What are you howling, night wind. Fedor Tyutchev
What are you howling about, night wind?
What are you madly complaining about? ..
What does your strange voice mean
Now dull mournful, now noisy?
In a language clear to the heart
You repeat about incomprehensible torment -
And you dig and explode in it
Sometimes violent sounds! ..O! do not sing these terrible songs
About ancient chaos, about darling!
How greedy is the world of the nocturnal soul
He listens to the story of his beloved!
From a mortal he tears his chest,
He longs to merge with the boundless! ..
O! do not wake up the storms that have fallen asleep -
Chaos is stirring under them! ..
Analysis of Tyutchev's poem "What are you howling about, the night wind? ..."
The work, which belongs to the corpus of Tyutchev's early works, was published in 1836. A recognizable image of the “holy night” arises in the text, which relieves the world around us of the deceptive daytime pictures that are so familiar and understandable to man. The latter, confused and weak, has to face the personification of the chaotic principle - the abyss. The incomprehensible secrets of the dark abyss are both frightening and mesmerizing.
The central place in the figurative structure of the analyzed text is given to the night wind. His personified image is elevated to the rank of a lyrical addressee, whose aspirations the alarmed hero is trying to understand. The mental confusion of the subject of speech is expressed through a series of rhetorical questions that open the poem. Howls of bad weather are likened to manifestations of emotions inherent in man: in the gusts of the wind, laments are heard, the degree of charge of which is constantly changing. They resemble now dull desperate complaints, then stormy, hysterical protests.
The variety of strange sounds generated by the intensification of the wind is metaphorically identified with speech. The mind is not able to comprehend its content, only the heart, intuitively recognizing the emotional component, correlates the treatment with the expression of grief, suffering or pain. A responsive response arises in a sensitive soul, but sincere sympathy becomes a starting point, which in the future generates an unexpectedly strong effect. To depict it, the author uses two homogeneous predicates "dig" and "explode", used in an allegorical meaning. These components are united by a common semantics: an active influence leading to cardinal changes in the earth's surface correlates with a powerful, unrestrained nature of the emotional reaction. The general impression is reinforced by the epithets "violent" and "terrible", the first of which closes the opening stanza, the last opens the final fragment.
In the second eight verses, the opposition of two psychological portraits is modeled, states of mind hero - day and night. Only in the dark, you can feel the attractive power of the triumph of the elements, similar to thirst, feel in the "boundless" loved ones.
New feelings, inspiring fear with their contradictoriness and power of manifestation, evoke a plea-plea. The subject of speech would prefer not to penetrate the veil that hides the indomitable chaotic principle.
What are you howling about, night wind?
What are you madly complaining about? ..
What does your strange voice mean
Now dull mournful, now noisy?
In a language clear to the heart
You repeat about incomprehensible torment -
And you dig and explode in it
Sometimes violent sounds! ..
Oh, do not sing these terrible songs
About ancient chaos, about darling!
How greedy is the world of the nocturnal soul
He listens to the story of his beloved!
From a mortal he tears his chest,
He longs to merge with the boundless! ..
Oh, do not wake up the storms that have fallen asleep -
Chaos is stirring under them! ..
More poems:
- Oak to the Wind began to blame: “Open up to me, Borey! Why did you scatter My dear children along the grove, among the fields? By your mercy I am without leaves and branches; Yesterday it blew so hard that ...
- The wind is howling in the huge steppe, And the snow is falling. There goes the dear dark Poor man. In the heart there is a joyful faith Amid the wicked hills, And heavy, gray Clouds hung over the ground ...
- Slightly without saying: "You are sheer insignificance!" I blame: you are right, my zealous connoisseur And commonplaces wasted by a jury, - Against yours ...
- A bonfire burned under the Crimean sky, Shooting stars into the darkness, And the resinous smell of smoke reminded me of Gorky in the Crimea. He listened to the violent sound of the surf And the crackle of charred bark. And, probably, I saw ...
- - My horse is tired, my shoes are worn out. Where should I go? Tell me please. - Along the Red River, my joy, along the Red River, To the Blue Mountain, my joy, to ...
- When in a seaside town, in the middle of a cloudy night, you open a window out of boredom, whispering sounds will spill in the distance. Listen and discern the sound of the sea breathing on land, protecting the listening soul in the night. The whole ...
- ... And there is my marble counterpart, Defeated under an old maple, Gave his face to the waters of the Lake, Listens to the green rustles. And the light rains wash His caked wound ... Cold, white wait, I'll become marble too ...
- Believe me, insignificance is good in this world. Why deep knowledge, thirst for glory, Talent and ardent love of freedom, When we cannot use them? We, the children of the north, are like the local plants ...
- And in God's world it happens, And sometimes it snows in May, And yet Spring is still discouraged And says: "It's my turn! .." Powerless, no matter how angry she is, Untimely ...
- Where the ancient Kochergovsky1 slept Above Rollein, Tredyakovsky conjured and bewitched the newest days: Fool, turning his back to the sun, Under his cold Messenger, He sprinkled with dead water, Sprinkled an izhitsa alive ...
Literary work: The theory of artistic integrity Girshman Mikhail
FI Tyutchev "What are you howling about, the night wind? ..": the architectonics of being-communication - the rhythmic composition of the poetic text - the impossible, but undoubted perfection of poetry
If the shortest answer to the question: what do we analyze and interpret? - consider the following: "We analyze and interpret a literary work as aesthetic being-communication, carried out in a literary text, but not reducible to the text," then in this poem the communication attitude is directly expressed by two initial questions:
What are you howling about, night wind?
What are you madly complaining about? ..
There are two questions, and they have 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 - you are madly complaining. This movement simultaneously concretizes the issue and deepens the communication-communication between that, about how and who asks. The architectural fixation of this connection is the transition from externally orienting "about what?" to the internally unifying "what does it mean?":
Now dull mournful, now noisy?
The separation of the howling and lamentations of the night wind in the first two questions is manifested in echoes of duality and here: dull mournful– noisy(This is even clearer in the version of the 1854 edition: "Now dull-plaintive, now noisy"). But in this third question, "summing up" the first two, a new unifying center appears: "your strange voice" - it internally binds both noise and complaints, and not just sounding, but speaking, meaningful being, and I long to hear and understand that but your being - your voice means. 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 clear to the heart
You repeat about incomprehensible torment -
And you dig and explode in it
Sometimes violent sounds! ..
The situation of communication becomes clear in its acute contradiction: the language of the night wind is understandable to the human heart, and it responds to the howl, insane lamentation and noise with adequate “violent sounds”. But such a seemingly adequate communication in an understandable language is fraught with "incomprehensible torment", excruciating incomprehensibility. "Incomprehensible torment" again and again exacerbates questions and requires a new cognitive effort to answer them, a new step of consciousness, directed both to the wind and to the heart, which is necessary in their being-communication. And here is the "response" and the final second stanza:
Oh, do not sing these terrible songs
About ancient chaos, about darling!
How greedy is the world of the nocturnal soul
He listens to the story of his beloved!
From a mortal he tears his chest,
He longs to merge with the boundless! ..
Oh, do not wake up the storms that have fallen asleep -
Chaos is stirring under them! ..
On the one hand, communication develops to a clear and distinct result: to the question: "What are you howling about, the night wind?" - the direct answer sounds: "about ancient chaos, about darling!" 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 as a "darling", - or, if we bear in mind the reality of pronouncing the preposition "pro": "Great-born"- chaos is, according to Vl. Solovyov, "negative infinity" 1 and the impulse to merge with the infinite is a denial of being-communication, a rupture, the destruction of the "mortal breast." There is no communication where there is either a complete merger or a complete rupture.
However, this denial, in turn, enters into communication with the consciousness that comprehends it. And just as in the combination “ancestral chaos” all sounds are included that make up the antithesis of chaos - the word “peace”, so in the “night soul” both the world and the “favorite story” about “native chaos” are combined. The night wind carrying the message 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 more day; when the storms "fall asleep", the wind does not "howl". But in the human soul, these and other opposites are united in such a way that both the spatial and the temporal border between them turns out to be as impossible as the absence of a border, their amorphous mixing, is impossible. The border goes into the depths and entails a thought adequate to it, capable of mastering what opens up to the consciousness facing the deep contradictions of being, contemplating them.
This text is an introductory fragment.
From the book Against the Impossible (collection of articles on culture) the author Koltashov Vasily GeorgievichImpossible. How does an adult differ from a child? Many, but ... For a child, nothing is impossible. No, of course there is, only he doesn't know about it. Then he starts to guess. He finds out completely. So he turns into an adult. Life is like a loaded revolver can be shot
From the book The Stone Age was different ... [with illustrations] the author Daniken Erich vonThe Impossible is Possible The prehistoric air route discovered by Preben Hansson leads directly to Delphi, the seat of the oldest oracle in Greece. In this regard, we can assume that almost all the cult sanctuaries of Ancient Greece, dating back to
From the book Theory of Culture the author author unknown12.1.2. Architectonics of Cultural Space Space is the vital and sociocultural sphere of society, the "repository" of cultural processes, the main factor of human existence. The cultural space has a territorial extent, it outlines
From the book Faith in the Crucible of Doubt. Orthodoxy and Russian literature in the 17th-20th centuries the author Dunaev Mikhail Mikhailovich From the book History of DJs by Brewster BillNight Train We had our own club in the rehearsal room in the basement of the house on Gerrard Street, and on those rare occasions when we were in town on Saturday nights, we organized raves for the whole night. Mick Mulligan and I were the first to do this. Although today
From the book Literary Matrix. A textbook written by writers. Volume 1 the author Bitov AndreyElena Schwartz "TWO INFINITIES WERE IN ME ..." Fyodor Ivanovich Tyutchev (1803–1873) I Pushkin, according to Apollon Grigoriev, is the Sun of our poetry. Tyutchev is her crescent moon, whose mysterious flickering light blurs the line between dream and reality. He is the poet of the Night dissolving in
From the book Articles for 10 Years on Youth, Family and Psychology the author Medvedeva Irina Yakovlevna From the book Thank You, Thank You for Everything: Collected Poems the author Golenishchev-Kutuzov Ilya NikolaevichNIGHT VOICE Both me and you - what a lie, what a lie. From the black heart rises What evil shadow? And now he does not recognize himself And the day fades. Passionate flicker of longing, Pale hand movement, Then quicksand, Hot sand ... Still no love, still no love, And only the stars are in vain
From the book Literary Work: The Theory of Artistic Integrity the author Girshman MikhailFrom the rhythm of the poetic language to the rhythmic composition of the poetic
From the book Black Music, White Freedom the author Barban Efim SemyonovichRhythmic composition of poems by Pushkin, Tyutchev, Lermontov, Baratynsky, written by a four-foot
From the book Visual Ethnology of the Empire, or "Not everyone can see a Russian" the author Vishlenkova Elena AnatolievnaRhythmic composition and stylistic originality of poetry
From the book of Hieroglyphics the author Nile GorapolloRhythmic composition and stylistic originality of prosaic
From the book The Political History of Trousers author Bar ChristineArchitectonics: old and new If a new jazz piece of music is comprehended as a gestalt, as a holistic formation, the properties and meaning of which cannot be understood by summing up the properties of its parts, then in the hierarchy of its gestalt qualities the dominant quality was
From the author's bookArchitectonics of the book The research tasks of this book are set by a block of technological, strategic and communicative problems.
From the author's book58. Impossible To symbolize that which cannot happen, they draw a man walking on water. Or if they want to show the impossible otherwise, they draw a headless man walking. Since both cases are impossible, the logic of symbols
What are you howling about, night wind?
What are you madly complaining about? ..
Now dull plaintive, now noisy?
In a language clear to the heart
You repeat about incomprehensible torment -
And you dig and explode in it
Sometimes violent sounds! ..
Oh, do not sing these terrible songs
About ancient Chaos, about my dear!
How greedy is the world of the nocturnal soul
He listens to the story of his beloved!
From a mortal he tears his chest,
He longs to merge with the boundless! ..
Oh, do not wake up the storms that have fallen asleep,
Chaos moves under them! ..
Other editions and variants
4 Now dull mournful, now noisy?
Nekrasov. P. 21.
4 Now deafly plaintive, now noisy!
7 And whine and explode in it
14 And longs to merge with the boundless ...
Sovr... 1854. T. XLIV. S. 15-16.
COMMENTS:
Autograph - RGALI. F. 505. Op. 1. Unit xp. 16. Sheet 2.
First publication - Sovr... 1836.Vol. III. P. 18, under the general title "Poems Sent from Germany", No. XIII, with the general signature "F. T.". Then - Sovr... 1854. T. XLIV. S. 15-16; Ed. 1854... P. 29; Ed. 1868... P. 34; Ed. SPb., 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 addiction to you ...", although the handwriting is more legible. Written in ink; on the back of the page - "The stream thickens and grows dim ...". In the 4th line - "Now deaf-plaintive, now noisy." In the 7th line, in the first word, the letter "r" is written differently from Tyutchev's usual; it looks more like "n", in this case the word "whine" is obtained. The second stanza lacks two supposedly necessary punctuation marks: in the 10th line after the word "dear" 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 conjunction "I" ("And with the boundless longs to merge"; this option is given by lists Sovr.). Each stanza is underlined, especially with a bold line - the last, signifying the end of the poem.
V Drying. notebooks(p. 23) and in Muran. album(p. 25) lists: 4th line - “now deafly plaintive, now noisy?”; 7th line - "You whine and explode in it"; 14th - "And longs to merge with the infinite." V Sovr... In 1836, a variant was given - "Now dull plaintive, now noisy?" in the 14th - "He longs to merge with the infinite." V Sovr... 1854 4th line - "Now deafly plaintive, now noisy!"; 7th - "You whine and explode in it"; 14th - "And longs to merge with the infinite." In all lifetime publications, as well as in Ed. SPb., 1886 and Ed. 1900 is printed the same way.
Dated to 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 refer to the late 19th - early 20th centuries. V.S. Soloviev understands the aesthetic meaning of the sounds of poetic speech: silence does not always accompany the aesthetic impression, as in the picture of the approach of a night thunderstorm. “But in other phenomena of the inorganic world, their entire life and aesthetic meaning is expressed exclusively in sound impressions alone. Such are the sorrowful sighs of Chaos chained in the cosmic darkness "( Soloviev. the beauty... P. 52). Here the philosopher fully quoted Tyutchev's poem. Further, he argues: "Gusts of elemental forces or spontaneous powerlessness, in themselves alien to beauty, generate it already in the inorganic world, becoming, willingly or unwillingly, in various aspects of nature, material for a more or less clear and complete expression of the universal idea or positive total unity" ... V.Ya. Bryusov (see. Ed. Marx... S. XXXVIII – XXXIX), starting his explanations of Tyutchev's chaos, he turned to this particular poem and considered it together with such as “Yu.F. Abaza "," Day and Night "," Vision "," As the ocean embraces the globe of the earth ... "; the researcher discovered Tyutchev's gravitation towards "ancient, dear chaos." Bryusov believed that this chaos appears to the poet as the primordial beginning of all existence, from which nature itself grows. Chaos is the essence, nature is its manifestation. All those minutes in the life of nature when “behind the visible shell” one can see “her very”, her dark essence, are dear and desirable to Tyutchev. “And, listening to the laments of the night wind, to his songs“ about ancient chaos, about darling, ”Tyutchev confessed that his night soul greedily"Hears the story beloved... ". But chaos can be peeped not only in external nature, but also in the depths of the human soul. "
D.S. Merezhkovsky believed that this Tyutchev image was especially penetrated by N.A. Nekrasov: “It was not for nothing that Nekrasov heard these sounds of the autumn wind from Tyutchev: 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, / What are you madly complaining about?" For Nekrasov - about the torment of slavery, about human will; for Tyutchev - also about will, but different, inhuman - about "ancient chaos" ( Merezhkovsky... S. 5-6). And further in his brochure, the author again turned to the same poem and quoted four verses (“With a language understandable to the heart,” etc.), reflecting on the relationship between the conscious and the unconscious in Tyutchev’s work: “Through him, a person, as through a mouthpiece, the inhuman elements speak ... The understandable about the incomprehensible, the conscious about the unconscious — this is all of Tyutchev's poetry, 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 fusion of personal consciousness with the universal and at the same time the feeling of the duality of the universe. "Why does horror envelop the soul precisely when the soul longs to merge with the infinite, and this merging is felt as the soul's immersion in dark chaos?" ( Franc... P. 18). Answering the question, he points to the bifurcation of all-unity itself, in which the light and dark elements are hidden (see also
