The poetic image of spring in the lyrics of F. Tyutchev and A. Fet article on literature (grade 10) on the topic
The poetic image of spring in the lyrics of F. Tyutchev and A. Fet
The lyrical works of F. Tyutchev and A. Fet reflect the originality of the perception of spring nature, its influence on the spiritual world, thoughts, feelings, and moods of each of the authors. Spring is the time when nature comes to life, awakens after a long winter hibernation, it is the time of blossoming and transformation of everything around us. The lyric poetry of nature became F. Tyutchev's greatest artistic achievement. The poet depicts the landscape in motion, and natural phenomena reflect the mysterious movements of the human soul. Nature is like a living organism that can feel, feel, and express its character.
In addition to depth, his creations are distinguished by elusive subtlety and grace. Nature is always young for Tyutchev. The poet expressed in his poems the triumph of Spring as youth. In the 1930s, he dedicated seven poems to spring: “Spring Storm”, “Napoleon’s Tomb”, “Spring Waters”, “Winter is angry for good reason”, “The earth still looks sad, but the air already breathes in spring”, “Spring”, “ No, my passion for you..."
For him, spring is a beautiful child, full of life, all manifestations of which are filled with high poetry. The poet loves the young peals of the first thunder at the beginning of May, he is delighted by the noisy spring waters - the messengers of a young spring, the spring breath of air.
Tyutchev's poetry is optimistic. The poet’s entire worldview reflects the love and thirst for life, embodied in the jubilant lines of “Spring Waters” (“The snow is still white in the fields...”) and “Spring Thunderstorm.” Consider the poem “Spring Waters”:
The snow is still white in the fields, And in the spring the waters are noisy - They run and wake up the sleepy shore, They run and sparkle and shout...
They shout all over the place: “Spring is coming, spring is coming!” We are messengers of the young spring, She sent us forward!”
Spring is coming, spring is coming! And on quiet, warm May days, a rosy, bright round dance crowds cheerfully behind her.
The poet perceives spring not only as a wonderful time of year, but also as the victory of life over death, as a hymn to youth and human renewal. In this poem, dynamics are achieved by two techniques: firstly, verbal repetitions (“run”, “goes”), creating the illusion of water movement and a spring flood of feelings, and secondly, a sound recording system that imitates the gurgling and overflow of streams. The poem “Spring Waters” contains a three-dimensional and panoramic picture of the awakening of a huge world, its changes over time.
In the poem “Spring Thunderstorm,” not only man merges with nature, but also nature is animated, humanized: “the first thunder of spring, as if frolicking and playing, rumbles in the blue sky.” Tyutchev's thunderstorm is at the same time an image of youth, excitement, renewal, vigor of the creative spirit, an illuminated, new world.
“I love a thunderstorm in early May” is an extremely cheerful, unclouded, cheerful poem. Mischievous, sparkling, young. Thunder here does not frighten, but pleases; its peals are not thunderous, not frightening with their gloom and inner strength, but “young,” liberated, promising. And the first word of the poem is the strongest, most affectionate, enveloping the soul with hope and faith, the most intimate and desired - “I love.” “I love the thunderstorm” and the clarifying one - “at the beginning of May” - does not sound calendar, but unintentionally festive, inviting, promising, green, light, young.” We see such a reading of Tyutchev’s poem in Lev Ozerov.
In Tyutchev’s cycle of poems about spring there is one, called “Spring,” which is surprising in the depth and strength of the feeling invested in it:
No matter how oppressive the hand of fate is, No matter how deceit torments people, No matter how wrinkles plague your brow And no matter how full of wounds your heart is, No matter how severe tests you are subjected to, - What can withstand the breath And the first meeting of spring!
Spring: She doesn’t know about you, About you, about grief and evil; Her gaze shines with immortality, And not a wrinkle on her brow. She is only obedient to her laws, At the appointed hour she flies to you, Light, blissfully indifferent, As befits deities.
Flowers shower over the earth, Fresh as the first spring; Was there another one in front of her - She doesn’t know about that; There are many clouds wandering across the sky, But these clouds are hers, She does not find a trace of the faded springs of existence.
It is not about the past that the roses sigh, And the nightingale sings in the night, Aurora sheds fragrant tears, It is not about the past, And the fear of the inevitable death Not a leaf shines from the tree: Their life, like a boundless ocean, Is all spilled in the present.
Game and sacrifice of private life! Come, reject the deception of feelings and rush, vigorous, autocratic, into this life-giving ocean! Come, with its ethereal stream Wash the suffering chest - And be involved in the Divine-universal life Even for a moment!
Based on the text of this poem, we can say that for the young poet the world is full of secrets, mysteries that can only be comprehended by an inspired singer. And this world, full of secrets and animated, according to Tyutchev, is revealed to man only in short moments, when man is ready to merge with nature:
And be part of the divine-universal life, though for a moment!
It is said about spring that it is bright, blissfully indifferent, fresh. Anatoly Gorelov says that “spring for Tyutchev is a stable image of the creative principle of being; he still enthusiastically accepts its charms, but remembers that it is alien to human grief and evil, for it is “blissfully indifferent,
Tyutchev's brilliant lyrics combine earthly signs with the anxieties and aspirations of the soul. We see this in the example of the poem “The earth still looks sad...”:
The earth still looks sad, And the air already breathes in spring, And the dead stem in the field sways, And the spruce branches move. Nature had not yet woken up, But through the thinning sleep, she heard Spring, And she involuntarily smiled at her...
Soul, soul, you too slept... But what suddenly excites you, Your sleep caresses and kisses And gilds your dreams?.. Blocks of snow glisten and melt, Azure glistens, blood plays... Or is it spring bliss?.. Or is it a woman’s love ?..
In an essay about Tyutchev, Lev Ozerov made the following, very subtle, remark: “He does not decorate nature, he, on the contrary, tears off from it the cover thrown over the abyss. And he does this with the same determination with which other Russian writers tore off the masks from social phenomena.” For Tyutchev, images of nature are not only objects of admiration, but also forms of manifestation of the mysteries of existence. His relationship with nature is active, he wants to snatch its secrets, and admiration for its beauty is combined in him with doubts and rebellion.” In the poem “Winter is angry for a reason...” the poet shows the last fight of the passing winter with spring:
It’s not for nothing that winter is angry, its time has passed - Spring is knocking on the window and driving you out of the yard.
Winter is still busy and grumbling about Spring. She laughs in her eyes and only makes more noise...
This fight is depicted as a quarrel between an old witch - winter and a young, cheerful, mischievous girl - spring.
The leaf turns green young Look how the birch trees stand covered with young leaves, With an airy green through-and-through, Translucent like smoke...
For a long time they dreamed of spring, of golden spring and summer, - And now these living dreams, Under the first blue sky, suddenly made their way into the daylight...
Oh, the beauty of the first leaves, Washed in the sun's rays, With their newborn shadow! And we can hear from their movement that in these thousands and darknesses you will not find a dead leaf.
In the poem “The First Leaf,” leaves are the main object of attention, all other realities - birch trees, spring, summer, blue sky, rays of the sun - this is the necessary background with which their appearance is associated. The author talks about their lightness, transparency, the suddenness of their appearance, their mass and quantity, their light noise and movement. You need to be able to capture variability and movement. Any phenomenon must be grasped in an absolutely instantaneous aspect. The poetry of Fyodor Ivanovich Tyutchev is full of lyricism, internal tension and drama. Beautiful pictures of nature open before the reader, because Tyutchev, like no one else, knew how to convey the colors, smells, and sounds of the surrounding world.
A.A.Fet.
“An idle spy on nature” - this is how Fet himself semi-ironically defined his attitude towards one of the main themes of his work.
Fet's landscape lyrics revealed his amazing visual acuity, loving, reverent attention to the smallest details of his native landscapes; their unique, individual perception.
Fet expanded the possibilities of poetic depiction of reality, showing the internal connection between the natural world and the human world; spiritualized nature, creating landscape paintings that fully reflect the state of the human soul. And this was a new word in Russian poetry. Fet's landscapes are not just spring, summer, autumn or winter: he depicts more specific, shorter and thus more specific sections of the seasons. This precision and clarity makes Fet’s landscapes strictly local: as a rule, these are landscapes of the central regions of Russia. Fet likes to describe precisely definable time of day, signs of this or that weather, the beginning of this or that phenomenon in nature (for example, rain in the poem “Spring Rain”). In Fetov’s admiration for nature, one can note the constant use of such epithets as “magical”, “gentle”, “sweet”, “wonderful”, “affectionate”, etc.
For all the truthfulness and concreteness of the description of nature, it primarily serves as a means of expressing lyrical feelings.
Many of Fet's works are devoted to the theme of spring. In them, images of nature are compared with experiences and the psychological mood of a person. Spring evokes elation, a state of enthusiasm, love for life, so the lyrical hero strives to “stop the moment,” express the inexpressible, share his “living dreams” with the world:
This morning, this joy, This power of day and light, This blue vault, This cry and strings, These flocks, these birds, This talk of waters...
There is not a single verb in the narrator’s monologue - Fet’s favorite technique, but there is also not a single defining word here, except for the pronominal adjective “this” (“these”, “this”), repeated eighteen times! By refusing epithets, the author seems to admit the powerlessness of words. The lyrical plot of this short poem is based on the movement of the narrator’s eyes from the vault of heaven to the earth, from nature to the human dwelling. In the last lines, the lyrical hero’s gaze is turned inward, into his feelings (“the darkness and heat of the bed,” “a night without sleep”). For humans, spring is associated with the dream of love. At this time, creative forces awaken in him, allowing him to “soar” above nature, to consciously feel the unity of all things:
These dawns are without eclipse. This sigh of the night village, This night without sleep, This darkness and heat of the bed, This fraction and these trills, This is all spring.
In Fet’s poetic world, not only visual, but also auditory, olfactory, and tactile images are important.
Fetov's lyrical hero does not want to know suffering and sorrow, think about death, or see social evil. He lives in his own harmonious and bright world, created from exciting in its beauty and infinitely diverse pictures of nature, refined experiences and aesthetic shocks. In the “spring” cycles, light paintings and motifs of flowering, love, and youth predominate. “Human” and “natural” in these paintings are either fused together, or, developing in parallel, strive for unity.
The jubilant beauty of the world is an eternal source of inspiration for the poet, which, despite all the troubles of life, instills in him optimism, a reverent thirst for life, and a fresh perception of the world. When Tyutchev's trees wander and sing, the shadow frowns, the azure laughs, the vault of heaven looks sluggishly, and the carnations look slyly - these predicates can no longer be understood as metaphors. Fet goes further than Tyutchev in this. In him, “the flowers look with the longing of a lover,” the rose “smiled strangely,” the willow is “friendly with painful dreams,” the stars pray, “and the pond dreams, and the sleepy poplar slumbers.” Human feelings are attributed to natural phenomena without a direct connection with their properties.
Let's look at the poem “I'm waiting, overwhelmed with anxiety...”:
I’m waiting, overwhelmed with anxiety, I’m waiting here on the very path: You promised to come along this path through the garden.
Crying, the mosquito will sing, A leaf will fall smoothly... The rumor, opening, grows, Like a midnight flower.
It was as if a beetle had broken a string by flying into a spruce; He called his friend hoarsely. There was a crake right there at his feet.
Quietly under the forest canopy Young bushes are sleeping... Oh, how it smelled like spring!.. It must be you!
“The poem is extremely tense, this anxiety comes both from the tension-building repetition at the very beginning (“Waiting... Waiting...”) and from the strange, seemingly meaningless definition - “on the very path.” But this “itself” also has ultimateity, finitude. The simple path “through the garden” has become “the path itself” with an endless ambiguity of meanings: fatal, first, last, the path of burned bridges, etc. In this most intense state, a person acutely perceives nature, and, surrendering to it, begins to live like nature.
Quietly under the forest canopy Young bushes are sleeping... Oh, how it smelled like spring!.. It must be you!
This is not an allegory, not a comparison with spring. She is spring itself, nature itself, living organically in this world.
A.A. Fet keenly feels the beauty and harmony of nature in its fleetingness and variability. His landscape lyrics contain many of the smallest details of the real life of nature, which correspond to the most diverse manifestations of the emotional experiences of the lyrical hero. For example, in the poem “It’s Still a May Night,” the charm of a spring night creates in the hero a state of excitement, expectation, longing, and involuntary expression of feelings:
What a night! Every single star Warmly and meekly looks into the soul again, And in the air behind the nightingale’s song Anxiety and love resound.
Yu. Aikhenvald noted that Fet’s poetry is characterized not by transitions, but by breakthroughs. This “breakthrough” into the epic was represented by the poem of 1844:
The willow is all fluffy and spread out all around; Again the fragrant spring blew its wings.
The clouds are rushing around the village, Warmly illuminated, And captivating dreams are asking to enter the soul again.
Everywhere the gaze is occupied by a varied picture, an idle crowd of people is noisy, happy about something...
The dream is inflamed by some secret thirst - And spring flies over each soul.
Here we see in Fet an extremely successful example when a personal mood merges with the general mood of other people, the masses, the people, expresses it and dissolves in it. Later, Fetov’s poems are close to Tyutchev’s. Fet is generally close to Tyutchev as a representative of the “melodic” line in Russian poetry. The symbolism of nature, the construction of the poem on the comparison of nature and man, philosophical thought - all this especially brings the late Fet closer to Tyutchev. Here is the poem “I am glad when from the bosom of the earth...” (1879):
I am glad when, from the earth's bosom, Inherent in spring's thirst, Curly ivy climbs to the fence of the stone balcony In the morning.
And nearby, confusing the native bush, And struggling and afraid to fly, A young family of little birds Calls their caring mother.
I don't move, I don't bother. Don't I envy you? Here, here she is, right at hand, Squeaking on the stone pillar.
I am glad: she does not distinguish Me from a stone in the light, She flutters her wings, flutters and catches midges in flight.
“The poem conveys the joy of joining the life of nature in the days of “spring thirst,” as Fet says here, repeating the expression from the early poem “I came to you with greetings...” (“And full of spring thirst”). The theme is traditional in poetry. Using the theme we are considering (one of Fet’s favorite themes – the theme of the arrival of spring), it is convenient to trace Fet’s evolution from impressionistically colored images to the creation of symbols. “In the 40s, the arrival of spring is depicted mainly by the spread of the spring feelings of the lyricist to nature:
The lilac bush has new leaves and is clearly happy about the fun of the day. Spring laziness, subtle laziness My limbs are full. ("Spring in the South")
In the 50s, the arrival of spring is usually indicated by a selection of signs, as in the already cited poem “Another fragrant bliss of spring...” or in the poem “Again invisible efforts...”:
... The sun has already circled the trees in black circles in the forest. The dawn shines through with a shade of scarlet. Covered with an unprecedented brilliance, Snow-covered slope...
In the 60s, due to the philosophical deepening of the topic, the approach to it changed again. Fet again moves away from detailed descriptions; specific manifestations of spring are replaced by its symbolic attributes:
I was waiting. As a bride-queen, you came down to earth again. And the morning shines with crimson, And you repay everything a hundredfold, What the meager autumn took.
You swept through, you won, The deity whispers about secrets, The recent grave blooms, And the unconscious power rejoices in its triumph.
The theme is given in such a generalized form that a meager autumn and a victorious spring oppose each other; and that spring replaces not autumn, but winter - this, apparently, does not matter with such a degree of generalization.
The poem “There is still fragrant bliss of spring...” captures a moment in nature when spring has not yet arrived, but the feeling of spring has already arisen. It would seem that nothing has changed in nature: the snow has not melted, the roads are frozen, the trees are without leaves, but for some small signs and simply intuitively, people are already waiting for spring and rejoicing at its arrival. Let us pay attention to the opening line “More fragrant bliss of spring...”. Fet resorts to one of his favorite figurative expressions - “nega”
The picture is clarified by some details depicting winter: it is snow, a frozen path. Speaking about winter, Fet introduces bright spring colors into the poem: “dawn”, “turns red”, “turns yellow”. Denying that spring has already arrived, he seems to bring its arrival closer, mentioning that “the sun is warming”, that the nightingale sings in the currant bush.
This poem seems to echo Tyutchev’s “The appearance of the earth is still sad...”, written much earlier. The images of nature in Fet's poems are varied. Among them there are stable symbols, for example: morning, dawn and spring. Many flowers (rose, lily of the valley, lilac) and trees (willow, birch, oak). As already mentioned, the arrival of spring is one of Fet’s favorite motifs. The spring renewal of nature, the flourishing of life causes a surge of strength and high spirits in the poet. In his poems, a lilac bush, a fluffy willow, a fragrant lily of the valley asking for the sun's rays, cranes screaming in the steppe appear as characters - they primarily serve as a means of expressing lyrical feelings. The motif of spring helps the poet convey his most important feeling - joyful acceptance of the world around him, the desire to run “towards the spring days.” Wonderful lines about spring rain, about the flight of a butterfly, about bees crawling into fragrant flowers awaken warm feelings in the soul of every person. Just as spring warms all living things, so Fet’s poems about spring caress the ear and elevate the soul. The image of dawn in Fet's lyrics is closely related to the spring motif. Dawn identifies the fire of the sun. At the beginning of the day, all the colors of nature are transparent and pure, the rays of the sun illuminate the earth with a gentle light. The mysterious world shines in the glow of dawn, giving birth to the magical power of inspiration. Spring is a source of reverent delight; it gives you the opportunity to touch the Beautiful with your heart. The combination of these two names - Tyutchev and Fet - has become common: some bring them together, others contrast them. Inferior to Tyutchev in the cosmic scale of poetic feeling, Fet in some of his poems touched upon eternal themes directly related to human existence. The Fetovsky person is in constant and varied communication and conversation with nature. Fet finds poetry in the most ordinary objects. The two artists naturally have different results. Where Tyutchev has one single painting, Fet has a great variety of sketches. What Tyutchev and Fet have in common is a philosophical understanding of the unity of man and nature. However, in Tyutchev, especially in his early lyrics, images associated with nature tend to be abstract, general, and conventional. Unlike Tyutchev, in Fet they are more specific at the level of detail, often substantive. This is evident from the thematic similarity of the poems, the peculiarities of their construction, the coincidence of individual words, the peculiarities of the figurative series of both poets, the symbolism of details in Tyutchev and their concreteness in Fet. So, let us summarize once again what signs, or qualities, of nature Tyutchev highlights when creating a poetic image of spring in his work. Colors interest him only to a small extent. Color epithets are laconic and, as a rule, unoriginal. They are usually deprived of the main semantic load. But a big role for him is usually played by verbs of motion, conveying the state of natural objects. The auditory, tactile, tactile signs of the landscape come to the fore. Before Tyutchev, auditory images had not played such a role in any of the Russian poets. For Fet, nature is only an object of artistic delight, aesthetic pleasure. He values the moment very much, strives to record changes in nature and loves to describe precisely definable times of day. In his work, the poetic image of spring is compared with the experiences and psychological mood of a person. In Fet's lyrics, like Tyutchev's, the poetic image of spring is inseparable from the human personality, his dreams, aspirations and impulses.
List of used literature:
1. Grigorieva A.D. The word in Tyutchev's poetry. – M.: Nauka, 1980. 2. Kasatkina V.N. Poetic worldview of F.I. Tyutcheva. – Saratov, Publishing house. Sarat. University, 1969. 3. Lagunov A.I. Afanasy Fet. – Kh.: Ranok; Vesta, 2002. 4. Ozerov L. Poetry of Tyutchev. M.: Artist. lit., 1975. 5. Ozerov L. A.A. Fet (On the skill of the poet). – M.: Znanie, 1970. 6. Skatov N.N. Lyrics by A.A. Feta (origins, method, evolution). – M., 1972.
Philosophical motives in the lyrics of F. I. Tyutchev and A. A. Fet
Russian literature of the 2nd half of the 19th century
Philosophical motives in the lyrics of F. I. Tyutchev and A. A. Fet
Reading books with poems by A. A. Fet or F. I. Tyutchev, we can hardly judge the time of writing the work, because they have no connection with time, no relation to changes in the outside world. Although both poets lived by no means in a calm time: the Decembrist uprising, the years of reaction, the Crimean and Caucasian wars, the poems of Tyutchev and Fet reveal the life of only the soul, their own experiences and joys, the “spring” and “autumn” of the heart. Poets are interested in eternal universal values, eternal ideals. Such an enduring value is nature, nature as a rich independent world, endowed with feelings and emotions. Poets do not miss the most seemingly insignificant “mechanisms”, invisible to the inattentive viewer, the details that make up nature: “webs of fine hair”, “swan voices”, the noise of leaves, the living blinking of butterfly wings, the gentle breath of grass and flowers. For Fet, nature carries within itself a charge of new strength and aspirations. The revival in nature is in tune with the beating of the poet’s heart. In the poem “I came to you with greetings...”, along with the morning awakening of the forest, which woke up with “every branch, every bird,” poetic forces and the desire to create rise: ... To tell what is blowing at me with joy from everywhere, That I myself do not know, that I will sing, but only the song is ripening. The poet does not say that he will sing, and this is not important, the main thing is the surge of creative forces that rush out like a stormy fountain, towards the light. For Fet, nature is, as a rule, an integral part of the night landscape, which gives rise to a fleeting but unforgettable state of love. This passion arises not simply under the influence of the romantic atmosphere created by the night, the moon, the stars, and sometimes the singing of a nightingale, it lives due to the fact that at night, when people sleep, nothing exists except lovers and nature, and it seems that the whole world was created for the two of them: the stars, the sky, and the moon: What happiness: both the night and us alone! The river is like a mirror and everything sparkles with stars... ...And in my heart I feel such a surge of love, That I can’t be silent, I won’t, I can’t! As already mentioned, nature is given a special place in Tyutchev’s poetry. On the one hand, nature for the poet is an object of contemplation and admiration, on the other hand, it is an incomprehensible, complex world over which “external forces” have no power (“Not what you think, nature”). In Tyutchev, there is initially a discord between man and nature, which prevents man from uniting with the “common choir” (“There is melodiousness in the sea waves”), in which complete harmony and consonance reign. In the poem “There is melodiousness in the waves of the sea...” the poet says that this dissonance is caused by the fact that man, unlike nature, does not have complete freedom: he depends on prejudices, obligations, and universal laws. Nature is natural and independent. Tyutchev “separates” the life of nature and the life of man; it seems to divide the world into day and night. In the first, man reigns: “day, earth-born revival.” Tyutchev, like Fet, assigns a special place to the night, because only at this time a person does not drown out “natural music.” Nature “rules” in the night, and you can more keenly feel its beauty and grandeur, because at this moment everything that exists is as mysterious, “as on the first day of creation” (“How sweetly the dark green garden slumbers...”). Despite the discord with nature, a person can experience this complex, multidimensional world, in which there is a soul, freedom, language, and merge with the natural world. It is at night that the poet feels like a part of nature: “Everything is in me, and I am in everything,” says Tyutchev in the poem “The gray shadows mixed...”. At night, a person’s gaze is presented with a bottomless starry space that connects him with the Universe: But the day fades - night has come... ...And the abyss is exposed to us With its fears and darkness, And there are no barriers between it and us - That’s why the night is scary for us! In front of such a huge, unbridled world, a person feels unprotected and powerless. Man is weak not only in communication with the Universe, but even with his own kind. Tyutchev, like Fet, talks about the poverty of the word created by man. He believes that the world of the soul cannot be opened to “external noise,” otherwise a person will lose the strength and richness of his inner world. You can’t even share your thoughts and hopes with someone, because someone else won’t be able to understand your experiences without feeling them, and words can’t convey what’s boiling in your soul: How can the heart express itself? How can someone else understand you? Will he understand what you live for? A spoken thought is a lie. There are similar motifs in Fet’s work: Fet calls the words spoken “a fatal lie”: having spilled out, everything that was raging in the chest “like a transparent wave” becomes dull and lifeless. But the poet’s lips can “grab on the fly” all the movements of the soul (“How poor is our language”). Both poets did not ignore the theme of love. Only Tyutchev, as a rule, speaks not about his personal passion, not about a specific attachment, but about feeling in general. Love, in Tyutchev’s understanding, is a “fatal duel” in which one of the lovers inevitably suffers. In his opinion, suicide and love are separated by just one step. Suicide is not a physical taking of life, but a slow, painful decay of a loving heart. With Fet it’s the other way around: he is only interested in his own feelings, be it a passing infatuation or great love. Speaking about Tyutchev's poetry, we must touch on the topic of knowledge of the world, which did not find a deep response in Fet's lyrics. The human mind, the desire for knowledge is inexhaustible. As can be seen from the poems “Cicero” and “The Last Cataclysm,” Tyutchev believes that something global can only be perfectly known in the moments of its destruction. But this knowledge is not given to everyone. In the poem “Fountain,” the poet talks about the insatiable human thought, which strives to reach the heights of knowledge, but the “invisibly fatal hand” throws it down to the ground. Only the chosen ones of God, such as Cicero, can, having seen the collapse of civilization, penetrate into its essence: He is a spectator of their high spectacles, He was admitted to their council - And alive, like a celestial being, He drank immortality from their cup! Understanding religion is as difficult as the whole world. As a rule, a person realizes the true price, the full depth of what he owns, only when the loss of this spiritual wealth is close. In this case, for a person everything around him disappears for a while, and this something becomes the most important and dear. In the poem “I am a Lutheran, I love worship...” Tyutchev calls for praying every time as if it were the last time. It is then that your soul will merge with God and he will hear your prayers. In my opinion, Fet has almost no separate philosophical poems with reflections on the relationship to the world, on the place of man in it. Fet is interested in his own concrete, visible impressions: he was struck by something at a given moment, for example, a butterfly; or a feeling arose - and this is reflected in his poems. Tyutchev's philosophical poems predominate; they reflect the problems of knowledge, life, death, and the loneliness of the soul in a huge world. Both poets, each in their own way, poetically reflected the highest categories of existence, so important in the life of each of us. That is why it is so necessary for people of my generation to turn to the works of Tyutchev and Fet: everything that happens to us, they experienced, deeply felt and conveyed to us the endless experience of suffering and happiness - the experience of life itself.
