And the thinking reed analysis grumbles. Poem by F.I.

Composition

F. I. Tyutchev’s poem “There is melodiousness in the sea waves...” was written on May 17, 1865. It belongs to the poet’s late lyric poetry and represents a philosophical reflection, meditation. Therefore, in terms of genre, this poem can be classified as an elegy.

Compositionally, the work is divided into several parts, opposed to each other. The work itself is preceded by an epigraph from ancient Roman poetry - “Est in arundineis modulatio musica ripis” (There is musical harmony in the coastal reeds (lat.)). He defines the main motive of the poem - the harmony and wisdom of the natural world. In addition, this epigraph can be considered a component of the first part of the poem.

The first part itself is syntactically separated from the second compositional part of the dash:

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, -

In this part, the lyrical hero is once again convinced and then asserts that the natural world surrounding man is harmonious. What does it mean? Everything in nature follows wise laws that lead to good and prosperity, to peace and tranquility. If any disputes or contradictions arise, they are quickly resolved (in spontaneous disputes), and even in them harmony is felt. Everything in the natural world acts in harmony and unity, in subordination to one main, universal law.

The second part of the poem is contrasted with the first. She describes the world of human society:

Only in our illusory freedom

We are aware of the discord with her.

Man has long been separated and alienated from nature. He imagines himself free. But the lyrical hero claims that this is “ghostly freedom.” In fact, people are tied hand and foot because they don’t know how to become happy, how to achieve harmony in their souls and among other people.

It is important that man himself is aware of his discord with nature, but can no longer return to its roots. Late.

The third part consists of questions from the lyrical hero:

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?

He painfully asks: “How did the tragic discord arise between man and everything around him, nature?” The hero tries to understand the reasons for human isolation from the natural world. Trying to understand why we cannot live according to the laws of harmony, an example of which nature gives us every day? Why are people opposed to it, and do not live in harmony and unity? It turns out that a person is opposed to everything except himself, only his voice stands out from the “general chorus.”

The fourth part - the culminating one - consists of the last stanza of the poem:

And from the earth to the extreme stars

Still unrequited to this day

Voice in the wilderness,

Souls of desperate protest?

In this part, with the help of rhetorical questions, a painful picture of the human situation in Tyutchev’s modern world is drawn. The man is unhappy and lonely. The scale of his loneliness is depicted - “And from the earth to the outermost stars.” Man's loneliness is emphasized by the metaphor of “a voice crying in the wilderness.”

A person is lonely, alone with his mental pain, attempts to become happy, to comprehend harmony. His soul protests against his desperate situation, but does not find answers to the questions that arise. "Why?" - asks the lyrical hero along with others. "Why?" - he suffers and does not find an answer.

This poem contains artistic media, helping to reveal the theme and idea of the work. The first part of the poem is filled with epithets: “in spontaneous disputes”, “harmonious musky rustle”, “in the unsteady reeds”, “calm order”, “complete consonance”. All of them are designed to create a picture of the harmonious, peaceful and beautiful life of nature. The only metaphor of the first part - “the rustling flows” - is subordinated to the same task.

The second part is full of metaphors: “in the general choir”, “the soul sings something wrong”, “the reeds murmur”. Interesting. that the poet animates the natural world and the human world, connecting them. He shows that initially everything is one, everything came from one source. This idea is also confirmed by the comparison of the human soul with the sea: “The soul does not sing like the sea” and the epithets: “ghostly freedom”, “common choir”, “thinking reed”.

The artistic means of the third part are designed to convey the tragedy of man's loneliness in the world. This is helped by the epithet “desperate soul”, the hyperbole “and from the earth to the uttermost stars”, the biblical quote “the voice of one crying in the wilderness”.

The contrast between the first part of the poem and the second is emphasized by the dash, which breaks the complex non-union sentence into two parts. The second and third parts of the work are built on rhetorical questions emphasizing the hopelessness of man’s situation and his global loneliness.

The stanzas of the poem have a ring rhyme pattern in which male and female rhymes alternate.

The poem is written in iambic tetrameter with pyrrhic tetrameter, which gives it an elegiac flow and thoughtfulness.

Est in arundineis modulatio musica ripis*

There is melodiousness in the sea waves,
Harmony in spontaneous disputes,
And the harmonious musky 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,
And the thinking reed murmurs?

*There is musical harmony in the coastal reeds (lat.).

Analysis of Tyutchev’s poem “There is melodiousness in the sea waves...”

Fate decreed that the poet and politician Fyodor Tyutchev spent a significant part of his life in St. Petersburg. It was here that they passed last years his life, when, after receiving the title of Privy Councilor, Tyutchev was forced to constantly remain at the imperial court. The harsh climate of the northern Russian capital weighed heavily on the poet, who by that time was already experiencing serious health problems. Nevertheless, Tyutchev could not help but admire the strict beauty of nature, its grandeur and severity, trying to understand why people cannot live according to its laws. The poet was especially attracted by the harsh Baltic Sea, to which in 1865 he dedicated his poem “There is melodiousness in the sea waves...”.

The indigenous inhabitants of St. Petersburg have always considered the depths of the sea to be the source of numerous troubles and, at the same time, treated it with respect, since it was the sea that gave them food and livelihood. Few people thought of viewing it from a romantic point of view. However Tyutchev managed to discover features in the water element that turned out to be in tune with his own worldview. So, in the waves the poet saw a special melodiousness and harmony that are characteristic of nature, but remain outside the field of vision of most people. Wondering why only a few are able not only to understand the beauty of the world around us, but also to follow its simple laws, Tyutchev comes to the conclusion that we ourselves are to blame for this. “Only in our illusory freedom do we recognize discord with it,” the poet notes, believing that only strong mental turmoil forces a person to turn to his roots, seeking protection from nature. Only then does a person realize that “the soul does not sing like the sea” and, therefore, becomes insensitive, hardened and indifferent to that priceless gift called the Universe.

Losing contact with the outside world, which one day suddenly becomes alien and frightening, is, according to Tyutchev, the most terrible test for any of us. Indeed, at this moment a person loses a part of his soul and ceases to live according to the laws of nature. As a result, the “desperate soul’s protest” turns into a “voice crying in the wilderness,” to which it is impossible to get a response. Simple questions remain unanswered and life turns into a series of random circumstances in which it is impossible to trace patterns only because the laws of nature themselves become alien to humans and are rejected as something empty and without value.

In the poem “There is melodiousness in the sea waves...” (1865), inquisitive thought and “murmur”, the protest of a person who is unable to come to terms with his fate as a mortal and infinitesimal part of the universe, are contrasted with the music diffused in nature and reflecting its harmony. The sound recording of this poem helps the poet convey the amazing dynamics and expression of poetic fantasy, transform poetic sketches from nature into such “landscapes in verse”, where visually specific images are imbued with thought, feeling, mood, reflection: “There is melodiousness in the sea waves, / Harmony in spontaneous disputes, / And the harmonious Musikian rustle / Flows in the unsteady reeds” (“Musikian” (obsolete) - musical).

The focus of the poem, the emotionally “shock” part of it, is the saying of the French philosopher B. Pascal. B. Pascal, like F.I. Tyutchev, reflected on the question of man’s connection with nature and his separation, isolation from it. “Man is nothing more than a reed, very weak by nature, but this reed thinks,” wrote B. Pascal, who emphasized that man is the most perfect phenomenon of nature, and considered the ability to think as a source of strength. F.I. Tyutchev, in this poem, conveyed the feeling of the loneliness of a person, cut off by his knowing mind from nature, unable to penetrate the harmony of its elemental processes, but also unable to come to terms with this. The theme of discord between man and nature was heard with particular force in this late poem: “The calm order in everything, / Complete consonance in nature, - / Only in our illusory freedom / We recognize discord with it. / Where and how did the discord arise? / And why in the general choir / The soul does not sing like the sea, / And the thinking reed murmurs?”

According to F.I. Tyutchev, the personal “I” prevents a person from fully experiencing himself as a part of nature and joining his voice to its “common chorus.” At the same time, it is no coincidence that it is “spontaneous disputes” that always excite the poetic imagination of F. I. Tyutchev, and it is no coincidence that in the memory of everyone who has ever opened a book of his poems, those poems in which the poet turned to the image of storms and thunderstorms And the best epigraph for these verses could be the words from the analyzed poem: “Harmony in spontaneous disputes.” Thunderstorms and storms pass, and nature shines even brighter with all its colors, sounds even more clearly with all its voices.

There is melodiousness in the sea waves... Tyutchev F.I.

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?

* There is musical harmony

in coastal reeds (lat.) -

Fate decreed that the poet and politician Fyodor Tyutchev spent a significant part of his life in St. Petersburg. It was here that the last years of his life passed, when, after receiving the title of Privy Councilor, Tyutchev was forced to constantly be at the imperial court. The harsh climate of the northern Russian capital weighed heavily on the poet, who by that time was already experiencing serious health problems. Nevertheless, Tyutchev could not help but admire the strict beauty of nature, its grandeur and severity, trying to understand why people cannot live according to its laws. The poet was especially attracted by the harsh Baltic Sea, to which in 1865 he dedicated his poem “There is melodiousness in the sea waves...”.

The indigenous inhabitants of St. Petersburg have always considered the depths of the sea to be the source of numerous troubles and, at the same time, treated it with respect, since it was the sea that gave them food and livelihood. Few people thought of viewing it from a romantic point of view. However, Tyutchev managed to discover features in the water element that turned out to be in tune with his own worldview. So, in the waves the poet saw a special melodiousness and harmony that are characteristic of nature, but remain outside the field of vision of most people. Wondering why only a few are able not only to understand the beauty of the world around us, but also to follow its simple laws, Tyutchev comes to the conclusion that we ourselves are to blame for this. “Only in our illusory freedom do we recognize discord with it,” the poet notes, believing that only strong mental turmoil forces a person to turn to his roots, seeking protection from nature. Only then does a person realize that “the soul does not sing like the sea” and, therefore, becomes insensitive, hardened and indifferent to that priceless gift called the Universe.

Analysis of the poem

1. The history of the creation of the work.

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

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

4. Features of the composition of the work.

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

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

The poem “There is melodiousness in the sea waves...” F.I. Tyutchev was published in the magazine “Russian Messenger” in 1865, and then in 1868. Regarding the first edition of I.S. Aksakov wrote to E.F. Tyutcheva: “In the Russian Bulletin, 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.” Aksakov’s opinion was obviously taken into account by Tyutchev: on the list of M.F. Tyutcheva-Birileva (1865) the fourth stanza is missing. As researchers note, it is unlikely that the poet’s daughter arbitrarily shortened the last stanza. Probably Tyutchev himself was involved in editing the work. The poem was written in St. Petersburg, during a trip to the islands. At this time, the poet’s beloved, E. Denisyeva, died. And Tyutchev, together with her sister, M.A. Georgievskaya, traveled to the islands, where they remembered the deceased. The lost stanza was a rhetorical question in which the poet’s feelings were guessed:

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

We can classify the work as philosophical and landscape poetry. Its genre is a lyrical fragment. The main theme is the harmonious, intelligent life of nature and the disharmony of human existence.

The epigraph to the poem (“There is musical harmony in the coastal reeds”) is borrowed from the Roman poet of the 4th century BC. e. Ausonia. In the first stanza, the poet asserts that in nature there is “melody,” musicality, and consonance of “her thoughts and feelings.” Despite the disputes, all elements coexist harmoniously - water, air, fire and earth. He hears harmonious music in the rustling of the reeds. Tyutchev’s nature is self-sufficient, significant, calm and unshakable. Everything in it is harmonious, reasonable, orderly, unlike human life:

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

The man in this work is a “thinking reed.” This image goes back to Pascal’s famous aphorism: “Man is nothing more than the weakest reed in nature, but he is a thinking reed.” Both in the human soul and in his very existence there is not that consonance of thoughts and feelings, that completeness and harmony that is diffused in nature. His freedom itself is illusory. And this, according to Tyutchev, is one of the tragedies of humanity:

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 ends with a rhetorical question that remains unanswered by the poet. In its subtext one can discern despair, and the thought of the unreasonableness of human fate and the illusory nature of happiness, and the awareness of the deepest drama of this discord, the dissonance in the existence of man and nature.

The composition of the work is based on the principle of antithesis. The poem is divided into two parts. The first part is a description of the “complete consonance” in nature. The second part is a painful feeling of dissonance of our existence. The song of human destiny cannot sound in unison with nature. Tyutchev protests against this injustice: “the thinking reed murmurs.” This is a rebellion of life and love against death, addressed to an indifferent, self-sufficient nature.

The poem is written in quatrains, its size is iambic tetrameter, interrupted in places by pyrrhic. The rhyme is circular. The poet uses modest means of artistic expression: epithet (“in the shifting reeds,” “ghostly freedom”), metaphor (“the soul sings something like the sea”), syntactic parallelism (“There is melodiousness in the sea waves, Harmony in elemental disputes”) , a rhetorical question (“And why in the general choir does the Soul not sing like the sea, And the thinking reed murmur?”).

The poem “There is melodiousness in the sea waves...” perfectly reflects the poet’s worldview. As one of the critics accurately noted, the “feeling of the abyss” on the edge of which every person finds himself at every moment of his life is an amazing property that gives Tyutchev’s poetry a dizzying poignancy. The presence of this “all-consuming and peaceful abyss” in Tyutchev’s poems and letters makes him similar to Pascal, who placed a chair between himself and space in order to isolate himself from the abyss that seemed to him.”