The theme of man and history in Tyutchev's lyrics. Man and history in the lyrics of F.I. Tyutchev

There is a month in the sky - and night
The shadow has not yet moved
Reigns over himself, unaware
That the day has already roused itself, -

That even lazily and timidly
Beam emerges after beam
And the sky is still completely
Night shines with triumph.

The night will evaporate above the ground

December 1859

A significant place in the lyrics of F.I. Tyutchev is occupied by the theme of man and nature. Tyutchev's romantic poetry is directed into the sphere of ideals. The poet knows how to convey the beauty of nature and inner peace a person, to reveal what he loves, what makes him delighted, what he bows to, what his desires are directed to.

Tyutchev's poetry contains a rich variety of aspirations, feelings and impressions. The poet tries to understand the life of nature and comprehend the secrets of the human soul. All his poems are imbued with romance, she is in the discovery of the unknown, in contrast to the usual, in the opposition of light and darkness, in the transformations of a living being and nature, in the collisions and struggle of natural elements and human feelings.

The romantic hero of Tyutchev's poems is the poet himself. His lyrical "I" expresses various aspects of the movement of a person's inner life. The hero of the poems is a philosopher, contemplator of nature or a loving, dreamy young man.

Nature and man, according to Tyutchev, consist of two parts. One part is spiritualized, animated, intelligent and harmonious, "daytime". The other is the "abyss", wild, uncontrollable, spontaneous, "nocturnal."

His "poetry of the day" paints the cosmos as a bright, eternally young, joyful, corporeal and spiritualized world:

Heavenly azure laughs

Washed away at night by a thunderstorm

And dew winds between the mountains

The valley is a bright stripe.

The poet hears the "eternal chorus" in nature, she for him is like a "shining cover", nature shines from within, illuminated by the sun. Nature is not a mirage, she is the reality of the world, and it is her reality that attracts Tyutchev as a poet. In diverse images, he seeks to capture her forms and colors, her being in space and time. But the poet did not dissolve the images of nature in the poetic "I"; rather, on the contrary, his lyrical hero dissolves in the "life-giving ocean" of nature:

The game and the sacrifice of a private life!

Come, reject the feelings of deception,

And rush, vigorous, autocratic,

Into this life-giving ocean

Another, "nocturnal" element in nature manifests itself as chaos, cataclysms, storms, catastrophes. In man, these are passions that also lead to disaster:

Oh how destructively we love

As in the violent blindness of passions

We are most likely to destroy

What is dear to our heart!

The night reveals this spontaneous, chaotic beginning:

The bright night has risen to the sky,

And a pleasant day, a dear day,

She twined like a golden cover,

A veil thrown over the abyss.

And like a vision, the outside world is gone ...

And a man, like a homeless orphan,

Standing now, and weak, and naked,

Face to face before the dark abyss

The unity of the human and natural soul is revealed to us only for a moment.

Tyutchev's poems are musical and picturesque. The seasons are world events that the poet loves so much. He created a whole cycle of poems about spring. "Spring Waters" - the beginning of the nature festival, its first messengers. Shown here is the movement in nature from the April violent melting of snows to calm, warm May days. All this is accompanied by sounds, noises, voices, cheerful animation:

The snow is still white in the fields,

And the waters are already rustling in the spring -

They run and wake up the sleepy shores,

They run and shine and speak.

They say to all ends:

"Spring is coming, Spring is coming!

We are the messengers of the young spring,

She sent us ahead! "

The poet conveys the noises of nature by the very sound of poetry, using alliterations: "they run", "wake up", "break", "shine", "speak", "messengers", "spring", "sent", "forward".

A " Spring thunderstorm"- a masterpiece glorifying nature:" I love a thunderstorm in early May ... "Spring is followed by a thunderous summer:" How cheerful is the roar of summer storms ... "," Silence in the stuffy air ... "A new action of nature - autumn:

There is in the autumn of the initial

A short but wondrous time ...

A feature of Tyutchev's view of nature is attention to special minutes, hours, periods of her life.

Winter action of nature - in the poem "Magic - winter ..." To the music of poems, the magical actions of a sorceress are presented, who draws magic circles-rings, charming, hypnotizing, immersing in sleep.

Tyutchev often writes "about a double abyss," "two infinities." The living corporeal space and the deadening disembodied chaos are two powerful forces: the night chaos absorbs the golden light of the day, but the solar fire disperses the chaos:

But it won't take two or three moments

The night will evaporate above the ground

And in full splendor of manifestations

Suddenly the world of daytime will embrace us ...

Nature and chaos are opposite to each other and, at the same time, they unite in the world being. This constitutes a riddle for the poet. But the result of this mysterious union is manifested in a person who turns out to be a son of the Earth, and, at the same time, he belongs to chaos.

The merging of a person with a harmonious nature is positive, merging with disembodied chaos is terrible and destructive.

Tyutchev emphasized the idea of the value of bodily existence and the independence of the life of nature:

Not what you think, nature:

Not a cast, not soulless face -

She has a soul, she has freedom,

It has love, it has a language ...

The peculiarity of Tyutchev's romantic lyrics is that he sang the beauty of nature, the joy of bodily existence, which the poet sees as simultaneously spiritualized. His nature "breathes", "plunges into sleep", "trembles", and in the morning "rejoices" and "laughs". Nature is full of love and bliss, suffers like a person.

Tyutchev with special love pursues the idea of a harmonious union of man and nature.

Nature and man in the lyrics of F.I. Tyutchev

The main features of the poet's lyrics are the identity of phenomena outside world and the states of the human soul, the universal spirituality of nature. This determined not only the philosophical content, but also artistic features poetry of Tyutchev. Attracting images of nature for comparison with different periods of human life is one of the main artistic techniques in the poet's poems. Tyutchev's favorite technique is personification ("the shadows are mixed", "the sound has fallen asleep"). L. Ya. Ginzburg wrote: "The details of the picture of nature drawn by the poet are not descriptive details of the landscape, but philosophical symbols of the unity and animation of nature."

Tyutchev's landscape lyrics will be more accurately called landscape-philosophical. The image of nature and the thought about nature are fused together in it. Nature, according to Tyutchev, led a more "honest" life before man and without him than after man appears in it.

Greatness, splendor is discovered by the poet in the world around him, in the world of nature. She is spiritualized, personifies the very " living life, for which a person yearns ":" Not what you think, nature, // Not a cast, not a soulless face, // There is a soul in it, there is freedom in it, // There is love in it, there is a language in it ... "Nature in Tyutchev's lyrics has two faces - chaotic and harmonious, and it depends on a person whether he is able to hear, see and understand this world. Striving for harmony, the human soul turns to salvation, to nature as to God's creation, for it is eternal, natural, full of spirituality.

The natural world for Tyutchev is a living being, endowed with a soul. The night wind "in a language understandable to the heart" repeats to the poet about "incomprehensible torment"; the poet has access to the "melodiousness of sea waves" and the harmony of "spontaneous disputes". But where is the benefit? In the harmony of nature or in the chaos that lies beneath it? Tyutchev did not find the answer. His "prophetic soul" was always beating "on the threshold of a kind of double existence."

The poet strives for integrity, for unity between natural world and the human "I". "Everything is in me - and I am in everything" - the poet exclaims. Tyutchev, like Goethe, was one of the first to raise the banner of the struggle for a holistic sense of peace. Rationalism has reduced nature to a dead beginning. Mystery has disappeared from nature, the feeling of kinship between man and elemental forces has disappeared from the world. Tyutchev passionately wanted to merge with nature.

And when the poet manages to understand the language of nature, her soul, he achieves a feeling of connection with the whole world: "Everything is in me - and I am in everything."

For a poet, in depicting nature, the splendor of southern colors, the magic of mountain ranges, and the "sad places" of central Russia are attractive. But the poet is especially addicted to the water element. Almost a third of the poems are about water, sea, ocean, fountain, rain, thunderstorm, fog, rainbow. Restlessness, the movement of water jets is akin to the nature of the human soul, living with strong passions, overwhelmed by high thoughts:

How good you are, oh night sea, -

It is radiant here, it is gray-dark ...

In the moonlight, as if alive

It walks and breathes, and it shines ...

In this excitement, in this radiance,

All, as in a dream, I stand lost -

Oh, how gladly in their charm

I would drown my soul all ...

("How nice you are, oh night sea ...")

Admiring the sea, admiring its splendor, the author emphasizes the proximity of the elemental life of the sea and the incomprehensible depths of the human soul. Comparison "as in a dream" conveys man's admiration for the greatness of nature, life, eternity.

Nature and man live according to the same laws. With the extinction of the life of nature, the life of man also fades away. In the poem " Autumn evening"not only the" evening of the year "is depicted, but also the" meek ", and therefore the" bright "decay of human life:

... and on everything

That gentle smile of fading

What in a rational being do we call

Divine bashfulness of suffering!

("Autumn evening")

The poet says:

There is in the lightness of autumn evenings

Sweet, mysterious beauty ...

("Autumn evening")

The "lightness" of the evening gradually, turning into twilight, into night, dissolves the world in darkness, into which it disappears from visual perception human:

The gray shadows blended

The color faded ...

("The gray shadows blended ...")

But life did not stop, but only lurked, dozed off. Dusk, shadows, silence are the conditions in which the spiritual forces of a person awaken. A person remains alone with the whole world, absorbs it into himself, merges with it himself. The moment of unity with the life of nature, dissolution in it is the highest bliss available to man on earth.

The poetic fate of F.I. Tyutcheva is associated with A.S. Pushkin, who was the first to publish his poems in his Sovremennik in 1836, when the poet himself was in the service in Germany and was not known to anyone. For the second time, N.A. Nekrasov in the article "Our Secondary Poets". Nekrasov classified Tyutchev as a minor poet, not because his lyrics were imitative, but because they did not correspond to the new poetry declared by Sovremennik, with its social dominant.

Tyutchev's poetry is unique. It creates a cosmic picture of the world. “Like the ocean embraces the earthly sphere, Earthly life is surrounded by dreams ...” Tyutchev's man lives “on the threshold” of this huge whole. It simultaneously belongs to the earthly world, the world of sleep, the world of decorations, and the universal, “flaming abyss”. For man, nature is harmonized chaos. He is unable to understand the laws of the "flaming abyss", but he feels its inexplicably attractive force, pulling him away from the earth.

The duality of being is especially vividly manifested in borderline time: in the evening, in autumn. In the twilight, when "gray shadows have mixed" and the world has lost its daytime clarity of forms, the hero is acutely experiencing his own duality. The soul, which feels itself "a dweller of two worlds (" Oh, my prophetic soul ... "), languishes in its earthly shell, in a dream-life. She breaks into the invisible world, covered with a golden curtain, painted with decorations of earthly reality. The voice of Mother Nature, which raises “dear chaos” in the soul, is both desirable and dangerous.

Oh, do not sing these terrible songs

About ancient chaos, about darling.

How greedy is the world of the nocturnal soul

Calls out the story of his beloved

From the mortal he tears his chest

He wants to merge with the infinite.

Oh, do not wake up the storms that have fallen asleep,

Chaos moves beneath them.

(What are you howling about, the night wind ...)

Tyutchev's “two worlds” of human existence is not a romantic juxtaposition of the earthly and the heavenly. This is one whole of Nature, only existing in two hypostases. And man, as a part of the natural whole, bears this duality: the world of the soul and the world of reason determine the conflict nature of his inner universe.

Tyutchev's poetic world is a cosmos projected into the historical being of a person. Civilization moves from the sacred center of the universe to its periphery. In historical development, man moves further and further from his fundamental principles, the voice of nature is muffled in his heart. The poems “I drove through the Livonian fields ...” (1830), “I love Lutherans ...” (1834), “And the coffin is already lowered into the grave ...” (1836), “Our century” (1851) represent a kind of cycle that restores historical panorama of human life.

In the poem "I drove through the Livonian fields ..." "the flaming abyss", the element that gave birth to man, closed from him. Space has flattened to the horizontal. A person sees “sandy ground” under him and “colorless ground of heaven” above him. Trees, rivers were participants in those events that vaguely live in the human soul. He finds himself in a mysteriously silent world both externally and internally. Vague images of the past are not clear in his faded memory, but torment and disturb with their vague associations. He feels his insignificance before the omnipotent nature, indifferent to his torments. Nature is silent "with an ambiguous and secret smile", does not allow a person to the sacred center, slams the door in front of him, leaving him to suffer on the threshold. The symbolic image of the door and the threshold is created in the poem "I love the service of Lutherans ...". The historical boundary between faith and unbelief becomes an analogue of the symbolic threshold. Faith is a sign of the unity of man with the universe, the superiority of the primary heart knowledge over the knowledge acquired in the course of historical development common sense.

The inevitability of the historical deformation of space in the poem "And the coffin is already lowered into the grave ..." is revealed through the nature of space. A person's gaze is directed not to the "incorruptible clean" sky, but to the "open grave." The cosmos narrows down to the borders of the near-grave space, and for a person with his soul-microcosm is small. He “breathes through strength” in him: “a pernicious spirit spirals in his chest”.

Tyutchev's poetic picture of the world coincides with the epic of the mid-19th century. "Our century" is a symbol of this era, a portrait of a hero of the time, experiencing the tragedy of the corruption of the spirit. Man no longer hears the inviting voice of Mother Nature. He is an orphan without faith, without God. With despair he realizes that the door to the “flaming abyss has not only slammed shut for him, but will never open before him. The consciousness of one's own powerlessness before what happened, instead of humility, gives rise to a rebellion, instead of a plea for help - a proud protest. But Tyutchev is not inclined to blame the person for this “unbearable suffering”. The path of its history is predetermined. Nature gives birth to those who hear her voice, and the deaf and dumb, for whom she is only a landscape, as in the poem "Not what you think, nature ..." (1836). Farewell to Vera, to our ancestral home, Nature, is inevitable. The hour will have struck, the door will slam., In spite of everything. A person is doomed to wander in the historical twilight, accomplishing "his useless feat" ("The Holy Night has risen to the sky ..", 1850)

On the historical off-road, the only, but strange salvation for him can only be love. It is she who opens the door to the "dear chaos", and she herself becomes this chaos, absorbing a person completely.

In the poem "Gemini" of 1852 Tyutchev speaks of two forces capable of returning a person to his "flaming abyss", "Suicide and Love." Love grants a person the same “sweetness of destruction” as death. Love is a fatal gift from Mother Nature to her children.

For Tyutchev, the theme of love is not only a continuation of the philosophical understanding of the world and man. This is his personal fate. From his own experience, he experienced the power of this fateful gift.

In the late 1840s, Elena Aleksandrovna Denisyeva entered his life, whom he met when he came to Smolny to visit his daughters. The married poet fell in love with his daughters' age and was loved by her. The poems depicting this illegal novel will be combined into a lyric cycle, which will be called "Denisievsky". In the poem "Predestination" (1852), when love was just beginning, Tyutchev would already write about its end.

Love, love - legend says -

Union of the soul with the soul of a dear

Their union, combination,

And their fatal fusion,

And the fatal duel ...

And than one of them is more tender

In the unequal struggle of two hearts,

The more inevitable and surer

Loving, suffering, melting sadly,

It will wear out at last.

Just as “the hour struck” and the door to the universe slammed shut in front of a person, love, the fatal element, also falls on him, "Fatal duel".

In the poem, Tyutchev challenges the traditional idea of love as a union, of the merging of souls, which was born in sentimental and romantic literature. For a man of the middle of the century, love is a struggle, because nature endows Him and Her with different abilities to love. For Her, love is all life. For Him, this is only a part of life. The cycle contains two poems that form a dialogue between the heroine and the hero. "Don't tell me, he loves me, as before ..." and "Oh, don't bother me with the reproach of the fair ..."

For Her, His love is destructive, because He cannot love Her as She loves Him. And this is not His fault. He becomes Her executioner and himself suffers from this no less than her.

He measures the air for me so carefully and sparingly ...

Even the fierce enemy does not measure like this ...

Oh, I still breathe painfully and hard

I can breathe, but I can’t live.

Believe me, of the two of us, the enviable part is yours:

You love sincerely and ardently, and I -

I look at you with jealous vexation.

In the alignment of forces, the heroes can change nothing. V early poem"Cicero" (1830) Tyutchev wrote:

Happy who visited this world

In his fatal moments!

He was summoned by the all-good

As an interlocutor for.

The predetermined fatal love, burning the tender heart of the heroine, is that great happiness of meeting not only with Him, but also with that invisible, but dear to human soul, the world of "harmonious chaos."

Elena Aleksandrovna Denisyeva will indeed die in 1863. Tyutchev will write poems to her even after her death, because for the poet, as well as for the hero of his lyrics, there is no peace only here or only there. The poem "All day she lay in oblivion ..." (1864) describes the death of the heroine. Her last goodbye to life “Oh, how I loved it all” echoes in the soul of the hero “Oh my God! And to survive it ... And the heart did not break into pieces. " For the heroine "it"- life to death, for the hero "it"- life death. Life and death, here and there, are two faces of the same world. Man lives on the threshold of this world. Therefore, it is so natural to refer to her after her death. She is there, behind the canopy. "My angel, can you see me?" In the poem "Here I am wandering along big road... "(1865) the road-life for the hero ends. The feeling of the end of the road becomes physically visible - “It's hard for me. Feet freeze ... "- and is accompanied by the symbol of dying daylight. But the coming night does not frighten the hero, for he will not be alone there. A Hero without Her also has nothing to breathe, as She is with Him. Without her, he is a bird with broken wings, which will never take off ("Oh, this south, oh, this Nice ...")

In Tyutchev's poetry, the comprehension of the universal human experience of life is verified by the personal one. The hero of his lyrics is a Man representing the entire human race, and his lyrical hero, his alter ego merge into one.

Despite despair modern man, "Performing his useless feat", Tyutchev is far from apocalyptic predictions. This one sounds in a purely Russian poem "Russia cannot be understood with the mind ..." (1866)

You can't understand Russia with your mind,

A common yardstick cannot be measured,

She has a special become

You can only believe in Russia

Trusting in the power of faith is trusting in power natural foundations in man, indestructible as long as the universe exists.

Man and history in the lyrics of F.I. Tyutchev

Goals:

- educational: teach to think critically by comparing and analyzing information;

- developing: develop information processing skills (analysis, synthesis, interpretation, assessment, argumentation);

- educational: to educate aesthetic feelings in the process of contact with high art, literary taste, love of literature, poetry.

During the classes.

Oh Time! Moving mirror of eternity! -

Everything collapses, falls under your hand! ..

Your limit and beginning are hidden

From weak mortal eyes! ..

Ages are born and disappear again

One century is erased by another;

What can be avoided from the wrath of the evil Crohn?

What can resist this formidable God? ..

F.I. Tyutchev

1. Checking homework.

2. The word of the teacher.

Romantic F.I. Tyutchev was the son of his era. The Symbolists (work with a slide) declared the poet their "great teacher" who stood above life and social struggle... But the memoirs of I. Aksakov (the poet's son-in-law) depict the image of a man reflecting on the time, history and fate of Russia.

FI Tyutchev was associated with Slavophilism. The poet, after returning from abroad in 1844, was very popular in high society.

V. Bryusov (biographer and researcher of the poet) proved that during his life abroad, Tyutchev did not lose ties with Russia, emphasized his patriotic attitude towards it and highly appreciated many of his political poems.

In the studies of K.V. Pigareva F.I. Tyutchev appears as a socially active person seeking to influence the course of political events in Russia and in the West. A man of the highest noble society, F.I. Tyutchev was close to the royal court. At the same time, he was indignant at the highest nobility, the "privileged scum", denounced the stupidity of the tsarist government. The poet's monarchism was combined with an awareness of the beginning of the "republican era in the European world", rejection of the revolution - with an understanding of its inevitability and spontaneous rebellion. FITyutchev in his turbulent age suggested this way of fighting tyranny: "Under the royal brocade, soften, and do not disturb the heart." This is the path of moral influence, which was considered the only possible way by both Leo Tolstoy and Fyodor Dostoevsky.

Conversation:

By what principle and into how many groups can you divide the words that you see? Revolution, metaphor, war, comedy, story, manufacture, Tyutchev, serfdom, poems, symbolism, prince, romanticism (into two groups: literature, history).

Are these concepts related? (the story is connected with literature, because on the pages literary works tells about the historical events of different eras; the time in which writers and poets lived influenced the formation of the personality and creativity of the authors).

Why do you think only one name was used in the assignment (apparently, we will talk about Tyutchev, how the events of history influenced his work).

And who is the main thing actor both in literature and in history? (Human). Combine the words man, history, Tyutchev's lyrics and formulate the topic of the lesson. (Man and history in the lyrics of Tyutchev).

3. Vocabulary work in connection with the definition of the concept "The genre of the lyrical fragment in the works of F. Tyutchev." Students work with an explanatory dictionary: search for the meanings of the words "fragment", "lyric". At the next stage, they try to combine the two concepts into one, making out in the form of a small vocabulary entry"The genre of the lyric fragment".

Lyric fragment genre - a small poem, short, but capacious in content.

This is the genre that Tyutchev found. About these masterpieces Nekrasov said: "There is absolutely nothing to add to any of them." And Merezhkovsky noted precisely: “Where L. Tolstoy and Dostoevsky need whole epics, a few lines are enough for Tyutchev.

What is the peculiarity of the genre of Tyutchev's lyric fragment?

Teacher comment:

The poet entered into a struggle with time. FI Tyutchev "went out on the road" at the moment when the intensity of life began to be acutely felt, and the stormy historical events endXviiiandXIXcenturies gave rise to a feeling of fragility of being. There was a need, as it were, to delay time, to preserve disappearing values, to peer at them, to have time to properly assess what flashes in the kaleidoscope of years and days. This aspiration was peculiarly realized in the genre of a lyric fragment.

The lyrical kind of poetry stops the fleeting moment of being, dominates over it.

Tyutchev's work is deliberately directed towards the present. The poet calls the past "the past" ("was it when?"). the image of the future is vague - "obscurity is ahead." Only the present is undoubtedly. This is what needs to be subjected to careful analysis:

"And life, like an endless ocean, is all spilled in the present." The moment of lyrical stopping of time Tyutchev embodied in the verse: "Oh, time, wait!". Tyutchev makes a real discovery: the moment is close to eternity. In "some hours", moments in his imagination, the poet goes on a journey across the ocean of centuries, constantly feels the "breath of antiquity":

"Here the past blows wonderfully", "It blows a fabulous reality", "It will wrap and embrace us by the past." "The memory of the distant past" is especially significant for the poet. The most terrible thing for the human soul is "to watch as the best memories die out in it." Tyutchev is attracted to the stable, the eternal. The poet was convinced that there is an unbroken connection between the past and the present. What was started by previous generations continues today. History lives in the creations of human hands: ancient temples, palaces, castle ruins, sculptures. Memory conquers relentless time. A person achieves immortality by joining the great achievements of history.

4. Analysis of poems. Group work.

Students are formed in 3 groups s .

The first group receives the poem "These poor villages ...", reads it, highlights the main thing, determines the artistic means of expression used, prepares three questions for him. (Russia is poor, but the soul of the Russian people is rich).

Nextand Igroupsadoingem the same tasks for the poem "We are not given to predict ..." (a word can raise a neighbor or destroy him).

Nextgroupgroups performs the same tasks on the poem "Mind cannot understand Russia ..." (speaks of the special role of Russia, opposing mind and faith).

Are formulated general features lyric fragments of Tyutchev.

The teacher summarizes the group work.

The poems belong to different areas of lyrics: "These poor villages" is a political theme, "We cannot predict ..." - philosophical reflection, "The mind cannot understand Russia ..." - here Tyutchev raises a patriotic theme. But allfragmentsas notedYu. Tynyanov, have a strict composition: first, the image that interests the poet is revealed, and immediately the opposite is given to it. Thus, the antithesis holds the two images together into an indissoluble whole.

Tyutchev is a poet and citizen. The events of Russian and world history, the social life of the country - all this penetrated into the poet's soul and was embodied in his poems, expressing the worldview of a genius.Slide number 5

"They don't argue about Tyutchev," I.S. Turgenev justly wrote, "whoever does not feel him, thereby proves that he does not feel poetry."Slide number 6

5. Reading and analysis of the poem "Our century".

What is the theme of this poem? How is it realized in the work?(First of all, this is the theme of time - it is already stated in the title).

What are the keywords that reveal the topic of time?

How is the poem built?(It is built on the contrast between "our days", when a person is "burned and dried up by unbelief," and that time that the poet considers ideal, but does not speak about him).

How does the poem highlight this contrast? (The contrast is emphasized by the abundance of antitheses: shadow - light, faith - unbelief, thirsts - does not ask, etc.).

This is how Tyutchev's two-pronged world arises, and the poet's ideal has no specific features, is not associated with any specific time and space.

6. Lesson summary.

7. Homework.

Man and history in the lyrics of F.I. Tyutchev

Goals:

- educational: teach to think critically by comparing and analyzing information;

- developing: develop information processing skills (analysis, synthesis, interpretation, assessment, argumentation);

- educational: to educate aesthetic feelings in the process of contact with high art, literary taste, love of literature, poetry.

During the classes.

Oh Time! Moving mirror of eternity! -

Everything collapses, falls under your hand! ..

Your limit and beginning are hidden

From weak mortal eyes! ..

Ages are born and disappear again

One century is erased by another;

What can be avoided from the wrath of the evil Crohn?

What can resist this formidable God? ..

F.I. Tyutchev

1. Checking homework.

2. The word of the teacher.

Romantic F.I. Tyutchev was the son of his era. The Symbolists (work with a slide) declared the poet their "great teacher" who stood above life and social struggle. But the memoirs of I. Aksakov (the poet's son-in-law) depict the image of a man reflecting on the time, history and fate of Russia.

FI Tyutchev was associated with Slavophilism. The poet, after returning from abroad in 1844, was very popular in high society.

Conversation:

Are these concepts related? (history is associated with literature, because the pages of literary works tell about the historical events of different eras; the time in which writers and poets lived influenced the formation of the personality and creativity of the authors).

Why do you think only one name was used in the assignment (apparently, we will talk about Tyutchev, how the events of history influenced his work).

And who is the main character in both literature and history? (Human). Combine the words man, history, Tyutchev's lyrics and formulate the topic of the lesson. (Man and history in the lyrics of Tyutchev).

3. Vocabulary work in connection with the definition of the concept "The genre of the lyrical fragment in the works of F. Tyutchev." Students work with an explanatory dictionary: search for the meanings of the words "fragment", "lyric". At the next stage, they try to combine the two concepts into one, formalizing in the form of a small dictionary entry "The genre of a lyric fragment".

Lyric fragment genre- a small poem, short, but capacious in content.

What is the peculiarity of the genre of Tyutchev's lyric fragment?

Teacher comment:

The poet entered into a struggle with time. FI Tyutchev “stepped on the road” at the moment when the intensity of life began to be acutely felt, and the turbulent historical events of the late 18th and 19th centuries gave rise to a feeling of fragility of being. There was a need, as it were, to delay time, to preserve disappearing values, to peer at them, to have time to properly assess what flashes in the kaleidoscope of years and days. This aspiration was peculiarly realized in the genre of a lyric fragment.

The lyrical kind of poetry stops the fleeting moment of being, dominates over it.

4. Analysis of poems. Group work.

Students are formed in3 groupss.

The first group receives the poem "These poor villages ...", reads it, highlights the main thing, determines the artistic means of expression used, prepares three questions for it. (Russia is poor, but the soul of the Russian people is rich).

The next group performs the same tasks for the poem "We are not given to predict ..." (a word can raise a neighbor or destroy him).

The next group of groups performs the same tasks on the poem "Mind cannot understand Russia ..." (speaks of the special role of Russia, opposing mind and faith).

General features of Tyutchev's lyric fragments are formulated.

The teacher summarizes the group work.

The poems belong to different areas of lyrics: "These poor villages" is a political theme, "We cannot predict ..." - philosophical reflection, "The mind cannot understand Russia ..." - here Tyutchev raises a patriotic theme. But all the fragments, as noted by Yu. Tynyanov, have a strict composition: first, the image that interests the poet is revealed, and immediately the opposite is given to it. Thus, the antithesis holds the two images together into an indissoluble whole.

"They don't argue about Tyutchev," I.S. Turgenev justly wrote, "whoever does not feel him, thereby proves that he does not feel poetry." Slide number 6

5. Reading and analysis of the poem "Our century".

What is the theme of this poem? How is it realized in the work? (First of all, this is the theme of time - it is already stated in the title).

What are the keywords that reveal the topic of time?

How is the poem built? (It is built on the contrast between "our days", when a person is "burned and dried up by unbelief," and that time that the poet considers ideal, but does not speak about him).

How does the poem highlight this contrast? ( The contrast is emphasized by the abundance of antitheses: shadow - light, faith - unbelief, thirsts - does not ask, etc.).

This is how Tyutchev's two-pronged world arises, and the poet's ideal has no specific features, is not associated with any specific time and space.

6. Lesson summary.

7. Homework.