Analysis of Tyutchev's poem "Leaves". Analysis of Tyutchev's lyric poem "Leaves"

Before we offer the reader an analysis of Tiutchev's poem Leaves, let us say a few words about the aesthetic views of the poet. Fedor Ivanovich was a follower of the German idealist philosopher Schelling, who understood nature as a natural unity of opposites. This concept has found many admirers among young romantic poets, not only in Europe, but also in our homeland. To what extent the world outlook of the poet is reflected in his immortal creations, will help evaluate the analysis of Tyutchev's lyric poem "Leaves".

Primordial poet

Tyutchev left for Germany as a diplomat in 1821, where he met with his idols - Schelling and Heine, married Eleanor Peterson and continued to write poetry, which he was fascinated with adolescence. From abroad the poet sent lyrical works to Russia at the insistence of Alexander Sergeevich Pushkin and gained some fame here. Among the creations of this period was Tyutchev's poem "Leaves". After Pushkin's death, Fedor Ivanovich's lyrics were no longer published in Russia. N. Nekrasov in his article "Russian Secondary Poets" resolutely stated that he attributed the gift of the writer to the primary poetic talents, which by chance happened to be little known to the Russian reader, and put Tyutchev on a par with the famous Russian poets Pushkin and Lermontov.

Let's start studying the lyric work

The plan for analyzing Tiutchev's poem Leaves is seen in the following way: we determine the theme and idea of the work. We estimate the composition. We consider the artistic methods and means of figurative expressiveness, we sum up.

Analysis of Tyutchev's poem "Leaves": theme and composition

Ivan Sergeevich Turgenev called Fyodor Tyutchev a poet of thought, merged with feeling. He also stressed one more feature of the poet's poetry: the psychological accuracy of his lyrics and passion as its main motive. In the poem "Leaves" Tyutchev analyzes spiritual movements in conjunction with a picture of a fading nature. The composition is based on parallelism: the external world (landscape) and the inner sphere of human aspirations are juxtaposed. Obviously, the theme of the poem is the opposition of violent and vivid feelings to cold tranquility. How is this done?

In the first strophe of the poem we see a picture of immovable evergreen trees frozen in eternal rest. In the second stanza, in contrast to the winter stillness, a sketch of a bright short summer appears. The poet uses the method of personification: it comes from the face of leaves on deciduous trees. The third stanza represents the autumn season of slow cooling and extinction of nature. The fourth stanza is imbued with a passionate entreaty: the leaves ask the wind to tear and carry them with them to avoid withering and death.

The idea of the lyric work

The autumn landscape, when one can observe the foliage fluttering in the wind, turns the poet into an emotional monologue, imbued with the philosophical idea that slow invisible decay, destruction, death without brave and impudent take-off is unacceptable, terrible, deeply tragic. Let's see, with the help of what artistic means the poet does it.

Artistic receptions

Tyutchev expressly uses the antithesis. Pines and spruce appear in a state of winter dead hibernation even in the summer, since they are not subject to any changes. Their "lean greens" (let's pay attention to the epithet!) Is contrasted with juicy, sparkling summer sunshine and dew. The sensation of the soulless static nature of coniferous trees is enhanced by the emotional comparison of their needles with the hedgehogs. Greenery, which "does not turn yellow forever, but is not fresh forever", something akin to a lifeless mummy. In the author's view, conifers of the flora do not even grow, but "stick out", as if they are not fed through the roots of the earth's juice, but someone mechanically stuck them like needles into the ground. So the poet deprives them of even a hint of life and movement. Deciduous trees, on the contrary, are represented in continuous dynamics, the transfusions of light and shadow. The poet uses personification and metaphors: the leaves are a "tribe" that "visits" on branches "in beauty", "plays with rays," "bathes in dew". When describing coniferous trees, the word "forever" is used, it is opposed to the phrase "short time", referring to the deciduous. In contrast to the reduced vocabulary, which represents sticking spruce and pine, the author appeals to the high style: "marshmallows", "red summer", "light tribe", speaking of the trembling foliage.

Morphological and phonetic analysis of Tyutchev's poem "Leaves"

The first stanza, showing an unsightly picture of frozen in the cold pines and spruce, contains only three verbs used in the present tense. This emphasizes the static. The soundtrack of the first stanza is distinguished by the obsessive presence of whistling and hissing consonants. In the second stanza that draws leaves in summer, there are twice as many verbs - six of them, and they are used in the present and past tense, which enhances the feeling of continuous movement, a brief but full of life. In contrast to the alliteration of hissing and whistling in the previous stanza, sonorous sounds predominate here: l-mr. It conveys the state of harmony, characteristic of an inspired and full-blooded life.
The third stanza suggests verbs in the past tense and in an indefinite form. It is about the approaching death, withering. The mood of anxiety and hopelessness creates an abundance of deaf consonant phonemes. The last stanza is filled with a desperate plea, it sounds like a spell, like moaning leaves calling to the wind. There are many exclamations and verbs of the future tense in it. In the soundtrack, vowels are clearly audible - oh-uh, which, in alliance with the consonants "c" and "t", are betrayed by the impetuous whistle of the wind.

Aesthetic credo of the poet

Analysis of Tyutchev's poem "Leaves" helped to understand that this is not only an elegant sample of landscape lyrics and a brilliant attempt to transform the picture of nature into emotional experiences. Before us - a capacious philosophical formula, according to which being and eternity only then make sense, when every moment is filled with fleeting, burning and trembling beauty.