal, lies in the fact that he is aware of his insignificance. Abstract sciences turn out to be not only powerless in their claims to knowledge of the world, but they prevent a person from understanding his own place in the world, from thinking about “what it is to be human.”

Blaise Pascal (1623–1662 )

Pascal's thoughts naturally found expression in the art of the 17th century. The Baroque style began to take shape in the 17th century. Originally the word "baroque" meant (port. "barocco"- an irregularly shaped pearl), and its appearance is associated with the crisis of the ideals of the Renaissance. Baroque is both a style and a certain tendency of a restless romantic attitude. In every time, and perhaps even in our days, they find their own “Baroque period” as a stage of the highest creative upsurge, tension of feelings and thoughts. Naturally, new discoveries of modern times destroyed previous ideas about man and the universe. The difference in understanding the place, role and capabilities of man primarily distinguishes the art of the 17th century from the Renaissance. This different attitude towards man is expressed with extraordinary clarity and accuracy by the same great French thinker Pascal: “Man is just a reed, the weakest of nature’s creations, but he is a thinking reed.” This “thinking reed” was created in the 17th century. the most powerful absolutist states in Europe, shaped the worldview of the bourgeoisie, who was to become one of the main customers and connoisseurs of art in subsequent times. The complexity and inconsistency of the era of intensive formation of absolutist nation-states in Europe determined the nature of the new culture, which is usually associated in the history of art with the Baroque style, but which is not limited to this style. The 17th century is not only Baroque art, but also classicism and realism.

Reflecting the complex atmosphere of the time, the Baroque combined seemingly incompatible elements. The traits of mysticism, fantasticality, irrationality, and increased expression surprisingly coexist in him with sobriety and down-to-earthness, with truly burgher businesslike efficiency. For all its inconsistency, baroque at the same time has a well-defined system of visual means and certain specific features.

“Baroque is characterized by pictorial illusoryness, the desire to deceive the eye, to leave the space of the depicted into the space of the real. Baroque gravitates towards the ensemble, towards the organization of space: city squares, palaces, staircases, park terraces, parterres, swimming pools, bosquets; urban and country residences are built on the principle of synthesis of architecture and sculpture, subordination to the overall decorative design. The artistic culture of the Baroque allowed symbolism and mysticism, the fantastic and the grotesque, the ugly along with the beautiful, into the sphere of aesthetics. The new style was an ideological and aesthetic search for a holistic and harmonious worldview, lost due to the crisis of the Renaissance and Counter-Reformation. The Baroque artist sought to influence the feelings and imagination of the viewer, and not only convey a visual image through lines and colors.”

It is this idea that is presented in the paintings of Nicolas Poussin and Francois Boucher “ Pan and Syringa" and their followers. We can observe the same greatness in architecture, sculpture and park culture.

Regular “French” parks with bosquets, alleys, parterres and ponds of geometrically regular shapes, their rectilinear paths and curly forms of carefully trimmed bushes emphasized man’s absolute control over nature and affirmed the highest value of that art that is indistinguishable from nature.

"French" park: Versailles

"English" park

The landscape park system embodied the idea of ​​admiration for nature, the beauty of its natural landscapes. The creators of such parks sought to comprehend the balance and harmony that exists in nature.

A striking example of this approach in architecture is the Barberini palazzo (palace) (1625-1663).

Before us is what this “thinking reed” created in the 17th century, as a result of the search for a holistic and harmonious worldview, affects the feelings and imagination of the viewer, not only through lines and colors, but conveys a visual image.

Of course, in Italy these are the creations of Lorenzo Bernini. Just look at his work.

Lorenzo Bernini. Ecstasy of Saint Teresa. 1652 Rome. Santa Maria della Vittoria.

Lorenzo Bernini. Square of St. Peter's Basilica. 1663.

We can observe the allegorical image of sculpture and painting in the painting by Guercino, which decorates the palazzo Barberini.

Guercino. Allegory of painting and sculpture. 1657

(He actively used irrational lighting, a dark gloomy background, large figures, common people types, blurring the sculptural clarity of form, all this is characteristic of Baroque art).

All previous human creativity is a way to understand oneself and one’s place in life. Continuing Pascal’s thought: “We seek happiness, but we find only bitterness and death.” According to his deep conviction, a person who has realized the tragedy of his situation can find a way out only in the Christian faith. Only the Christian religion, with its doctrine of the Fall and the continuity of sin, provides a satisfactory explanation of this duality of man, which for Pascal is an argument in favor of its reality. Thus, the only possible approach to the mystery of human nature is a religious approach. Religion says that man is dual; Man before the Fall is one thing, man after sin is another. Man was destined for a higher purpose, but has lost this purpose. The Fall deprived him of his strength, perverted his mind and will.

“Therefore, the classical maxim “Know thyself” in the philosophical sense - the sense of Socrates, Epictetus or Marcus Aurelius - is not only ineffective, but false and erroneous. A person cannot trust himself and read within himself. He himself must remain silent in order to hear the higher voice, the voice of truth. “What will become of you then, O man, when you discover through natural reason your real position? Know, overwhelmed by pride, that you yourself are a complete paradox. Humble yourself, weak mind, be silent, unreasonable nature, remember that man is infinitely superior to man. And hear from your Creator about your real situation, which is still unknown to you. Listen to God" [ 9 ]

F. I. Tyutchev in his poem comes to a similar thought:

,
Souls of desperate protest?

The poem ends with evangelical thoughts and a rhetorical question, which means the poet did not find an answer for himself. But he hears not only the musky rustle, but also the musky singing in the “general choir.” And as we understand, this is not only a chant, but also a philosophy, which also leads to the agreement of human nature, that is, to God, faith. The Old Russian singing system is truly a reflection of the Divine Heavenly Order, recreated on Earth by the spiritual feat of Russian man.

Of course, F.I. Tyutchev could not help but know about the Musikian chant, which at that time was characteristic of divine services in Russia.

Again the question. What is musicia?

Answer: “There is music that is consonant and a division of voice that is exquisite; - known knowledge (sic!) differences, knowledge of decent good voices and evil ones, which is a difference in agreement showing. Musikia there is a second philosophy and grammar, measuring words by degrees, as in verbal philosophy, or grammar, correcting words, their properties, syllable, speech, reasoning, knowledge and naming of elements, with all quality and quantity. In the same way, all music has degrees of voice, tenderness, or joy through transformation, composition, as if rhetorically or philosophically coloring the ears of those who hear, as if with the rattling of soulless instruments, likewise with the language of words leading to degrees, and emitting the lowest voice, middle and high. Music is in all ways cognizing agreement and the second cunning of human nature and by nature, and not through nature, teaching, and is from God. For nothing can do evil, but it is good for the flowing nature. By the will of evil to the slanderer, if you praise, he praises, if you cook, he will cook, and all this happens to the will of the mind, which is purely blinded by speech and voice united. Musicia creates beauty in the church, adorns divine words with good agreement, rejoices the heart, and brings joy to the souls in the singing of the saints. Musicia is, like verbal grammar, a vocal corrective grammar.”. [ 9 ]

The entire poem is imbued with this highly tragic sound in these difficult days for him. And what the poet was thinking about, we, contemporaries, can only guess, carefully reading every word of the poet.

Bibliography.

Etymological Dictionary of Max Vasmer);

Yu.N. Tynyanov. Poetics. History of literature. Cinema.// Question about Tyutchev. - M.: Nauka, 1977.

M.V. Belkin, O. Plakhotskaya.Dictionary "Ancient Writers". St. Petersburg: Publishing house "Lan", 1998.

M. L. Gasparov. Ausonius. Poems. M., Science, 1993 (“Literary monuments”).

Kuhn N.A., Neihardt A.A. "Legends and myths of Ancient Greece and Ancient Rome" - St. Petersburg: Litera, 1998

Musical instruments in painting.

Plants in the Bible.

History of art. Western European art: Textbook/ T.V. Ilyina. – 3rd ed., revised. and additional – M.: Higher. school, 2002. – 368 p.: ill.

Canetti E. Transformation // The problem of man in Western philosophy. - M.: 1988. P. 490.

Musical aesthetics of Russia in the 11th-18th centuries. Compilation of texts, translations and general introductory article by A. I. Rogov. M.: Publishing house "Music", 1973.

In Russian literature of the 19th century, a special place belongs to Fyodor Ivanovich Tyutchev, who, according to I. S. Turgenev, created “speeches that are not destined to die.” One of the central themes in his mature lyrics is the theme of love, which is revealed with special drama in poems dedicated to E. A. Dvnisyeva. The state of falling in love is as natural for a poet as intense thoughts about the eternal questions of existence.

Reading the poem “There is melodiousness in the sea waves...”, one imagines a man standing alone on the seashore and thinking about life and death, love and freedom, the momentary and the eternal...

Tyutchev has few poems with exact dates. In this case it is known - May 11, 1865. The poem was written right in the stroller, during the author’s trip to the islands in St. Petersburg on the ninth day of the death of his children from Denisyeva.

“There is a melodiousness in the sea waves,

Harmony in spontaneous disputes,

And the harmonious musky rustle

Flows through the shifting reeds."

In these lines one can see a poet of a special philosophical make-up - he not only has the gift of a landscape painter, but also his own philosophy of nature. His mind struggles with the mysteries of the universe, trying to penetrate the mystery of the contradictory unity of nature and man.

“Equanimity in everything,

Consonance is complete in nature, _

Only in our illusory freedom

We are aware of the discord with her.”

Tyutchev speaks of the separation of man from nature as something unnatural, not corresponding to the “peaceful order” of natural existence. The soul, which sings not like the sea, is contrasted with “the complete consonance in nature.”

Man is a reed standing before the vast universe-sea. But this is a “thinking” reed; it grumbles in the general chorus, instead of making a harmonious rustle in harmony with being.

“Where and how did the discord arise?

And why in the general choir

The soul doesn’t sing like the sea,

And the thinking reed murmurs?

“Trying to understand its cause, the author suggests that the discord exists more in the human mind, and not in reality. As it says in the 4th stanza, which will not be published subsequently, the desperate protest of the human soul remains “the voice of one crying in the wilderness. The reason for the discord with nature lies in man himself. It is not she who rejects him, but he himself, immersed in evil passions, unable to accept her harmonious and blessed world into himself. At the same time, the general structure of the existence of nature is such that living individuality is isolated from it.

Tyutchev believes that this discord is a temporary protest, after which either a merger with nature or death occurs (it is no coincidence that the poet compares a person to a reed that grows not on land, but in “coastal reeds” and dies without water).

The language of the poem amazes with its colorfulness, liveliness, trembling words and phrases. The poet uses the metaphor “thinking reed” - a person, the epithets “spontaneous disputes”, “shaky reeds”, “phantom freedom”. And what’s interesting: the work doesn’t smell like it was composed, it seems to have been born of itself.

Nature in the poem is like a living creature. She feels, breathes, is sad. In itself, the animation of nature is usually for poetry, but for Tyutchev it is not just personification, not just a metaphor: the living beauty of nature. He “accepted and understood not as his fantasy, but as the truth.”

There are many reminiscences in “The Songliness...”: this is the “thinking reed” of Blaise Pascal, who wrote that man is just a reed, but he is higher than the universe, “because he has consciousness”; and the Roman poet Ausonius, who put Christian subtext into the words “there is musical harmony in the coastal reeds” (the epigraph to the poem), and the biblical “voice of one crying in the wilderness,” which was not included in the final edition.

F.I. Tyutchev is trying to understand the boundless worlds of the unknown: the mysterious “ocean” of universal existence and the hidden sides of the human soul. This is a very characteristic poem for the poet, where a phenomenon in nature is similar to what happens in the human soul. Spontaneous disputes shake not only nature, but also the inner life of a person, enriching it with a variety of feelings, but more often leaving behind the pain of loss and spiritual emptiness.

"And from the earth to the extreme stars

All are unrequited to this day.

Voice in the wilderness,

Desperate protest from the soul."

Reading the poem “There is melodiousness in the oxen of the sea...” you understand that the author’s thoughts become your personal thoughts. Tyutchev's thought always merges with an image taken from the world of the soul or nature, is imbued with it and itself penetrates it inseparably and inextricably. This is the mystery of the poetry and philosophy of F.I. Tyutchev.

Genre: lyric poem (type of lyric - landscape, philosophical).

COMPOSITION AND STORY
Compositionally, the poem in the form of a lyrical fragment falls into three parts.

Part 1

The idea is expressed that in the natural world everything is subject to the universal law of harmony: “Equanimity in everything, // Complete consonance in nature.”

Part 2

Awareness of the discord between humanity and nature: “Only in our illusory freedom // We recognize the discord with it.”

Part 3

The lyrical hero tries to understand the reasons for human isolation from the natural world: “Where, how did the discord arise?”; he admits that human freedom is “illusory.”

5 / 5. 6

Rustle

Flows through the unsteady reeds.

Equanimity in everything,

There is complete harmony in nature, -

Only in our illusory freedom

We are aware of the discord with her.

Where and how did the discord arise?

And why in the general choir

The soul doesn’t sing like the sea,

Other editions and options

3   And the [quiet] musky rustle

After 12  And from the earth to the extreme stars

Still unrequited to this day

Voice in the wilderness

Souls of desperate protest?

Autograph - RSL. F. 308. K. 1. Unit. hr. 6.

COMMENTS:

Autograph - RSL. F. 308. K. 1. Unit. hr. 6.

Lists - Muran. album(pp. 125–126), with the note: “May 11, 1865”; Album Tutch. - Birileva(p. 40), with the same date.

First publication - RV. 1865. T. 58. August. P. 432. Included in Ed. 1868. P. 215; Ed. St. Petersburg, 1886. P. 276; Ed. 1900. P. 279.

Printed according to list Muran. album.

Autograph draft. The 3rd line originally looked like: “And the quiet musky rustle.” The word “quiet” is crossed out and “slender” is written at the top. There is a 4th stanza, missing both in lists and in printed texts, starting with Ed. 1868.

A line from the Roman poet Ausonius (IV century BC) was chosen as the epigraph, replacing “in” instead of “et”: “... either his memory failed him, or he had a publication in his hands with this option,” explains A. I. Georgievsky in the work “Tyutchev in 1862–1866” (quoted from: Tyutch. in playback P. 200). Georgievsky reports that he was forced to turn for information to the professor of St. Petersburg University I. I. Kholodnyak, who cited the full text of Auzonius’s verse:

Est et arundineis modulatio musika ripis,

Cumque suis loquitur tremulum comapinea ventis

(“And the banks overgrown with reeds are characterized by musical harmony, and the shaggy tops of the pine trees, trembling, speak to their wind” - Ausonius Decimus Magnus). Ed. 1868, Ed. St. Petersburg, 1886 mistakenly printed the epigraph as the title of the poem.

RV follows the autograph, preserving all 16 poetic lines. Regarding the fourth stanza, Georgievsky wrote: “When and by whom and for what reasons was this stanza omitted from printed publications, unfortunately, I did not have a chance to ask Tyutchev himself about this, and it is very possible that he did not know anything about this omission in those publications that appeared during his lifetime. Perhaps our censorship at that time was against the third verse in this stanza, as borrowed from the Holy Scriptures, and also against the fourth verse, since it is not appropriate for the soul of a Christian to fall into despair, nor to protest against the dictates of Heaven, and perhaps the poet himself found some obscurity and uncertainty in this stanza, some inconvenience in citing words from the Holy Scriptures not in the sense in which they were spoken, or found this whole stanza excessively gloomy in its content; but undoubtedly, it was fully consistent with his mood at that time, in which he was ready to desperately protest against the premature death of the creatures so beloved by him (E. A. Denisyeva, Tyutchev’s “last love”, who died in 1864, and their two small children - Lelya and Kolya, who died in early May 1865 - Ed.) and more than once asked myself the question, it was worth it for this poor Lelya to be born into the light of God (the eldest Lelya, E. A. Denisyeva. - Ed.), who by her very birth caused so much grief to many people" ( Tyutch. in playback P. 200). The poem was born after the funeral of little Lelya and Kolya. Marie, E. A. Denisyeva’s half-sister, was Tyutchev’s “great consolation and joy” in those days, Georgievsky recalls. “The weather was wonderful, as often happens in St. Petersburg in the first half of May,” he wrote, “and he and Fyodor Ivanovich in an open carriage went either to the Volkovo cemetery, to the grave of both Lol and Kolya, or to the Islands. On one of these trips, Fyodor Ivanovich, on a piece of notepaper that happened to be in his pocket, sitting in a stroller, wrote in pencil for Marie his beautiful poem with the epigraph: “Est in arundineis modulatio musika ripis...” ( Tyutch. in playback P. 199). The fourth stanza did not appear in Ed. 1868, most likely, with the knowledge of Tyutchev; It is also missing from the lists made by the poet’s daughter. The inaccuracy of the rhyme could also have played a role: “stars” - “protest” (although, of course, “stars” was read with e- Not e).

Regarding the first appearance of the poem in print, I. S. Aksakov wrote to E. F. Tyutcheva: “In the Russian Messenger, in the last book, poems by Fyodor Ivanovich were published. Beautiful poems, full of thoughts, I don’t like one word in them, a foreign one: protest” ( Last love. P. 60). “Apparently,” notes K. V. Pigarev, “Aksakov’s opinion was taken into account by Tyutchev: in M. F. Birileva’s list, the last stanza ending with the words “protest” is missing. There is no reason to think that the poet’s daughter would arbitrarily decide to shorten this stanza. At the same time, it is also obvious that the list precedes the Ed. 1868, and not vice versa" ( Lyrics I. pp. 423–424). However, in Ed. 1984(the textual preparation of the text was carried out by Pigarev) the poem was printed with the 4th stanza (see p. 202).

Disagreement with the opinion of I. S. Aksakov was expressed by B. M. Kozyrev: “One can regret that in the publication of “Literary Monuments” the last stanza was removed from the text to please Aksakov’s opinion. The piercing stylistic dissonance of this stanza: “And from the earth to the extreme stars / Everything is unanswered to this day / The voice of one crying in the desert, / The soul’s desperate protest” - deeply corresponds to the tragic content of the poem. And with its disappearance, all the tragedy, the whole meaning of this thing, which was a cry about the “abandonment” of man in a musically harmonious, but alien Universe, disappeared”( LN-1. P. 87).

“Here the reader finds, with the help of the commentary, a purely Tyutchev amalgam of quotes from Auzonius, the book of the prophet Isaiah from the Bible and Pascal’s “Thoughts.” In addition, Gregg found a paraphrase from Schiller in the 3rd stanza (“Die Räuber”, IV, 5).

To all these sources I would add, perhaps, two more: the Pythagorean-Platonic doctrine of world harmony (“Equanimity in everything, / Complete consonance in nature...”) and, finally, in the most paradoxical contrast with this philosophy, the expression “desperate protest ”, as if straight out of the pages of radical journalism of the 60s. And all together there is a real Tyutchev creation. Along with many other elements, it (like a number of its other “purely philosophical” ones, that is, built more on reflection than on the poetic intuition of things) contains attacks against the rationalistic, Cartesian-Spinozist idea of ​​nature as a soulless mechanism” (there same).

L.N. Tolstoy marked the poem with the letters “T.” G.!" (Tyutchev. Depth!).

Interpreting the poem, V. Ya. Bryusov wrote: “But man is not only a nonentity, a small drop in the ocean of nature, he is also a disharmonious beginning in it. Man strives to strengthen his isolation, his separation from the general world life, and this brings discord into it” (Bryusov V. Ya. F. I. Tyutchev. The meaning of his creativity // Bryusov V. Ya. Collected works: In 7 volumes . M., 1975. T. 6. P. 197).

V.F. Savodnik noted: “Nature lives its own special, integral and self-sufficient life, full of beauty and grandeur and harmony, but alien to everything human and indifferent to it. It is precisely this integrity and completeness of being that a person who is not given the opportunity to merge with nature and join the mysterious and beautiful world life does not have. The poet, with sad bewilderment, stops before the question of this discord between man and nature, and thinks about its causes" ( Gardener. P. 187).

“The original sin is in the original egoism of man,” argued D.S. Darsky. - It is he who prevents you from entering into the consonant order of nature. Man separated himself from nature. Exaggeratedly attached to his isolation, he has become detached from the unanimous integrity of the universe and persists in weak self-affirmation. In man there is neither response nor participation in universal life, and he sounds like discordant dissonance in the general chorus" ( Darsky. P. 124).

According to the thoughts of D. S. Merezhkovsky, Tyutchev first thought that “in the human world there are lies and evil, but in the elemental world there is truth and good...” ( Merezhkovsky. P. 82). The question posed in the poem, the researcher believed, “remained unanswered, but deepened to infinity when the questioner saw that discord was not only between man and nature, but also in nature itself, that evil was at the very root of being, in the very essence peace as will" (ibid.).

Harmony in spontaneous disputes,
And the harmonious musky rustle
Flows through the unsteady reeds.

Equanimity in everything,
There is complete harmony in nature, -
We are aware of the discord with her.

Where and how did the discord arise?
And why in the general choir
The soul doesn’t sing like the sea,
And the thinking reed murmurs?

And from the earth to the extreme stars
Still unrequited to this day
Voice in the wilderness,
Souls of desperate protest?

Analysis of the poem “There is melodiousness in the sea waves” by Tyutchev

F. Tyutchev wrote the poem “There is melodiousness in the sea waves” in 1865. This is a vivid example of landscape and philosophical lyrics. The genre of this poetic work can be defined as elegy.

The theme of the poem reveals the relationship between man and nature. Already at the very beginning of the work, the poet puts the main emphasis on the harmony of the processes that occur in nature:

There is melodiousness in the sea waves,
Harmony in spontaneous disputes.

The reference to musical themes (“melody”) is not accidental: it is in music that melody and expression are achieved thanks to compositional and sound order. Otherwise, the set of sounds would sound chaotic and meaningless. It’s the same with nature: at first glance, “in spontaneous disputes” there is no order. However, the sounds of nature often give birth to their own music, which has its own rhythm. This is how “complete consonance in nature” appears. Man is also a part of nature. But we do not always recognize ourselves as this part and strive to rise above what surrounds us.

Only in our illusory freedom
We are aware of the discord with her.

Such dissonance in the relationship between man and nature gives rise to “desperate protest from the soul.” As if in mockery, Tyutchev says about a person: “a thinking reed.” These lines refer us to the aphorism of Pascal, who argued that man is just a weak reed. Yes, the crown of creation can think and philosophize, which is not given to nature, but this does not lead it to harmony.

At the end of the poem there is a rhetorical question. In its subtext we read both despair and the thought of the unreasonableness of human fate and the illusory nature of happiness.

Composition of the work

The opposition is discernible not only at the content level, but also at the compositional level. Antithetical construction divides the poem into two parts. The first describes pictures of “complete consonance” in nature. The second is the disharmony of human quests.

Analysis of means of artistic expression and versification

The poem is written in iambic tetrameter. The poet uses a ring rhyme, which gives the poem a leisurely pace, slowing down its pace.

The author introduces epithets into his work: harmonious rustling, unsteady reeds, illusory freedom. The metaphorical nature is read in the phrase “thinking reed”, used as a name for a person. Emotional expressiveness is emphasized by syntactic parallelism: “There is melodiousness in the sea waves, // Harmony in spontaneous disputes.”

Alliteration creates an additional musical and melodic effect. In the first stanza, the repetition of the sound “S” helps to hear the sound of the sea. In the third stanza, which describes a person’s emotional unrest, frequent repetition of the sound “R” is used, which intensifies the excitement.