There is melodiousness in the sea waves, the story of creation. “There is a melodiousness in the sea waves” Analysis

Select verses... December 1, 1837 (So it is destined here...) May 11, 1869 (All of us gathered...) April 12, 1865 (Everything is decided...) 1856 (We stand blindly... ) February 19, 1864 (And silent...) January 29, 1837 (From whose hand...) Encyclica Mala aria Memento Silentium! A.F. Hilferding Alps Skald's Harp Madness Insomnia Gemini Brother, who has accompanied me for so many years... In the village In the stuffy air there is silence... Clouds are melting in the sky... There is a high meaning in separation... In a crowd of people, in immodest noise of the day... In the hours when it happens... Vatican anniversary Submit to the command of the highest... The great day of Cyril's death... Venice Spring waters Spring thunderstorm Spring All day long she lay in oblivion... Evening Vision Again I see your eyes ... Wave and thought The East turned white. The boat rolled... From sea to sea... I heard it in my sleep, but I couldn’t... The executing god took everything from me... Everything I managed to save... I am omnipotent and yet weak... I looked, standing over the Neva... Gus at the stake Yes, you kept your word... Two voices Two unities There are two forces - two fatal forces... To two friends December morning The day is getting dark, the night is close... Day and night Day of the Orthodox East... To my friend Ya.P. Polonsky My soul is an Elysium of shadows... My soul would like to be a star... The smoke of E. N. Annenkova To His Grace Prince A. A. Suvorov There is in the primordial autumn... There is also in my suffering stagnation... The earth still looks sad... I still languish with the melancholy of desires... Here, where the vault of heaven is so sluggish... It’s not for nothing that winter is angry... And in God’s world the same thing happens... And the coffin has already been lowered into the grave... And there is no feeling in your eyes... Play as long as it is above you... From Goethe (Joy and Sorrow...) From edge to edge, from city to city... From Michelangelo To others inherited from nature... So, I saw you again... Italian villa To Ganka How true is the common sense of the people... How joyful is the roar of summer storms... Like a dear daughter to the slaughter.. How a smoky pillar brightens in the heights! .. Like sometimes in the summer... Like over hot ashes... No matter how separation oppresses us... How unexpected and bright... Like an unsolved mystery... No matter how angry the slander is... No matter how the sultry noon breathes. .. No matter how hard the last hour is... How the ocean envelops the globe... How he loved his family fir trees... Like a bird, the early dawn... How sweetly the dark green garden slumbers... How good you are, O sea night... Like this posthumous album... What a wild gorge... Prince Gorchakov (You have had a fatal calling. ..) To Prince P. A. Vyazemsky When in a circle of murderous worries... When decrepit forces... When there is no God's consent... When you are eighteen years old... Columbus The feast is over, the choirs have fallen silent... The horse of the sea Whoever you are, but when you meet her... Swan Summer evening Summer 1854 Leaves To my dear daddy! I love your eyes, my friend.. M.P. Pogodin (Here are my poems...) The East is doubtfully silent... Sea and cliff Heine's motive (If death is night...) N.I. Krolya N.F. Shcherbina On the way back On the high tree of humanity... On the anniversary of N.M. Karamzin Over the grape hills... Over the ancient Russian Vilna... Above this dark crowd... On the eve of the anniversary of August 4, 1864 We cannot predict... Napoleon Vain work - no, you can’t reason with them... Our century You didn’t serve God and not Russia... Don’t believe, don’t trust the poet, maiden... Not everything painful to the soul dreams of... Don’t talk! He is the same to me as before... Don’t give us the spirit of idle talk... You don’t know what is more flattering for human wisdom... I don’t know if grace will touch... Not cooled by the heat.. More than once you have heard confession... .. Don’t reason, don’t bother!.. Not what you think, nature... The sky is pale blue... Not without reason by a merciful God... Neman Reluctantly and timidly... There is not a day when the soul does not ache... No, my passion for you... The night sky is so gloomy... Oh, my prophetic soul!.. What are you howling about, night wind?.. Oh, these days are fatal days... Oh, how murderously we love ... Oh, don’t disturb me... Oh, this South, oh, this Nice! ... Late autumn times... Autumn evening From the life that was raging here... Reply to the address In memory of V. A. Zhukovsky (I saw your evening...) In memory of E. P. Kovalevsky (And here in the ranks ...) In memory of M.K. Politkovskaya (A meaningful word...) There is melodiousness in the waves of the sea... First sheet Sand flowing knee-deep... The flame glows, the flame blazes... On the plain of azure waters... Under the breath of bad weather... Fires Noon The last cataclysm The last love The stream has thickened and is dimming... Send, Lord, your joy... Poetry Predestination Its beautiful day in the West has disappeared... When sending the New Testament Nature is a sphinx... A glimpse of a Prophecy Let the hearts of the Zoils ache with envy... Dawn Rome at night To the Russian woman With what bliss, with what melancholy the lover... From the clearing the kite rose... The well-deserved punishment is being carried out... The holy night has risen on the horizon. .. Today, friend, fifteen years have passed... I sit thoughtfully and alone... The sun is shining, the waters are sparkling... To the Slavs (They scream, they threaten...) To the Slavs (Greetings to you, dear brothers...) Tears human, oh human tears... Look how the west flared up... Look how on the river expanse... Look how the grove turns green... Snowy mountains Modern Dream at sea Means and goal The royal son dies in Nice... So, in life there are moments... Gray shadows mixed together... Now you have no time for poetry... Quietly flowing in the lake... On a quiet night, late summer... How long will you be behind the fog... You, wave my sea... Alas, what of our ignorance... A terrible dream weighed down on us... Russia cannot be understood with the mind... Calm The biza has calmed down... Breathing easier... Morning in the mountains Charon Fountain and Kachenovsky Cicero Enchantress Winter. .. Whatever life teaches us... What did you pray with love... Black Sea Your palace, the savior, I see, is decorated... What are you bowing over the waters... These poor villages... Yu.F .Abase (So - harmonic instruments...) I met you - and everything of the past... I knew her even then... I am a Lutheran, I love worship... I knew the eyes - oh, those eyes!.. I remember golden time...

There is melodiousness in the sea waves... Tyutchev F.I.

There is melodiousness in the sea waves,

Harmony in spontaneous disputes,

And the harmonious musky rustle

Flows through the shifting reeds.

Equanimity in everything,

Consonance is complete in nature, -

Only in our illusory freedom

We are aware of the discord with her.

Where and how did the discord arise?

And why in the general choir

The soul doesn’t sing like the sea,

And the thinking reed murmurs?

* There is musical harmony

in coastal reeds (lat.) -

Fate decreed that the poet and politician Fyodor Tyutchev spent a significant part of his life in St. Petersburg. It was here that the last years of his life passed, when, after receiving the title of Privy Councilor, Tyutchev was forced to constantly be at the imperial court. The harsh climate of the northern Russian capital weighed heavily on the poet, who by that time was already experiencing serious health problems. Nevertheless, Tyutchev could not help but admire the strict beauty of nature, its grandeur and severity, trying to understand why people cannot live according to its laws. The poet was especially attracted by the harsh Baltic Sea, to which in 1865 he dedicated his poem “There is melodiousness in the sea waves...”.

The indigenous inhabitants of St. Petersburg have always considered the depths of the sea to be the source of numerous troubles and, at the same time, treated it with respect, since it was the sea that gave them food and livelihood. Few people thought of viewing it from a romantic point of view. However, Tyutchev managed to discover features in the water element that turned out to be in tune with his own worldview. So, in the waves the poet saw a special melodiousness and harmony that are characteristic of nature, but remain outside the field of vision of most people. Wondering why only a few are able not only to understand the beauty of the world around us, but also to follow its simple laws, Tyutchev comes to the conclusion that we ourselves are to blame for this. “Only in our illusory freedom do we recognize discord with it,” the poet notes, believing that only strong mental turmoil forces a person to turn to his roots, seeking protection from nature. Only then does a person realize that “the soul does not sing like the sea” and, therefore, becomes insensitive, hardened and indifferent to that priceless gift called the Universe.

Losing contact with the outside world, which one day suddenly becomes alien and frightening, is, according to Tyutchev, the most terrible test for any of us. Indeed, at this moment a person loses a part of his soul and ceases to live according to the laws of nature. As a result, the “desperate soul’s protest” turns into a “voice crying in the wilderness,” to which it is impossible to get a response. Simple questions remain unanswered and life turns into a series of random circumstances in which it is impossible to trace patterns only because the laws of nature themselves become alien to humans and are rejected as something empty and without value.

Visual commentary on the poem by F. I. Tyutchev “There is melodiousness in the sea waves.”

The expression “Musician rustle” in F. I. Tyutchev’s poem “There is melodiousness in the sea waves.”

Est in arundineis modulatio musica ripis. 1

Harmony in spontaneous disputes,
And slim rustle
Flows through the shifting reeds.

Equanimity in everything,
There is complete harmony in nature, -

We are aware of the discord with her.

Where and how did the discord arise?
And why in the general choir
The soul sings something other than the sea,
And he grumbles?

And from the earth to the extreme stars
Still unrequited to this day
,
Souls of desperate protest?

There is a musical system in the coastal reeds (lat.).

May 11. St. Petersburg. “There is a melodiousness in the waves of the sea...” (Lyrics. T. I. S. 199, 423-424 (dated according to the list of M. F. Birileva); PSSP. T. 2. P. 142, 508-511.)

The poem “There is melodiousness in the sea waves” by a poet whose work is traditionally classified as “pure” art was written on May 11, 1865, at a difficult time for the poet. It is noteworthy that after reading this creation, L. N. Tolstoy wrote: “Depth!” We, representatives of the 21st century, also want to comprehend this “depth” that the writer noticed.

Reading the first stanza of the poem, you involuntarily ask the question: “What is the Musik rustle”?

Semantics of the word

musicia- “music”, tslav., other Russian. musicia (from the 12th–18th centuries; see Ogienko, RFV 77, 168). From Greek μουσική. Later, instead of it - music (see)

"Musikian" -(obsolete) – musical

musicia(-sѵk-, -ia), and, and. Slav. Same as. Feasting and the Royal meal, .. with sweet singing, trumpets, and music. Ved. II 258. Suddenly the goddess Fortuna appeared<на сцене>, sitting on a ball, and in his hands having a wheel, which also had movement according to music. Arg. II 248. This voice was Malorova’s daughter singing in the night; I knew that the sound of pleasant music could touch my soul. See. II 151. | In comparison The voice is sweet, like music. Beaver. Hers. 237.

Musician(-zik-, -zyk-, -sѵk-), oh, oh. Those hours<на воротах ратуши>beat the hour with musical agreement. Put. Tlst. I 321. We suddenly heard .. voices of different musical instruments. Marquis V 88. Corrupting the spiritual forces of the Musik voices there<в царских чертогах>audible. Hrs. Cadmus 27.

This word was already considered obsolete in the 19th century. But why exactly does the musky rustle flow through the reeds? For what purpose does the poet use this archaism? And as Yu. N. Tynyanov wrote: “Tyutchev develops a special language, exquisitely archaistic.” Therefore, there is no doubt that archaism was a conscious part of his style. It is no coincidence that Fyodor Ivanovich uses this epithet. Let us turn to the epigraph of the poem: “Est in arundineis modulatio musica ripis.” , which means “There is a musical structure in the coastal reeds.” The lines belong to the Roman poet of the 4th century. BC e Ausonia.

Ausonius Decimus Magnus - lat. poet; genus. OK. 310, Burdigala (modern Bordeaux, France), d. at 393/394 ibid. He came from a noble Gallic family. From 334 to 364 he was a teacher of grammar and rhetoric in Burdigal; with 364 - educator of the future imp. Gratian (375–383). Under Gratian, A. held high positions in the Roman Empire, was prefect of Gaul, and in 379 - consul.

He came from a noble Gallic family. From 334 to 364 he was a teacher of grammar and rhetoric in Burdigal; with 364 - educator of the future imp. Gratian (375–383). Under Gratian, A. held high positions in the Roman Empire, was prefect of Gaul, and in 379 - consul. In his poetry erudition in the field of classicallat. AndGreek poetry is combined with rhetorical skill; Most of A.'s heritage consists of lit. experiments: Eclogae (Book of Eclogues), Griphus ternarii numeri (Vulture of the number three), Technopaegnion (Technopegnia). A.'s poetry is largely autobiographical: the cycles Parentalia (About relatives), Commemoratio professorum Burdigalensium [ 3 ] (About the teacher).

Again the question: Ausonius was not considered one of the outstanding poets of the Roman Empire. But here is what M. L. Gasparov writes in his article “Ausonius and his time.” “Sometimes it is said that great poets differ from small ones in that even a small work of the greats contains a picture of the big world.” This is not so: minor poets are also capable of this when they have a reliable set of working techniques in their hands. Ausonius contained his broad and structurally clear picture of the world in modest praise of a not too large river; Ancient rhetoric gave him the means for this.

It should be noted that poetic recognition did not come to Tyutchev immediately, and his work was not highly appreciated by his contemporaries.

Let's go back to the sourceAusonius

There is a musical structure in the coastal reeds;
We once heard its harmony,
And everyone knew the notes, and everyone fell silent
They read it by heart in those distant centuries;

And we held the secrets of existence in our hands,
And in the middle of the water we did not die of thirst...
But what is betrayed once will not be repeated twice,
Just as life will not be resurrected in withered petals.

That music is gone, the harmony has fallen apart,
And, wise, the legend is only left to us,
Like a goat-footed god at midday

I cut the reeds and amused myself with the wonderful sound,
How he invited the nymphs to a round dance with his play,
And how I felt sorry for people who had forgotten about heavenly...

F. I. Tyutchev

There is melodiousness in the sea waves,
Harmony in spontaneous disputes,
And slim rustle
Flows through the shifting reeds.

Equanimity in everything,
There is complete harmony in nature, -
Only in our illusory freedom
We are aware of the discord with her.

Where and how did the discord arise?
And why in the general choir
The soul sings something other than the sea,
And he grumbles?

And from the earth to the extreme stars
Still unrequited to this day
,
Souls of desperate protest?

Comparing the two poems, we understand that the musikan rustle can flow from the reeds into which the nymph Syringa, spoken of in ancient Greek myths, turned.

Pan and Syringa

N The arrows of the golden-winged Eros passed Pan and he fell in love with the beautiful nymph Syringa. The nymph was proud and rejected the love of everyone. Her favorite pastime was hunting, and Syringa was often mistaken for Artemis, so beautiful was the young nymph in her short clothes, with a quiver over her shoulders and a bow in her hands. Like two drops of water, she then resembled Artemis, only her bow was made of horn, and not golden, like that of the great goddess. One day I saw Pan Siringa and wanted to approach her. The nymph looked at Pan and fled in fear. Pan could barely keep up with her, trying to catch up with her. But the path was blocked by a river. Where should the nymph run? Siringa stretched out her hands to the river and began to pray to the god of the river to save her. The river god heeded the nymph's pleas and turned her into a reed. Pan ran up and wanted to hug Syringa, but he only hugged a flexible, quietly rustling plant. Pan stands, sighing sadly, and in the gentle rustling of the reeds he hears the farewell greetings of the beautiful Syringa. Pan cut several reeds and made a sweet-sounding pipe out of them, fastening the unequal ends of the reed with wax. The god of the forests named the pipe Syringa, in memory of the nymph. Since then, the great Pan loves to play the syringa pipe in the shade of forest trees, resounding with its gentle sounds in the surrounding mountains.

Nicolas Poussin. Pan and Syringa

Start date: 1637. End date: 1638.

Dresden. Gallery of old masters.

Pan and Syringa

Francois Boucher. Pan and Syringa.1759. National Gallery, London.

Varen Charles Nicolas. France, Paris. Last quarter of the 18th - beginning of the 19th century.

State cultural institution of the Yaroslavl region "Rybinsk State Historical, Architectural and Art Museum-Reserve"

Alexander Voronkov. Pan and Syringa, 1997

Actually, the ancient Greeks called a syringa a musical instrument, a pipe, which was considered to belong to the Arcadian god Pan and at the same time to the Greek shepherds. The Romans called syringa arundo, calamus, fistula. Syringa was done as follows. They took seven (sometimes eight or nine) hollow stems of reeds and attached them one to another with wax, and the length of each tube was made different so that they could have a full range. There were syringas from a single stem; in this case, they were played in the same way as modern flutes are played, namely through the side holes. Syringa became the ancestor of the modern organ.

Syringa or syrinx (Greek συριγξ) has two meanings: - the general name of the ancient Greek wind instruments (reed, wooden, flute type (longitudinal), as well as the ancient Greek shepherd's multi-barreled flute or Pan flute.

The Pan Flute is a multi-barrel flute. The instrument consists of a set of reed, bamboo and other tubes of different lengths, open at the upper end, fastened with reed strips and a rope. Each tube produces 1 main sound, the pitch of which depends on its length and diameter.
consisting of several (3 or more) bamboo, reed, bone or metal. Pipes range in length from 10 to 120 cm. Large panflutes, as well as double-row ones, are played by two people.
The name of the Pan Flute comes from the name of the ancient Greek god Pan, the patron saint of shepherds, who is usually depicted playing a multi-barrel flute.

Roman copy of a Greek sculpture found in Pompeii "Pan teaching Daphnis to play the syringa."

Pablo Picasso . Flute Pana 1923. France, Paris, Musee National Picasso

Arthur Wardle. Pan Flute 1889, gallery in London.

Thomas Eakins Arcadia 1883 Metropolitan Museum of Art (New York)

Kuvikly [ 6 ] (kugikly) - Russian version of the “Pan flute”. The Russians were the first to draw attention to the flute of Pan Gasri, who gave a very inaccurate description of it under the name flute or svirelka. Dmitryukov wrote about kuvikla in the Moscow Telegraph magazine in 1831. Throughout the 19th century. In the literature, from time to time there is evidence of playing the kuvikla, especially in the territory of the Kursk province. Cuvikles are a set of 3-5 hollow tubes of various lengths (from 100 to 160 mm) and diameters with an open upper end and a closed lower end. This tool was usually made from the stems of kugi (reeds), reeds, bamboo, etc., with the stem knot serving as the bottom.

The musky rustle “flows in the unsteady reeds.” The image of these plants has been poeticized since ancient times. If you visualize the plants from which these musical instruments were produced, you can imagine the following pictures. [ 7 ]

The list of botanical species that fits the vague category of “biblical reed” undoubtedly includes two representatives of the Poaceae family. This: Common reed- Phragmites communis, A perennial long-rhizome grass widespread throughout the planet. The stem is hollow like almost all cereals. Height up to 4-5 m. Grows in water, along the banks and on land, and can live on moderately saline soils (but on land it is smaller). The panicle inflorescence is large and beautiful due to the long hairs in the spikelets. The leaves can turn with the wind due to the ability of the lower tubular part of the leaf (the sheath) to rotate around the stem. Young shoots and rhizomes are edible.

The second type of semi-aquatic grass, undoubtedly known to the Bible -Cyprus reed (giant) - Arundo donax. Height up to 6 m. Does not escape water, which makes it different from the previous species, with which it is generally similar in many other biological characteristics. The leaves are long, up to 6 cm wide (more than the previous species). Originally distributed throughout the Mediterranean, from where it was brought by man further east, in particular, in ancient times it came as an economic and building plant to Central Asia, and in modern times to the Western Hemisphere. In California, for example, it has turned into an annoying alien species, actively suppressing native plants, spreading throughout all ponds and waterways, clogging water intakes and creating a constant threat of fires. In Russia it is found only in the warmest territories (in particular, in Transcaucasia).

Just like the reeds Bulrush grows near water in a huge mass of thousands of stems. Its flowers and inflorescences are completely different from those of cereals, and this type of reed has no developed leaves at all. The stem, up to 3 m high, looks like a long vertical green whip with a panicle of spikelets at the top. Reeds do not have hollow stems. Their stems are filled with soft, spongy tissue.

But in F.I. Tyutchev’s poem the reed is not simple, but thinking. Hence the question: why is he a thinker?

Tyutchev, following Blaise Pascal, says that a person - only a reed, the weakest of nature’s creations, but a “thinking reed.” The greatness of man, according to Pascal, lies in the fact that he is aware of his insignificance. Abstract sciences turn out to be not only powerless in their claims to knowledge of the world, but they prevent a person from understanding his own place in the world, from thinking about “what it is to be human.”

Blaise Pascal (1623–1662 )

Pascal's thoughts naturally found expression in the art of the 17th century. The Baroque style began to take shape in the 17th century. Originally the word "baroque" meant (port. "barocco"- an irregularly shaped pearl), and its appearance is associated with the crisis of the ideals of the Renaissance. Baroque is both a style and a certain tendency of a restless romantic attitude. In every time, and perhaps even in our days, they find their own “Baroque period” as a stage of the highest creative upsurge, tension of feelings and thoughts. Naturally, new discoveries of modern times destroyed previous ideas about man and the universe. The difference in understanding the place, role and capabilities of man primarily distinguishes the art of the 17th century from the Renaissance. This different attitude towards man is expressed with extraordinary clarity and accuracy by the same great French thinker Pascal: “Man is just a reed, the weakest of nature’s creations, but he is a thinking reed.” This “thinking reed” was created in the 17th century. the most powerful absolutist states in Europe, shaped the worldview of the bourgeoisie, who was to become one of the main customers and connoisseurs of art in subsequent times. The complexity and inconsistency of the era of intensive formation of absolutist national states in Europe determined the nature of the new culture, which is usually associated in the history of art with the Baroque style, but which is not limited to this style. The 17th century is not only Baroque art, but also classicism and realism.

Reflecting the complex atmosphere of the time, the Baroque combined seemingly incompatible elements. The traits of mysticism, fantasticality, irrationality, and increased expression surprisingly coexist in him with sobriety and down-to-earthness, with truly burgher businesslike efficiency. For all its inconsistency, baroque at the same time has a well-defined system of visual means and certain specific features.

“Baroque is characterized by pictorial illusoryness, the desire to deceive the eye, to leave the space of the depicted into the space of the real. Baroque gravitates towards the ensemble, towards the organization of space: city squares, palaces, staircases, park terraces, parterres, swimming pools, bosquets; urban and country residences are built on the principle of synthesis of architecture and sculpture, subordination to the overall decorative design. The artistic culture of the Baroque allowed symbolism and mysticism, the fantastic and the grotesque, the ugly along with the beautiful, into the sphere of aesthetics. The new style was an ideological and aesthetic search for a holistic and harmonious worldview, lost due to the crisis of the Renaissance and Counter-Reformation. The Baroque artist sought to influence the feelings and imagination of the viewer, and not only convey a visual image through lines and colors.”

It is this idea that is presented in the paintings of Nicolas Poussin and Francois Boucher “ Pan and Syringa" and their followers. We can observe the same greatness in architecture, sculpture and park culture.

Regular “French” parks with bosquets, alleys, parterres and ponds of geometrically regular shapes, their rectilinear paths and curly forms of carefully trimmed bushes emphasized man’s absolute control over nature and affirmed the highest value of that art that is indistinguishable from nature.

"French" park: Versailles

"English" park

The landscape park system embodied the idea of admiration for nature, the beauty of its natural landscapes. The creators of such parks sought to comprehend the balance and harmony that exists in nature.

A striking example of this approach in architecture is the Barberini palazzo (palace) (1625-1663).

Before us is what this “thinking reed” created in the 17th century, as a result of the search for a holistic and harmonious worldview, affects the feelings and imagination of the viewer, not only through lines and colors, but conveys a visual image.

Of course, in Italy these are the creations of Lorenzo Bernini. Just look at his work.

Lorenzo Bernini. Ecstasy of Saint Teresa. 1652 Rome. Santa Maria della Vittoria.

Lorenzo Bernini. Square of St. Peter's Basilica. 1663.

We can observe the allegorical image of sculpture and painting in the painting by Guercino, which decorates the palazzo Barberini.

Guercino. Allegory of painting and sculpture. 1657

(He actively used irrational lighting, a dark gloomy background, large figures, common people types, blurring the sculptural clarity of form, all this is characteristic of Baroque art).

All previous human creativity is a way to understand oneself and one’s place in life. Continuing Pascal’s thought: “We seek happiness, but we find only bitterness and death.” According to his deep conviction, a person who has realized the tragedy of his situation can find a way out only in the Christian faith. Only the Christian religion, with its doctrine of the Fall and the continuity of sin, provides a satisfactory explanation of this duality of man, which for Pascal is an argument in favor of its reality. Thus, the only possible approach to the mystery of human nature is a religious approach. Religion says that man is dual; Man before the Fall is one thing, man after sin is another. Man was destined for a higher purpose, but has lost this purpose. The Fall deprived him of his strength, perverted his mind and will.

“Therefore, the classical maxim “Know thyself” in the philosophical sense - the sense of Socrates, Epictetus or Marcus Aurelius - is not only ineffective, but false and erroneous. A person cannot trust himself and read within himself. He himself must remain silent in order to hear the higher voice, the voice of truth. “What will become of you then, O man, when you discover through natural reason your real position? Know, overwhelmed by pride, that you yourself are a complete paradox. Humble yourself, weak mind, be silent, unreasonable nature, remember that man is infinitely superior to man. And hear from your Creator about your real situation, which is still unknown to you. Listen to God" [ 9 ]

F. I. Tyutchev in his poem comes to a similar thought:

,
Souls of desperate protest?

The poem ends with evangelical thoughts and a rhetorical question, which means the poet did not find an answer for himself. But he hears not only the musky rustle, but also the musky singing in the “general choir.” And as we understand, this is not only a chant, but also a philosophy, which also leads to the agreement of human nature, that is, to God, faith. The Old Russian singing system is truly a reflection of the Divine Heavenly Order, recreated on Earth by the spiritual feat of Russian man.

Of course, F.I. Tyutchev could not help but know about the Musikian chant, which at that time was characteristic of divine services in Russia.

Again the question. What is musicia?

Answer: “There is music that is consonant and a division of voice that is exquisite; - known knowledge (sic!) differences, knowledge of decent good voices and evil ones, which is a difference in agreement showing. Musikia there is a second philosophy and grammar, measuring words by degrees, as in verbal philosophy, or grammar, correcting words, their properties, syllable, speech, reasoning, knowledge and naming of elements, with all quality and quantity. In the same way, all music has degrees of voice, tenderness, or joy through transformation, composition, as if rhetorically or philosophically coloring the ears of those who hear, as if with the rattling of soulless instruments, likewise with the language of words leading to degrees, and emitting the lowest voice, middle and high. Music is in all ways cognizing agreement and the second cunning of human nature and by nature, and not through nature, teaching, and is from God. For nothing can do evil, but it is good for the flowing nature. By the will of evil to the one who speaks evil, if he praises, he praises, if he cooks, he will cook, and all this happens to the will of the mind, which is purely blinded by speech and voice united. Musicia creates beauty in the church, adorns divine words with good agreement, rejoices the heart, and brings joy to the souls in the singing of the saints. Musicia is, like verbal grammar, a vocal corrective grammar.”. [ 9 ]

The entire poem is imbued with this highly tragic sound in these difficult days for him. And what the poet was thinking about, we, contemporaries, can only guess, carefully reading every word of the poet.

Bibliography.

Etymological Dictionary of Max Vasmer);

Yu.N. Tynyanov. Poetics. History of literature. Cinema.// Question about Tyutchev. - M.: Nauka, 1977.

M.V. Belkin, O. Plakhotskaya.Dictionary "Ancient Writers". St. Petersburg: Publishing house "Lan", 1998.

M. L. Gasparov. Ausonius. Poems. M., Science, 1993 (“Literary monuments”).

Kuhn N.A., Neihardt A.A. "Legends and myths of Ancient Greece and Ancient Rome" - St. Petersburg: Litera, 1998

Musical instruments in painting.

Plants in the Bible.

History of art. Western European art: Textbook/ T.V. Ilyina. – 3rd ed., revised. and additional – M.: Higher. school, 2002. – 368 p.: ill.

Canetti E. Transformation // The problem of man in Western philosophy. - M.: 1988. P. 490.

Musical aesthetics of Russia of the 11th-18th centuries. Compilation of texts, translations and general introductory article by A. I. Rogov. M.: Publishing house "Music", 1973.

Est in arundineis modulatio musica ripis*

There is melodiousness in the sea waves,
Harmony in spontaneous disputes,
And the harmonious musky rustle
Flows through the shifting reeds.

Equanimity in everything,
There is complete harmony in nature, -
Only in our illusory freedom
We are aware of the discord with her.

Where and how did the discord arise?
And why in the general choir
The soul doesn’t sing like the sea,
And the thinking reed murmurs?

*There is musical harmony in the coastal reeds (lat.).

Analysis of Tyutchev’s poem “There is melodiousness in the sea waves...”

The indigenous inhabitants of St. Petersburg have always considered the depths of the sea to be the source of numerous troubles and, at the same time, treated it with respect, since it was the sea that gave them food and livelihood. Few people thought of viewing it from a romantic point of view. However Tyutchev managed to discover features in the water element that turned out to be in tune with his own worldview. So, in the waves the poet saw a special melodiousness and harmony that are characteristic of nature, but remain outside the field of vision of most people. Wondering why only a few are able not only to understand the beauty of the world around us, but also to follow its simple laws, Tyutchev comes to the conclusion that we ourselves are to blame for this. “Only in our illusory freedom do we recognize discord with it,” the poet notes, believing that only strong mental turmoil forces a person to turn to his roots, seeking protection from nature. Only then does a person realize that “the soul does not sing like the sea” and, therefore, becomes insensitive, hardened and indifferent to that priceless gift called the Universe.