Brief analysis of day and night. Analysis of the poem “Day and Night” by F. I. Tyutchev. You might be interested

In each of his poems one feels
only the eye of an artist, but also the mind of a thinker.
V. Bryusov

Among the poets of the 19th century, F. I. Tyutchev stands out for his desire to comprehend the secrets of the universe, unravel the language of nature, and understand the meaning and capabilities of man in the natural world. As a philosopher, Tyutchev shares pantheistic views. Man is a part of the great world of nature, which has an authentic existence. And man is only her “dream”, “a thinking reed”. And this “thinking reed” tries to understand everything mysterious, enigmatic in the incomprehensible, but close to him, world of nature.

Tyutchev's poetry has a special paired theme: day and night. It is revealed not only in the poem of the same name, but also in many other works of the poet, which can be divided into “day” and “night”.

In the poem “Day and Night” Tyutchev presents the day as a “golden woven cover”, “hiding from man the mysterious and bottomless world of spirits, the world of space”:

Day - this brilliant cover - Day, revival of earth-born, healing of aching souls, Friend of men and gods!

But the night tears away “the fabric of the blessed cover” from the fatal world. And the abyss of space “with its fears and darkness” is revealed before a person. And a person feels his insignificance and defenselessness in front of a huge and mysterious space:

And there are no barriers between her and us - That’s why the night is scary for us!

The human soul is the receptacle of two worlds: the “world of the day” and the “chaos of the night.” At night, a person especially feels his involvement in space. In the poem “Insomnia,” Tyutchev’s hero reads a “languorous story of the night.” It awakens a sleeping conscience, it reminds us of the inevitable passage of time, it forces us to look at life from the outside:

And our life stands before us, Like a ghost, at the edge of the earth.

Tyutchev’s stars are the “living eyes” of the deity, which eternally look at the earth, at man. But they are visible to us only at night. They are spectators, judges, and an eternal reminder to man of his inextricable connection with the universe, with the world soul.

Tyutchev’s night is also a symbol of the elements, powerful, omnipotent. The day is the “golden carpet” of civilization, a mirage that can be destroyed by the elements. What can pacify the elements, protect civilization and people? One of these barriers is beauty and poetry. Poetry is not afraid of painful spectacles, it is inspired by the truth, whatever it may be: Material from the site

writes Tyutchev in one of the “night” poems - “Vision”. Tyutchev’s poetry is a messenger of heaven, a kind of mediator between God and people, between heaven and earth, day and night. Her role is conciliatory:

Among thunder, among fires, Among bubbling passions, In elemental, fiery discord, She flies from heaven to us - Heavenly to earthly sons, With azure clarity in her gaze - And on the rebellious sea Pours conciliatory oil.

Maybe it’s worth bringing a little poetry, its beauty and intelligence into our lives - and it will become easier to bear the burden of the day and the judgment of the night. And the secrets of the universe will become closer and clearer.

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 “Day and Night” was written by F.I. Tyutchev in 1839. First published in the same year in the Sovremennik magazine. Then it was republished in Sovremennik in 1854 and 1868. L.N. Tolstoy, in his collection of the poet’s poems, marked this work with the letters “T. G.K.!” (Tyutchev. Depth. Beauty).

We can classify the poem as philosophical lyricism; its main theme is the traditional romanticist opposition of day and night as images symbolizing two polar states of the human soul. The style is romantic. Genre – lyrical fragment.

The poem opens with the image of a bright, joyful day:

To the world of mysterious spirits,
Over this nameless abyss,
A gold-woven cover is thrown over
By the high will of the gods.
Day - this brilliant cover -
Day, earthly revival,
Healing for the souls of the sick,
Friend of man and the gods!

Calm, solemn intonations convey the feelings of the lyrical hero. The image of the day is created by numerous applications, which are used here in a certain semantic gradation: “this brilliant cover”, “revival of earth-born”, “Healing of the souls of the sick”, “Friend of man and the gods!” The day is clarity, order, peace of mind. Man is in harmony with God and the Universe. Researchers noted that in the first part of the poem there is no movement or dynamics. There are no verbs here, only the passive participle “thrown” is used, thus Tyutchev’s day becomes passive, inactive.

However, soon day gives way to night, and other feelings come to life in the soul of the lyrical hero - fear, helplessness. The “night abyss” that opens to his gaze gives rise to Chaos, opposing Harmony in Tyutchev’s lyrical world. The night makes everything hidden, secret, obvious. A person remains alone with his own soul, with the entire Universe; he cannot escape from his own experiences. And here the hero is already opposed to the Universe. In the same regard, we can consider here the symbolism of light and darkness. The darkness of the night destroys the barriers between a person and the deep movements of his soul, calling to life everything that was covered with the “brilliant cover” of the day. But what is hidden there, in the depths of the lyrical hero’s subconscious? The poet does not give a direct answer to this question:

But the day fades - night has come;
She came - and from the world of fate
Fabric of blessed cover,
Having torn it off, it throws it away...
And the abyss is laid bare to us
With your fears and darkness,
And there are no barriers between her and us -
This is why the night is scary for us!

Here we already encounter numerous verbs, a short passive participle and a gerund: “fade”, “has arrived”, “has arrived”, “throws away”, “teared off”, “naked”. Tyutchev's night is stronger than the day, it is active, it suppresses the hero. And here we come close to philosophical reflection about man, about the dark and light sides of his soul. If a person adheres to the norms of goodness and reason, then Chaos will not be able to destroy him. If he is anarchic and self-willed, then Nature will turn its dark side towards him.

The same motive of man’s powerlessness before the elements of Night is heard in Tyutchev’s poem “The Holy Night Has Ascended to the Sky”:

And, like a vision, outside world left...
And the man is like a homeless orphan,
Now he stands, weak and naked,
Face to face before a dark abyss.

He will be abandoned to himself -
The mind is abolished, and thought is orphaned -
In my soul, as in an abyss, I am immersed,
And there is no outside support, no limit...

The composition of the work is based on the principle of antithesis. We can distinguish two parts. In the first part, the poet creates an image of the day, in the second part - an image of the night.

The poem is written in iambic tetrameter, octagons, and the rhyme scheme is ring. The poet uses the following means of artistic expression: epithets (“over... the nameless abyss,” “brilliant cover,” from the fatal world”), metaphor (“from the fatal world, the cloth of the blessed cover, torn off, throws away”), inversion (“A golden-woven cover is thrown "), assonance ("A golden woven cover is thrown"), alliteration ("By the high will of the gods"). We find high vocabulary (“veil”, “gracious”) and archaisms (“spirits”, “earth-born”, “this”, “mists”).

The poem “Day and Night” is one of the best in the poet’s work. It subtly and accurately conveys the worldview of Tyutchev, “the poet of night revelations, the poet of heavenly and spiritual abysses. He seems to whisper with the shadows of the night, catches their vague life and conveys it without any symbols, without any romance, in quiet, tremulous words... This is the contemplation of the world in its nocturnal spontaneity, in its chaotic divine truth... Human life is enveloped in dreams, and a bright day is precisely a dream from which we awaken into life, into death.”

Fyodor Ivanovich Tyutchev is a magnificent poet, romanticist and no less great philosopher. In his works, he assigns a large role to philosophical themes and reasoning. In the poems you can see the author’s thoughts regarding the structure of the world and issues of the universe. One of these works is the poem “Day and Night”. It was written by Tyutchev at the age of 36, in 1839, when he was already a mature poet, albeit not yet recognized, a successful diplomat and statesman. It was precisely this type of activity that made Fyodor Ivanovich think more and more about philosophical topics. The result of such reflections was a very unusual description of a completely ordinary phenomenon: the change of day and night.

The confrontation between day and night, light and darkness is the main theme of the work. This poem can be divided into two parts: a description of the day and a description of the night. The day for Tyutchev is a “golden-woven cover”, which is thrown “over the mysterious world of spirits” by the “high will of the gods.” So Tyutchev recognizes the theory of the divine origin of the world, making some changes to it. He believes that the gods, by casting this “cover,” are trying to protect the whole world from darkness, to show all the light and kindness. But at some point night comes, which

“I came from the world of fate

Fabric of blessed cover,

Having torn it off, it throws it away..."

This is how the true sky, the entire universe, the abyss “with its fears and darkness” appears before people’s eyes. This “abyss” inspires people with sacred horror, because “there are no barriers between it and us” and this is precisely why “the night is terrible for us,” according to Tyutchev.

The poem “Day and Night,” like many other poems by Tyutchev, is written in iambic four-line. Each eight-line can be divided into quatrains, each of which looks like a completely complete sentence. In many of his works, the author reveals his oratorical qualities, in this poem this can be seen in the last lines of each stanza, which end with exclamation marks.

In the poem “Day and Night” Tyutchev uses a ringing rhyme, while the first and fourth lines of each stanza are written using a masculine ending, and the second and third – a feminine ending. It is also worth noting that in the first stanza all male endings rhyme with each other: spirits - gods, cover - gods, while the fourth and eighth lines end with the same word. In the second stanza, it is noteworthy that in each quatrain the last words have the same stressed vowel. In the first quatrain of the second stanza this vowel is “o” (night - away, fatal - cover), and in the second - “a” (naked - terrible, in the darkness - by us).

The poem uses a large number of lexical repetitions and cognates, with the help of which the author focuses on the main images of the poem. Tyutchev also uses epithets, adding color to the poem. Fyodor Ivanovich compares the night with an abyss and calls the day a “brilliant veil”, using comparisons and metaphors. Throughout the entire work one can observe a pronounced antithesis in the constant opposition of day and night.

Fyodor Ivanovich Tyutchev was born on November 23, 1803. He did not come from a simple peasant family. For a long time, Fyodor Ivanovich Tyutchev was home-schooled.

Fyodor Ivanovich Tyutchev began writing poems at an early age. Fyodor Ivanovich Tyutchev wrote his first poem when he was seven years old.

Fyodor Ivanovich Tyutchev experienced many tragic moments in his life that fate presented to him. The most important and bitter blow in his life happened in his middle age; his beloved wife died. Fyodor Ivanovich Tyutchev spends the whole night at the coffin of the deceased, after which in a few hours he turns gray, one might say before his eyes, from tragic frustration and experience.

Over the course of his entire life, Fyodor Ivanovich Tyutchev wrote more than four hundred immortal poems, the subject of which was mainly about reflection on psychological topic. The poems of Fyodor Ivanovich Tyutchev were of a philosophical nature. Here, for example, is one of the immortal poems by Fyodor Ivanovich Tyutchev, which is called “Day and Night”.

On the mysterious world of spirits, over this nameless abyss, a gold-woven cover is thrown by the high will of the gods. In these lines, the author talks about a white day, which was given by higher powers.

Day - this brilliant veil of day, revival of earth-born, healing of aching souls, friend of man and the gods! In these lines, the author also describes a white day, which is intended for all living things, that it is in broad daylight that one can stay awake and enjoy life, and also writes that a white day can cure even the sick.

But the day fades - night has come; She came - and, from the fatal world, the fabric of the blessed cover was torn off, thrown away... and the abyss was exposed to us with its fears and moments, and there were no barriers between it and us - that’s why the night is terrible for us! In these lines, the author describes the night as a warlike dark time of day. That it is with the onset of night that people reveal their fears and the dark thoughts that worry them.

Analysis of the poem - Day and Night

F. I. Tyutchev’s poem “Day and Night” is one of best works Russian philosophical lyrics. It received very highly appreciated contemporaries: L.N., who always admired Tyutchev’s talent, made the following note next to this poem in the margins of the publication that belonged to him: “Depth! Beauty!".

This poem was printed no later than the beginning of 1839 and published in the XIV volume of the Sovremennik magazine in the same year. In 1836, Sovremennik already published Tyutchev’s “Poems Sent from Germany,” with the signature “F. T.". , publishing these poems in the third and fourth volumes of his journal, spoke of them with delight.

So, the analyzed poem:

To the world of mysterious spirits,

Above this nameless abyss

A gold-woven cover is thrown over

By the high will of the gods.

Day - this shining cover -

Day - earthly revival

Healing for sick souls,

Friend of man and the gods!

Came from the world of fate

Fabric of blessed cover,

Having torn it off, it throws it away...

And the abyss is laid bare to us

With your fears and darkness,

And there are no barriers between her and us -

This is why the night is scary for us.

The poem “Day and Night” is written in iambic tetrameter - the most neutral and traditional poetic meter Russian poetry; Most Russian poetry of the 19th century was written in iambic tetrameter; Tyutchev’s lyrics, in which this meter predominates, are no exception. The poem consists of two eight-line lines - a structure very common in Tyutchev, found in many of his poems, for example: “Fountain”, “What are you howling about, the night wind ...”, “Cicero”, “The stream has thickened and is dimming ...”, “Shadows” the gray ones have shifted..." and others. Such a strophic structure most accurately reflects the antithesis of “day” and “night” - the main images of the poem, which the poet speaks about in the first and second stanzas, respectively. Each eight-line can be divided into two quatrains with a surrounding rhyme; each of the four resulting quatrains represents a complete sentence. It is interesting that both stanzas end with an exclamatory intonation; this is typical for Tyutchev (for example, the poems “Cicero”, “What are you howling about, the night wind ...”). This is explained by the fact that Tyutchev in many of his poems acted as a speaker addressing the reader with a solemn speech; No wonder the poem ends with an aphoristic conclusion: “That’s why the night is scary for us!”

As already mentioned, the poem has a circumferential rhyme; the first and fourth lines of each quatrain end with a masculine ending, the second and third lines with a feminine ending. A similar structure is found in the poems “Cicero” and “Fountain”, also in solemn declamatory intonation. It is necessary to pay attention to the fact that in the first stanza all masculine endings (first, fourth, fifth and eighth lines) rhyme with each other: spirits - gods - cover - gods, and the fifth and eighth lines are interconnected by a tautological rhyme. As for the remaining four lines, the consonants in them coincide: nameless - golden-woven, revival - healing. In the second stanza, in each of the quatrains the stressed vowels coincide: night - away, fatal - cover (vowel - o-); naked - scary, in the darkness - by us (vowel - a-).

The poem has a very sophisticated sound design, and as a literary device one should consider the abundance of lexical repetitions and cognates: it seems that the poet wants to emphasize the main images of the poem, which is again connected with Tyutchev’s oratorical style.

The sophistication and rigor of the poetic form make the poem “Day and Night” one of the best in Russian poetry.

The theme of the poem - the contrast between day and night - is traditional for romantic poetry. In this poem, Tyutchev develops and deepens it. If you compare the interpretation of the images of day and night in this poem with the way the poet reveals them in his other poems, you can see that in this poem these images are abstract and undetailed. For example, in the poem “How the Ocean Envelops the Globe...” the poet talks about dreams, comparing a dream to a journey across a mysterious ocean:

Already in the pier the magical boat came to life;

The tide is rising and sweeping us away quickly

Into the immeasurability of dark waves.

There is none of this in Day and Night; Tyutchev describes the night laconically, without using extensive metaphors and comparisons.

The day in this poem is a golden-woven cover, thrown by the high will of the gods over the abyss - that ancient chaos about which Tyutchev wrote in many of his poems: “What are you howling about, the night wind...”, “The gray shadows have shifted...”, “Like the ocean embraces the globe..." and others. It is characteristic that Tyutchev in his poem “turns inside out” the traditional metaphorical image of the cover of the night, turning it into the cover of the day. Day is something artificial, secondary, created by the gods (here, of course, pagan gods appear here, and not the Christian God; this is characteristic of all Tyutchev’s lyrics of the 30s - 40s of the 19th century) for the benefit of themselves and people:

Day, earthly revival,

Healing for sick souls,

Friend of men and gods!

Gods and people in this poem are not opposed to each other, but, on the contrary, are united in their fear of the primordial chaos.

It should be noted that in the first eight-line there is not a single verb; the only action - the gods throw the cover of day over the abyss - is expressed passive participle: “A gold-woven cover has been thrown over.” Thus, the day turns out to be lifeless, inactive, absolutely passive.

The beginning of the second stanza sounds in sharp contrast:

But the day fades - night has come;

She came - and from the world of fate

Fabric of blessed cover,

Having torn it off, it throws it away...

There are many verbs here, and they denote sharp actions: tearing off, throwing away. active, active, the day recedes before her strength. It is important to point out that in the poem “Day and Night” there is no mention at all of twilight, the most important image of romantic poetry. If, for example, in the poem “The gray shadows have shifted...” the poet depicts a gradual, almost imperceptible flow of day into night, then in “Day and Night” this transition is abrupt, instantaneous, violent.

In the poem “Day and Night,” two worlds are contrasted with each other: the daytime world, the world of earthly creatures and gods, the world that exists under the cover of day, and another world, the mysterious world of spirits, the fatal world, hidden during the day by a golden woven cover of grace, and at night exposed and coming into his own. This second world is stronger and older than the world daytime, it is full of unknowns and terrible secrets, spirits that are feared by both people and gods. It is interesting that, wanting to emphasize the originality, the primacy of the nameless abyss, chaos, about which in another poem Tyutchev says: “darling” (“What are you howling about, the night wind ...”), the poet only calls it the world. This world is terrible for its original incomprehensibility and mystery, its inevitable victory over earthly creatures (it is not for nothing that it is called fatal). During the day, chaos and mystery are separated from “men” and gods by a veil, but at night “the abyss... is naked... and there are no barriers between it and us.” A sick soul, healed during the day, again suffers from fear and uncertainty at night.

The traditional romantic opposition of a dull and boring day to a mysterious night receives a new meaning from Tyutchev in connection with the theme of chaos and the abyss. The day, according to Tyutchev, is beautiful and blessed (such is it in most of his poems), it is “a friend of men and gods,” “healing for the aching soul,” but it is powerless before the night with its fears and darkness, which simultaneously attract people (remember the already mentioned Tyutchev’s poem “The gray shadows have shifted…”, where the poet directly says: “Let me taste destruction,” realizing that there is no other way to join the secrets of the universe) and instilling horror in them.

In the poem there are archaisms characteristic of Tyutchev: spirits (ancient pronunciation), earth-born, aching, this, haze (the word “mist” in Tyutchev’s era was not usually used in plural), between her and us. All this, as well as the sublime vocabulary: cover, gold-woven, brilliant, blessed, emphasizes the solemn declamatory, oratorical style of the poem.

Day is just a cover, just a thin golden woven veil. The minutes when it melts, dissolving, disappearing, are the time of the onset of true, primordial being. It is related to the abyss, boundlessness, bottomlessness, limitlessness and can never be squeezed into the framework of the day. Night is the fundamental principle of everything that exists, it contains the story of time, but its motive is eternity, it contains images of everything that was, and a reflection of what is, and the magic of non-real events, and the creation of chaos and fear, and the path to the World of Dreams , the most wonderful limit. The night is bright. Left alone with her, like “a homeless orphan, face to face before a dark abyss,” you can lose your mind for a moment, for a moment - so sadly fleeting in Tyutchev, and so blissfully endless in Fet. But when he returns, the black abyss will no longer be scary and alien, because, if you think about it, everyone sees something different in the night, everyone “knows the ancestral heritage.” But in the darkness there is also death, in it “sneak” the hour of inevitable death, the feeling of the fleetingness of life and the eternal, inevitable, endless nothingness that awaits ahead.

Tyutchev saw and felt more than just a divine basis in nature. He felt that somewhere here, in the abyss lurking beyond the borders of the beautiful Earth, there was rebellion, disorder, and it was unknown what wrong step, what movement of ours could awaken it. We live as if surrounded by volcanoes: the Earth has quiet forests and gardens, a civilization has been built on it, but volcanoes that went extinct millions of years ago and became the focus of chaos can erupt in uncontrollable streams of all-destroying lava. The world is not quiet, not peaceful, it is, in its essence, tragic, and it is best to know it in the “fateful moments”, in moments when the world is dominated by night-darkness, which was before the creation of light and peace and will remain after that. how the sun will die, fading, bleeding out with red rays.

The night revealed to us the depth of the soul of the world; but she not only frightened us, she also wised us up and made us look into our eyes. At night, a mysterious mystical night, everything is taken over by someone else—isn’t it true? - view. The living language of nature is heard in the midnight silence; the true world is the world of the reigning lunar darkness. But is it because people have not been able to fully penetrate the mystery of the night, its image is inseparable for us from the concept of universal evil, associated with the flowering and triumph of dark forces; at night people commit terrible, inexplicable acts that they cannot understand with the passing of the night madness, as if the darkness itself, unrestricted, unrestrained, inspired them to do what it wanted. At night, drawn by the moon, people walk in their sleep with their eyes open, without seeing or remembering, and without awareness, they follow the voice of the night that whispered the Word in an ethereal song, after which they are ready to go through sleep and through darkness itself, according to that side of the mirror.

The poem “Day and Night” is one of the best in Tyutchev’s lyrics. It clearly reveals the poet-philosopher’s penetration into the mysteries of existence - what Tyutchev considered the main task of poetry. Traditional romantic theme, by the end of the 30s of the 19th century. which had already largely lost its relevance (in less than ten years he would write parodies of Lermontov and Zhukovsky), in Tyutchev’s poems it gains new life in the light of the eternal problems of existence developed by the poet.

F. I. Tyutchev’s lyrics reflected his dual understanding of the world, his understanding of the universe as a struggle between two elemental principles, in which world harmony and balance are born. Tyutchev's understanding of day and night also fits into the concept of this duality of the universe.

Day and night are, as it were, different “poles”, contrasting states of life. In Tyutchev's lyrics, night acquires a connection with something ancient and unknown, chaotic; the night is mystery, metaphysics and the abode of miracles. Day is a more mundane level of existence, although in a number of poems Tyutchev sees the presence of transcendence during the day, but much less often than at night.

These features of Tyutchev’s perception of day and night were reflected in his poem “Day and Night”. One of the best works of Russian philosophical poetry, it received very high praise from its contemporaries. The theme of the poem - the contrast between day and night - is traditional for romantic poetry. In this poem, Tyutchev develops and deepens it. If you compare the interpretation of the images of day and night in this poem with the way the poet reveals them in his other poems, you can see that in this poem these images are abstract and undetailed.

The day in this poem is a golden woven cover thrown by the high will of the gods over the abyss - that ancient chaos that Tyutchev wrote about in many of his poems. In the poem “Day and Night,” two worlds are contrasted with each other: the daytime world, the world of earthly creatures and gods, the world that exists under the cover of day, and another world, the mysterious world of spirits, the fatal world, hidden during the day by a golden woven cover of grace, and at night exposed and coming into his own.