(2)

Tyutchev's poem "How sweetly the dark green garden slumbers ..." undoubtedly can be attributed to the romantic-philosophical lyrics so characteristic of the poet: here is the struggle of day and night elements, the theme of earth and sky, eternal questions about faith, the place of man in the universe, his: loneliness, the sense of being.

The structure of the poem is also typical for the poet's philosophical works: the first stanzas are a magical description of nature, and the last are philosophical reflections.

In stanza 1, a wonderful picture of the garden at night is created. The author admires, admires the blooming spring nature, praises its harmony with pathos and passion, and this impression is reinforced by the repeated exclamation “how sweet”.

But here the epithet "sweet" does not seem cloying, but creates a feeling of enjoying peace, sleep. The painting is eminently poetic, replete with inversions and a palette of colors.

It could be compared with Kuindzhi's painting, if not for the blueness of the night, which fills the garden with air, increases the volume, reveals the closed space of the garden and predetermines the transition to the image of the bottomless sky in the 2nd stanza.

In the 2nd stanza, we clearly feel that the night is not complete rest: it is full of sounds, movement. In this stanza, one can already feel the loneliness of the lyrical hero, who is alone with the mystery of the night. This lack of clarity, the unknown "as on the first day of creation," excites and worries the hero.

The mysteriousness and anxiety of the night are opposed by the author to the clarity and order of the working day. Here one can feel the contradictoriness so characteristic of Tyutchev's poetry, a certain paradox of thought: on the one hand, the author shows that it is at night that everything strives for peace, freezes.

On the other hand, life does not stop, in some manifestations it becomes more intense, exclamations and music are heard.

In the 3rd stanza, the main antithesis is the embrace of sleep, the fading of daytime movement associated with material activities, and the release of spiritual life, mental, "disembodied" energy, which was enclosed in a bodily shell during the day.

The author perceives this escaping energy as a "wonderful, nightly rumble." Perhaps this image arises from intense listening to the sounds of the night. And this hum nullified the Calm and pacification of the 1st stanza.

If in the second stanza peace is replaced by excitement, now the mood becomes anxious and confused, such an impression is achieved by numerous assuming “u”: “labor fell asleep”, “wonderful woke up”, “nightly hum”, “where is he from, this hum”.

The poem ends with a rhetorical question. Sleep liberates all the forces of the soul bound by the day, not so much light as dark. It is these forces that Tyutchev associates with chaos, an abyss, they cause fear, because they have destructive energy, they pose a threat to light and harmony.

Such silence evokes a desire to penetrate the author's unsaid thoughts and find his own answer, gives rise to new questions: why should thoughts rush upward, why are they cramped in a human shell?

Probably because such is the nature of man: his soul strives for the unknown, the unknown, seeks answers to endless questions about the mysteries of the universe and hopes to find him there, in the heights, in the endless chaos of the night.

Tyutchev refers to the theme of the night more than once in his poems, and the night rumble also arises repeatedly, for example:

4.5 / 5. 2

How sweetly the dark green garden slumbers,

Embraced by the bliss of the blue night,

Through apple trees, whitened flowers,

How sweet the golden month is shining! ..

Mysteriously, as on the first day of creation,

A host of stars burns in the bottomless sky,

Exclamations of distant music are heard,

The neighboring key speaks more audibly ...

The veil descended on the daytime world,

The movement was exhausted, the work fell asleep ...

Over the sleeping hail, as in the tops of the forest,

A wonderful, nightly hum woke up ...

Where is he from, this incomprehensible hum? ..

Or mortal thoughts, freed by sleep,

The world is incorporeal, audible, but invisible,

Now swarming in the Night Chaos? ..

Other editions and variants

8 In the garden, the fountain, laughing, says ...

15 A swarm incorporeal, audible, but invisible,

Autograph - RGALI. F. 505. Op. 1. Unit xp. 19.L. 7.

COMMENTS:

Autographs (2) - RGALI. F. 505. Op. 1. Unit xp. 19.L. 7 and 6.

First publication - RA... 1879. no. 5, p. 134; at the same time - NNS... S. 40. Then - Ed. SPb., 1886... P. 14; Ed. 1900... P. 86.

Reprinted after the second autograph. See “Other Editions and Variants”. P. 250.

The first autograph contains the title of the poem - "Voices of the Night". 7th line here - "Exclamations of distant music are heard", 8th - "In the garden, the fountain, laughing, speaks", 15th - "A swarm incorporeal, audible, but invisible."

In the second - the name is absent, there are discrepancies in comparison with the first: in the 7th line - the first letter of the second word resembles Tyutchev's "z", and then the word "zalny" is obtained, and not "distant" (compare with the spelling "z" in the words “through”, “music”, “veil”, “exhausted”), in the first autograph there was an obvious “d” and the word “distant” was obtained. In the 8th line of the second autograph - "The neighboring key speaks more audibly", in the 15th - "The world is incorporeal, audible, but invisible." All the stanzas here are also crossed out. Punctuation marks have been slightly changed. One gets the impression that the poet initially does not differentiate punctuation marks, but denotes any stops, semantic and intonational, with a dash. The whole poem is, as it were, built on the effect of reticence: exclamations, questions, and statements do not express everything that can be said; besides, Tyutchev's dots here are not short, but long: after the word "says" there are five dots, after "fell asleep" - four, after "hum" (12th line) - eight, to the very edge of the page there are dots, they are more they don't fit here; after the word “incomprehensible” there are four dots (also to the very edge of the page), after the words “in the chaos of the night” there are five points, and again to the very edge. The poet aesthetically experiences the world of the unknown, not subject to verbal expression, but it exists, and the dots remind of it.

It was printed everywhere under the title "Voices of the Night", which corresponded only to the early autograph. In the first three editions, the 7th line is “Exclamations are heard in the music of the ballroom”. But already in Ed. 1900 -"The exclamations of the distant music are heard." However, in Ed. Marx again - "The music of the ballroom exclamations are heard", but in the ed. Chulkov I and in Lyrics I- "Distant Music".

Dated to the 1830s; at the beginning of May 1836 was sent by Tyutchev I.S. Gagarin.

“How sweetly the dark green garden slumbers ...” is the sixth poem with the image of chaos: “Vision”, “The last cataclysm”, “How the ocean embraces the globe of the earth…”, “What are you howling, the night wind? ..”, “Dream on sea ​​"- in all, except for the second and third in this list, the very word" chaos "is used. If in previous poems about chaos feelings of anxiety, fear, decay of consciousness were emphasized, then in this one, ideas and experiences of mystery, incomprehensibility of chaos were emphasized, the idea of ​​its incorporeality and irrationality is supported. For the first time it was in this poem that the characteristic of Tyutchev's image of the "veil" appeared; it turns out to be the night falling on the daytime world like a curtain.

Fedor Ivanovich Tyutchev

How sweetly the dark green garden slumbers,
Embraced by the bliss of the blue night!
Through apple trees, whitened flowers,
How sweetly the golden month shines!

Mysteriously, as on the first day of creation,
A host of stars burns in the bottomless sky,
Exclamations of distant music are heard,
The neighboring key speaks more audibly ...

The veil descended on the daytime world,
The movement was exhausted, the work fell asleep ...
Over the sleeping hail, as in the tops of the forest,
A wonderful nightly hum woke up ...

Where is he from, this incomprehensible hum? ..
Or mortal thoughts, freed by sleep,
The world is incorporeal, audible, but invisible,
Now swarming in the chaos of the night? ..

The poem "How sweetly the dark green garden slumbers ...", written in the 1830s, refers to Tyutchev's early landscape-philosophical poetry. Like many works of Fyodor Ivanovich, it is dedicated to the night and the reflections associated with it. In the first stanza, the reader is presented with a description of a beautiful garden. The delight experienced by the lyrical hero of the work is emphasized by the use of exclamation sentences. At the beginning of the text, Fyodor Ivanovich places greater emphasis on the color scheme of the picture being drawn. In this case, bright epithets play an important role. The poet calls the apple trees whitened flowers, the month - golden, the night - blue. Already in the second quatrain, the mood of the text changes. There are no exclamation marks. Then they will be replaced by dots and rhetorical questions. The night is full of different sounds. The lyrical hero hears both distant music and the murmur of a key. He has a sense of the mystery of what is happening. In addition, Tyutchev touches on the theme of the immutability of the eternal laws of life. For thousands of years, the fundamental principles of the world have remained the same. The stars in the bottomless sky shine for the hero in the same way as they shone “on the first day of creation”.

In the third stanza, the poet seems to go back a little - by the time night falls, when the veil descends on the daytime world, movement practically stops and a rare person works. If the city is asleep, then nature has no time for sleep at this time. The hero of the poem notices that a wonderful hum is awakening in the forest peaks, repeating every night. The fourth and final stanza is devoted to philosophical reflections, inspired by the observed landscape. Such a technique is typical for the work of Fyodor Ivanovich, about which Fet wrote: "Tyutchev cannot look at nature without a corresponding bright thought arising in his soul at the same time." Night for a poet is a time when a person is left alone with the abyss, when chaos wakes up. When darkness falls, vision deteriorates, but hearing becomes sharper, so the hero of the poem "How sweetly the dark green garden slumbers ..." hears so many sounds. Night brings with it to earth a completely different world - an incorporeal world, invisible, but really existing. Tyutchev has a twofold attitude towards the dark time of the day. On the one hand, a person has the opportunity to comprehend the secrets of life. On the other hand, as mentioned above, he has to face an abyss.

How sweetly the dark green garden slumbers,
Embraced by the bliss of the blue night!
Through apple trees, whitened flowers,
How sweetly the golden month shines!

Mysteriously, as on the first day of creation,
A host of stars burns in the bottomless sky,
Exclamations of distant music are heard,
The neighboring key speaks more audibly ...

The veil descended on the daytime world,
The movement was exhausted, the work fell asleep ...
Over the sleeping hail, as in the tops of the forest,
A wonderful nightly hum woke up ...

Where is he from, this incomprehensible hum? ..
Or mortal thoughts, freed by sleep,
The world is incorporeal, audible, but invisible,
Now swarming in the chaos of the night? ..

Analysis of Tyutchev's poem "How sweetly the dark green garden slumbers ..."

The poem "How sweetly the dark green garden slumbers ...", written in the 1830s, refers to Tyutchev's early landscape-philosophical poetry. Like many works of Fyodor Ivanovich, it is dedicated to the night and the reflections associated with it. In the first stanza, the reader is presented with a description of a beautiful garden. The delight experienced by the lyrical hero of the work is emphasized by the use of exclamation sentences. At the beginning of the text, Fyodor Ivanovich places greater emphasis on the color scheme of the picture being drawn. In this case, bright epithets play an important role. The poet calls the apple trees whitened flowers, the month golden, the night blue. Already in the second quatrain, the mood of the text changes. There are no exclamation marks. Then they will be replaced by dots and rhetorical questions. The night is full of different sounds. The lyrical hero hears both distant music and the murmur of a key. He has a sense of the mystery of what is happening. In addition, Tyutchev touches on the theme of the immutability of the eternal laws of life. For thousands of years, the fundamental principles of the world have remained the same. The stars in the bottomless sky shine for the hero in the same way as they shone “on the first day of creation”.

In the third stanza, the poet seems to go back a little - by the time night falls, when the veil descends on the daytime world, movement practically stops and a rare person works. If the city is asleep, then nature has no time for sleep at this time. The hero of the poem notices that a wonderful hum is awakening in the forest peaks, repeating every night. The fourth and final stanza is devoted to philosophical reflections, inspired by the observed landscape. Such a technique is characteristic of the work of Fyodor Ivanovich, about which Fet wrote: "Tyutchev cannot look at nature without a corresponding bright thought arising in his soul at the same time." Night for a poet is a time when a person is left alone with the abyss, when chaos wakes up. When darkness falls, vision deteriorates, but hearing becomes sharper, so the hero of the poem "How sweetly the dark green garden slumbers ..." hears so many sounds. Night brings with it to the earth a completely different world - an incorporeal world, invisible, but really existing. Tyutchev has a twofold attitude towards the dark time of the day. On the one hand, a person has the opportunity to comprehend the secrets of life. On the other hand, as mentioned above, he has to come face to face with the abyss.