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 funds artistic expression and versification (the presence of tropes and stylistic figures, rhythm, meter, rhyme, stanza).

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

The poem “What are you howling about, night wind?..” was written by F.I. Tyutchev in the 30s. In May 1836, the poet sent him to I.S. Gagarin. It was first published in the Sovremennik magazine in 1836. Then it was published in Sovremennik in 1854 and 1868. It is known that L.N. Tolstoy marked this work with the letters “T.” G.K!” (Tyutchev. Depth. Beauty).

The poem belongs to philosophical and landscape lyrics. Its genre is a lyrical fragment. The main theme is the natural world, incomprehensible to the human mind.

The first stanza contains a rhetorical question, the lyrical hero’s address to the night wind:

What are you howling about, night wind?
Why are you complaining so madly?..
What does your strange voice mean?
Either dully plaintive or noisy?

In a language understandable to the heart
You talk about incomprehensible torment -
Then you dig and explode in it
Sometimes frantic sounds!

The second stanza begins with an appeal to the wind. The hero’s feelings are contradictory. The night songs of the wind are terrible for him, since his mind is not able to comprehend their true meaning, but at the same time his “night soul” eagerly “Listen to the story of his beloved!” His consciousness is afraid of the awakening of “sleeping storms”, behind which stands the world of Chaos, but his heart “longs to merge with the boundless.” The poem ends with another appeal to the wind:

Oh, don’t wake up sleeping storms -
Chaos is stirring beneath them!..

As T.P. notes Buslakov, “in this philosophical fragment, such a feature of the artistic development technique as an increase in internal tension is especially noticeable... The central image of the wind changes characteristics throughout the poem: there is a movement in it from the image natural phenomenon to the transmission of that mysterious impulse that causes a storm in the “mortal... chest.”

Compositionally, the work is divided into two parts (post-trophe). The first part consists of questions and the first, timid, not fully realized impressions of the lyrical hero. The second part is an appeal to the wind and a more clear analysis own feelings, your worldview.

The poem is written in eight lines, its size is iambic tetrameter, interrupted by pyrrhic, and the rhyme pattern is cross. The poet uses various means of artistic expression: epithets (“violent sounds”, “terrible songs”), metaphor and personification (“How greedily the world of the night soul Listens to the story of his beloved!”, “In a language understandable to the heart You repeat about incomprehensible torment”), rhetorical question, in which there is alliteration and assonance (“What are you howling about, night wind?..), anaphora (“What are you howling about, night wind? Why are you moaning so madly?...”), inversion (“He is tearing from mortal breasts” ).

Thus, the soul of the lyrical hero of the poem is revealed through his perception of nature. And in this Tyutchev is close to M. Yu. Lermontov.

What are you howling about, night wind?
Why are you complaining so madly?..
What does your strange voice mean?
Either dully plaintive or noisy?
In a language understandable to the heart
You talk about incomprehensible torment -
And you dig and explode in it
Sometimes frantic sounds!..

Oh, don’t sing these scary songs
About ancient chaos, about my dear!
How greedily the world of the soul is at night
Hears the story of his beloved!
It tears from a mortal breast,
He longs to merge with the infinite!..
Oh, don’t wake up sleeping storms -
Chaos is stirring beneath them!..

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What are you howling about, night wind?

Why are you complaining so madly?..

Either dull and plaintive, or noisy?

In a language understandable to the heart

You talk about incomprehensible torment -

And you dig and explode in it

Sometimes frantic sounds!..

Oh, don’t sing these scary songs

About ancient Chaos, about my dear!

How greedily the world of the soul is at night

Hears the story of his beloved!

It tears from a mortal breast,

He longs to merge with the infinite!..

Oh, don’t wake up sleeping storms,

Chaos is stirring beneath them!..

Other editions and options

4 Is it either dullly plaintive or noisy?

Nekrasov. P. 21.

4 Sometimes dull and plaintive, sometimes noisy!

7 And you whine and explode in it

14 And longs to merge with the infinite...

Sovr. 1854. T. XLIV. pp. 15–16.

COMMENTS:

Autograph - RGALI. F. 505. Op. 1. Unit hr. 16. L. 2.

First publication - Sovr. 1836. T. III. S. 18, under common name“Poems sent from Germany,” No. XIII, with the general signature “F. T.". Then - Sovr. 1854. T. XLIV. pp. 15–16; Ed. 1854. P. 29; Ed. 1868. P. 34; Ed. St. Petersburg, 1886. P. 135; Ed. 1900. P. 99.

Printed by autograph. See "Other Editions and Variants." P. 243.

The autograph is on a small sheet of paper, almost the same format as the one on which “No, my passion for you...”, although the handwriting is more legible. Written in ink; on the back of the page - “The stream has thickened and dimmed...”. In the 4th line - “Now dull and plaintive, now noisy.” In the 7th line in the first word, the letter “p” is written differently from Tyutchev’s usual writing; it is more reminiscent of “n”, in this case the word “whining” is obtained. In the second stanza, two supposedly necessary punctuation marks are missing: in the 10th line after the word “darling” there is no sign; in the 13th line there is also no sign, hence the assumption that the next line could begin not with the word “He”, but with the union “And” (“And with the infinite he longs to merge”; this option is given by lists and Sovr.). Each stanza is underlined, with a particularly bold line - the last one, indicating the end of the poem.

IN Drying notebooks(p. 23) and in Muran. album(p. 25) lists: 4th line - “either dull and plaintive, then noisy?”; Line 7 - “And you whine and explode in it”; 14th - “And longs to merge with the infinite.” IN Sovr. 1836 an option was given - “Now it’s dullly plaintive, now it’s noisy?”, but the 7th - “And you dig and explode in it”; in the 14th - “He longs to merge with the infinite.” IN Sovr. 1854 4th line - “Now deaf and plaintive, now noisy!”; 7th - “And you whine and explode in it”; 14th - “And longs to merge with the infinite.” In all lifetime publications, as well as in Ed. St. Petersburg, 1886 And Ed. 1900 printed the same way.

Dating from the 1830s; at the beginning of May 1836 it was sent to I.S. Gagarin.

L.N. Tolstoy marked the poem with the letters “T.” G.K.!” (Tyutchev. Depth. Beauty.) ( THOSE. P. 146). The main responses relate to end of the 19th century- beginning of the 20th century V.S. Solovyov explains the aesthetic meaning of the sounds of poetic speech: silence does not always accompany the aesthetic impression, as in the picture of the approaching night thunderstorm. “But in other phenomena of the inorganic world, their entire vital and aesthetic meaning is expressed exclusively in sound impressions alone. Such are the mournful sighs of Chaos chained in cosmic darkness" ( Soloviev. beauty. P. 52). Here the philosopher quoted Tyutchev’s poem in full. He further argues: “Gusts of elemental forces or elemental impotence, in themselves alien to beauty, generate it already in the inorganic world, becoming, willy-nilly or not, in various aspects of nature, material for a more or less clear and complete expression of the universal idea or positive unity.” . V.Ya. Bryusov (see Ed. Marx. pp. XXXVIII–XXXIX), beginning his explanations of Tyutchev’s chaos, turned specifically to this poem and considered it along with others such as “Yu.F. Abaze”, “Day and Night”, “Vision”, “How the ocean embraces the globe...”; the researcher discovered Tyutchev’s attraction to “ancient, native chaos.” Bryusov believed that this chaos seems to the poet to be the primordial beginning of all existence, from which nature itself grows. Chaos is the essence, nature is its manifestation. All those moments in the life of nature when “behind the visible shell” one can see “herself,” her dark essence, are dear and desirable to Tyutchev. “And, listening to the lamentations of the night wind, to its songs “about ancient chaos, about the dear one,” Tyutchev confessed that his night soul greedily"heeds the story beloved..." But chaos can be seen not only in external nature, but also in the depths of the human soul.”

D.S. Merezhkovsky believed that this Tyutchev image was especially insightfully comprehended by N.A. Nekrasov: “It was not for nothing that Nekrasov heard from Tyutchev these sounds of the autumn wind: after all, his own song was born from the same music: “If the day is cloudy, if the night is not bright, / If the autumn wind is raging...”. From the same music of the night wind: “What are you whining about, night wind, / Why are you whining so madly?” For Nekrasov - about the torment of slavery, about the human will; for Tyutchev - also about will, but different, inhuman - about “ancient chaos” ( Merezhkovsky. pp. 5–6). And further in his brochure, the author again turned to the same poem and quoted four verses (“In a language understandable to the heart,” etc.), reflecting on the relationship between the conscious and unconscious principles in Tyutchev’s work: “Through him, a man, as through a megaphone, inhuman elements speak... The understandable about the incomprehensible, the conscious about the unconscious - this is all the poetry of Tyutchev, all the poetry of our time: the beauty of Knowledge, Gnosis” (p. 10). S.L. Frank quoted the second stanza of the poem, explaining the essence of Tyutchev's pantheism: the merging of personal consciousness with the all-unity and at the same time a sense of the duality of the universe. “Why does horror embrace the soul precisely when the soul longs to merge with the infinite, and this merging is felt as the soul plunging into dark chaos?” ( Franc. P. 18). Answering the question, he points to the bifurcation of the very unity, in which the light and dark elements are hidden (see also

Literary work: Theory of artistic integrity Mikhail Girshman

F. I. Tyutchev “What are you howling about, night wind?..”: the architectonics of being-communication - the rhythmic composition of a poetic text - the impossible, but undoubted perfection of poetry

The shortest answer to the question is: what do we analyze and interpret? – consider the following: “We analyze and interpret a literary work as an aesthetic being-communication, carried out in an artistic text, but not reducible to the text,” then in this poem the attitude towards communication is directly expressed by two initial questions:

What are you howling about, night wind?

Why are you complaining so madly?..

There are two questions, and in them there is a single movement from a common, completely repeating initial source (about what - about what) to the variability of a single-separate appeal to YOU and listening to what and how you howl about - you complain madly. This movement simultaneously specifies the question and deepens the connection-communication between the how And Who asks. The architectonic fixation of this connection is a transition from externally orienting “what?” to the internally unifying “what does it mean?”:

Either dully plaintive or noisy?

The separation of the howling and lamentation of the night wind in the first two questions is manifested in the echoes of binary here: dull plaintive– noisy(This is even more clear in the version of the 1854 edition: “Now dull and plaintive, now noisy”). But in this third question, “summarizing” the first two, a new unifying center appears: “your strange voice” - it internally connects both noise and complaints, and not just sounding, but speaking, significant being, and the thirst to hear and understand what your being means your voice. The voice turns to the listener being - speaking - communication, the basis of which is language, which naturally appears right in the next line:

In a language understandable to the heart

You talk about incomprehensible torment -

And you dig and explode in it

Sometimes frantic sounds! ..

The situation of communication is clarified in its acute contradiction: the language of the night wind is understandable to the human heart, and it responds to howls, insane complaints and noise with “furious sounds” adequate to them. But such seemingly adequate communication clear language conceals within itself an “incomprehensible torment,” a painful incomprehensibility. “Incomprehensible torment” again and again sharpens questions and requires a new cognitive effort to answer them, a new step of consciousness, addressed both to the wind and to the heart, which is necessarily present in their being-communication. And here is the “response” and final second stanza:

Oh, don’t sing these scary songs

About ancient chaos, about my dear!

How greedily the world of the soul is at night

Hears the story of his beloved!

It tears from a mortal breast,

He longs to merge with the infinite!..

Oh, don’t wake up sleeping storms -

Chaos is stirring beneath them!..

On the one hand, communication develops to a clear and distinct result: to the question: “What are you howling about, night wind?” - the direct answer sounds: “about ancient chaos, about our dear one!” On the other hand, communication is just as directly and definitely denied: energetic refusals from it appear both at the beginning and at the end of the stanza in the strongest, final positions in the line: “don’t sing... don’t wake up...” And like “darling,” - or, if we keep in mind the reality of pronouncing the preposition “about”: "ancestral"– chaos is, according to Vl. Solovyov, “negative infinity” 1 , so the impulse to merge with the infinite is the negation of being-communication, the rupture, the destruction of the “mortal breast”. There is no communication where there is either a complete merger or a complete break.

However, this negation, in turn, enters into communication with the consciousness that comprehends it. And just as the combination “ancestral chaos” contains all the sounds that make up the antithesis of chaos - the word “world”, so in the “night soul” both the world and the “favorite story” about the “ancestral chaos” are combined. The night wind, which carries the news of chaos, and sleeping storms can be separated in nature by a spatial and temporal boundary, just like, for example, day and night: when night comes, there is no longer day; when storms “fall asleep”, the wind does not “howl”. But in the human soul these and other opposites are combined in such a way that a spatial and temporal boundary between them turns out to be just as impossible as the absence of a boundary, their amorphous confusion, is impossible. The boundary goes into the depths and entails a thought adequate to it, capable of mastering what is revealed to the consciousness that is turned to the deep contradictions of existence and contemplates them.

This text is an introductory fragment.

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On this page read the text by Fyodor Tyutchev, written in 1830.

And longs to merge with the infinite...

Modern 1854. T. XLIV. pp. 15–16.

Note:

Autograph - RGALI. F. 505. Op. 1. Unit hr. 16. L. 2.

First publication - Modern. 1836. T. III. P. 18, under the general title “Poems sent from Germany,” No. XIII, with the general signature “F. T.". Then - Modern. 1854. T. XLIV. pp. 15–16; Ed. 1854. P. 29; Ed. 1868. P. 34; Ed. St. Petersburg, 1886. P. 135; Ed. 1900. P. 99.

Printed by autograph. See "Other Editions and Variants." P. 243.

The autograph is on a small sheet of paper, almost the same format as the one on which “No, my passion for you...”, although the handwriting is more legible. Written in ink; on the back of the page - “The stream has thickened and dimmed...”. In the 4th line - “Now dull and plaintive, now noisy.” In the 7th line in the first word, the letter “p” is written differently from Tyutchev’s usual writing; it is more reminiscent of “n”, in this case the word “whining” is obtained. In the second stanza, two supposedly necessary punctuation marks are missing: in the 10th line after the word “darling” there is no sign; in the 13th line there is also no sign, hence the assumption that the next line could begin not with the word “He”, but with the union “And” (“And with the infinite he longs to merge”; this option is given by lists and Sovrem.). Each stanza is underlined, with a particularly bold line - the last one, indicating the end of the poem.

In Sushk. notebooks (p. 23) and in Muran. album (p. 25) lists: 4th line - “either dull and plaintive, then noisy?”; Line 7 - “And you whine and explode in it”; 14th - “And longs to merge with the infinite.” In Sovrem. 1836 an option was given - “Now it’s dullly plaintive, now it’s noisy?”, but the 7th - “And you dig and explode in it”; in the 14th - “He longs to merge with the infinite.” In Sovrem. 1854 4th line - “Now deaf and plaintive, now noisy!”; 7th - “And you whine and explode in it”; 14th - “And longs to merge with the infinite.” In all lifetime publications, as well as in Ed. St. Petersburg, 1886 and Ed. 1900 is printed the same way.

Dating from the 1830s; at the beginning of May 1836 it was sent to I.S. Gagarin.

L.N. Tolstoy marked the poem with the letters “T.” G.K.!” (Tyutchev. Depth. Beauty.) (TE. P. 146). The main responses date back to the end of the 19th and beginning of the 20th centuries. V.S. Solovyov explains the aesthetic meaning of the sounds of poetic speech: silence does not always accompany the aesthetic impression, as in the picture of the approaching night thunderstorm. “But in other phenomena of the inorganic world, their entire vital and aesthetic meaning is expressed exclusively in sound impressions alone. Such are the mournful sighs of Chaos chained in cosmic darkness” (Soloviev. Beauty. P. 52). Here the philosopher quoted Tyutchev’s poem in full. He further argues: “Gusts of elemental forces or elemental impotence, in themselves alien to beauty, generate it already in the inorganic world, becoming, willy-nilly or not, in various aspects of nature, material for a more or less clear and complete expression of the universal idea or positive unity.” . V.Ya. Bryusov (see Marx edition, pp. XXXVIII–XXXIX), beginning his explanations of Tyutchev’s chaos, turned specifically to this poem and considered it along with others such as “Yu.F. Abaze”, “Day and Night”, “Vision”, “How the ocean embraces the globe...”; the researcher discovered Tyutchev’s attraction to “ancient, native chaos.” Bryusov believed that this chaos seems to the poet to be the primordial beginning of all existence, from which nature itself grows. Chaos is the essence, nature is its manifestation. All those moments in the life of nature when “behind the visible shell” one can see “herself,” her dark essence, are dear and desirable to Tyutchev. “And, listening to the lamentations of the night wind, to its songs “about ancient chaos, about the beloved,” Tyutchev confessed that his night soul eagerly “listens to the story of his beloved...”. But chaos can be seen not only in external nature, but also in the depths of the human soul.”

D.S. Merezhkovsky believed that this Tyutchev image was especially insightfully comprehended by N.A. Nekrasov: “It was not for nothing that Nekrasov heard from Tyutchev these sounds of the autumn wind: after all, his own song was born from the same music: “If the day is cloudy, if the night is not bright, / If the autumn wind is raging...”. From the same music of the night wind: “What are you whining about, night wind, / Why are you whining so madly?” For Nekrasov - about the torment of slavery, about the human will; for Tyutchev - also about will, but different, inhuman - about “ancient chaos” (Merezhkovsky, pp. 5–6). And further in his brochure, the author again turned to the same poem and quoted four verses (“In a language understandable to the heart,” etc.), reflecting on the relationship between the conscious and unconscious principles in Tyutchev’s work: “Through him, a man, as through a megaphone, inhuman elements speak... The understandable about the incomprehensible, the conscious about the unconscious - this is all the poetry of Tyutchev, all the poetry of our time: the beauty of Knowledge, Gnosis” (p. 10). S.L. Frank quoted the second stanza of the poem, explaining the essence of Tyutchev's pantheism: the merging of personal consciousness with the all-unity and at the same time a sense of the duality of the universe. “Why does horror embrace the soul precisely when the soul longs to merge with the infinite, and this merging is felt as the soul plunging into dark chaos?” (Frank. p. 18). Answering the question, he points to the bifurcation of the unity itself, in which the light and dark elements lurk (see also the commentary on the poem “Spring”. P. 466; “The gray shadows mixed...” P. 436).

The above reviews define the context of Tyutchev’s poems. But the poet himself connected it with poetry. “The stream has thickened and is dimming...”; indeed, they are united by the image-motive of darkness, psychological parallelism in the figurative drawing of two stanzas, the idea of the secret, hidden, painful that breaks out, both in cosmic existence and in the human soul.