Tyutchev has a whole world in your soul. Tyutchev silence

ILYA TYURIN THE SILENCE OF TYUTCHEV AND THE SILENCE OF MANDELSHTAM First, I would like to write out both poems so that we can see them together:
SILENTIUM! Be silent, hide and hide And your feelings and dreams - Let them rise in the depths of their souls and set Silently, like stars in the night - Admire them - and be silent. How can the heart express itself? How can someone else understand you? Will he understand how you live? Thought spoken is a lie. Exploding, disturb the keys - Eat them - and be silent. Only know how to live in yourself - There is a whole world in your soul of mysteriously magical thoughts: They will be deafened by the external noise, Daytime rays will disperse the rays - Heed their singing - and be silent! .. SILENTIUM She has not yet been born, She is both music and the word, And therefore all living beings Indestructible bond. The seas of the chest breathe calmly, But, like crazy, the day is bright, And pale lilac foam In the black-azure vessel. May my lips find the original muteness, like a crystalline note, which is pure from birth! Stay foam, Aphrodite, And, word, return to music, And, heart, hearts, be ashamed, Merged with the fundamental principle of life! Osip Mandelstam, 1910
Fyodor Tyutchev, 1830 We need them together precisely because it is impossible to imagine them together in a different situation. First, between the first experience and the second, such time passed that during this period the author of the first managed to grow old and die, and the author of the second, to be born and grow up. Secondly, except for the occasional researcher, no one, of course, would take it into his head to rush in search of the first experience immediately after reading the second, or vice versa. Thirdly, the authors of both experiments never stood in the same row among specialists. Thus, the situation, which contradicts everything that literature has to face - time, the reader and the literary critic - is unique. I dare to say that it is unique for another reason: it models the history of the appearance of the second poem. The matter did not end only with the fact that Mandelstam read Tyutchev. He considered his second view as different from Tyutchev's, the first, as far as the number 1 differs from the number 2 in general - and the number of views doubled. (He argued: I say this on the grounds that if consent is announced, then it is announced in prose). The entire foreign part of Mandelstam's poem (that is, the title) is built precisely in the style of the second replica in the conversation. Tyutchev after "Silentium" staged exclamation mark, and Mandelstam has a dot, which turns "be quiet" into "silence"; in other words, in response to the call to silence, Mandelstam really falls silent. But while he is polite in Latin, in Russian Mandelstam, as we see, is also extremely cautious at first. He is, of course, embarrassed by the awkwardness of the situation (at least twice in history one is forced to speak of silence aloud), and he defines the unspeakable pronoun "she", saying: "I don't know exactly what we're talking about." She has not yet been born, She is both music and the word, And therefore all living beings Indestructible bond. Silence can be passed off as anything. Mandelstam's "she" is consonant with "music" and "connection"; but "connection", being stressed at the end, has an advantage over "music". The poem will turn to "music": And, word, return to music, And, heart, hearts, be ashamed - giving "music" birthright in relation to the "word", and restoring balance to constructions. By the way, this last quatrain is interesting to many at once. Not only does it reveal Aphrodite in the pronoun "she," it also seems to translate the first four lines from the "Silentium." into the language of "Silentium!", demonstrates the difference between the moment "before" and the moment "after": She has not yet been born, She is both music and the word, And therefore all living things Indestructible connection. ... Stay foam, Aphrodite, And, word, return to music, And, heart, hearts, be ashamed, Merged with the fundamental principle of life! And here Mandelstam is almost impudent with Tyutchev. He says: "The imperative mood is, first of all, a sign of a missed second by you. I observe silence as a participant, and you only as a researcher." Mandelstam fulfills Tyutchev's demand to remain silent for his own benefit. 1997

The poetry of Fyodor Ivanovich Tyutchev is a classic example of versification of the golden age of Russian poetry. The ease and fluency of language turns, the melodiousness and musicality of the verse are hallmarks lyrics of that period, which the author embodied in his work. by the most interesting direction The creative energy of this poet is considered philosophical lyrics. In particular, researchers and readers are interested in the interpretation of the famous poem "Silentium" (which means "silence" in translation).

F. M. Tyutchev composed the poem "Silentium" in 1830, but published it for the first time only 3 years later in the journal "Molva". Three years later, the work took pride of place in the more prestigious publication Sovremennik, and was published there more than once. The lyrical appeal was noted by prominent representatives of the era. For example, Leo Tolstoy highly appreciated him, speaking about the exceptional depth of the poet's thought. The writer also led an ascetic lifestyle and fully embodied the precepts of Fyodor Ivanovich.

The origin of the name of the work is curious. The history of the creation of "Silentium" began in Germany, when the author served in the embassy and attended lectures at the University of Munich. There, a capacious Latin expression served as a call for silence and attention when the lesson began. The same word preceded the toast at student feasts. It was then that Tyutchev thought about the original title for his call to silence, which should keep lofty thoughts as such, and not drop them in countless attempts to be understood.

Genre and size

Fedor Ivanovich Tyutchev in his mature years was fond of the works of ancient Greek thinkers, so his lyrics acquired a philosophical direction. The genre of "Silentium" is called "lyrical poem" (it is also called a fragment). It is characterized by brevity, clarity, lack of characters and plot. The main object of attention of the artist of the word are his own thoughts and feelings. Didactic, persuasive intonation originates from the ode. She "inherited" from this genre the pathos and pressure that are necessary for the realization of the author's intention. “Be quiet, hide and conceal,” is an imperious order that is repeated three times, settling in memory for a long time.

The work was written in sextins, the size of the poem "Silentium" is iambic tetrameter. This form simplifies perception, makes the message clear and intelligible. The extreme asceticism of the design only complements the author's idea: there is no need to produce an external effect, the main thing is to have a rich inner content. So "Silence" does not shine with the gloss of sophisticated style, but it captivates with the depth of the idea.

Composition

The poem "Silentium" consists of 18 lines, divided into three six lines. Each of them is relatively independent both in semantic and intonation-syntactic terms. However, the development of the lyrical theme holds them together as a single compositional whole. From formal means, the author chooses homogeneous end rhymes. These are precise, masculine, percussive rhymes that focus the reader's attention on the main points of the work.

1. In the first stanza, the lyrical hero addresses the reader with a fiery speech with an appeal to keep sincere feelings and thoughts in the depths of the soul.
2. In the second stanza, the imperative intonation becomes persuasive, it explains why the sincere impulses of the mind and heart must be restrained and hidden. The author logically proves his point of view.
3. In the third stanza, the author formulated a threat that promises trouble for those who want to lay out all their ins and outs:

Only know how to live in yourself -
There is a whole world in your soul
Mysterious magical thoughts;
Outside noise will deafen them
Daytime rays will disperse, -
Listen to their singing - and be silent!

“Mysterious thoughts” return the thought to the first stanza, they are similar to “feelings and dreams”, which, like living beings, “both get up and go in” - that is, these are not thoughts, but shades of states of mind, feelings and dreams. They can then be "dispersed" by the rays and "deafened" by external noise.

Topic

• Integrity of the inner world- This is the main theme of the poem "Silentium". Saying everything to everyone, a person will only violate inner harmony. It is better to stay in it and develop, so that only close people appreciate the wealth of the soul. The bustle of life, the turmoil of everyday life distract a person, his sensual world suffers from contact with rough reality. Therefore, the life of the soul should not go beyond its limits, only inside it will preserve harmony.
• Lie. Silence will provide a person with the necessary purity of thoughts, unclouded by the desire to please and produce an effect. The uttered thought already has a selfish impulse to cause a certain reaction in the interlocutor, that is, its meaning is distorted depending on intonation and context. Therefore, this or that consideration acquires the true sound only in the head, and all its further reproductions change the original meaning, it acquires falseness.
• Loneliness. In this context, the author calls a person to solitude in the name of creation. It allows him to get as close to the truth as possible. near distance. In endless conversations, on the contrary, any, even the most truthful thought, becomes a banality.

Main idea

The lyrical hero does not even mean thoughts, but a spiritual essence that cannot be expressed in words. The feeling enclosed in the robe of everyday conversation will be fragmentary, incomplete, false, because it will not be fully expressed. The meaning of the poem "Silentium" is that, trying to bring down on people their revelations about the life of the soul, a person will not achieve the goal, spoil everything and vulgarize.

Exploding, disturb the keys, -
Eat them - and be silent.

The eternal disunity of people, which we are afraid of and are trying to overcome, is shown by the author in these lines. To pour out the soul is not an option, because all people are different and many are simply not able to understand each other. The beauty of our world lies in the diversity of people, characters, types, and therefore it cannot be considered a problem, trimming a person on a Procrustean bed. Everyone should not understand one thing. To avoid conflict, we can open the depths of our soul only very close circle: family or bosom friend. This kind of selectivity is the main idea Tyutchev in the poem "Silentium".

Artistic means of expression

Tyutchev, as already mentioned at the beginning of the article, does not focus on the form of the work. He is attracted by the conciseness and simplicity of the style, which provide the reader with the main thing - understanding. Ornate phrases, of course, look original, but do not correspond to the ideological and thematic originality of the poem. Thus, the tropes in "Silentium" are not conspicuous, but emphasize the essence of what is written. They make you look between the lines and reflect on what the author is expressing.

The verse includes the following figurative and expressive means: epithets (“mysteriously magical thoughts”), comparisons and metaphors (“Let them rise in the depths of their soul and set Silently, like stars in the night ...”). "One" is a lexical form belonging to a high style. Such words can be found in Derzhavin's odes, for example. Here it is used as a tribute to tradition and the atmosphere, setting the reader in a solemn mood. The poet also gives birth to real aphorisms: "A thought uttered is a lie." This expression today can often be found without reference to the author, because it has become truly popular catch phrase. In addition, Tyutchev creates a gentle alliteration: "They will be deafened by outside noise." A similar sound effect gives rise to the sensation of a whisper.

Be silent, hide and conceal

And your feelings and dreams -

Let in the depths of the soul

They get up and come in

Silently, like stars in the night,

Admire them - and be silent.

How can the heart express itself?

How can someone else understand you?

Will he understand how you live?

Thought uttered is a lie -

Blowing up, disturb the keys,

Eat them - and be silent ...

Only know how to live in yourself -

There is a whole world in your soul

Mysterious magical thoughts -

Outside noise will deafen them

Daytime rays will disperse -

Listen to their singing - and be silent! ..

Other editions and variants

2   And your thoughts and dreams!

4-5 They get up and cover themselves,

Like peaceful stars in the night,

16-17 The noise of life will deafen them,

Disperse the rays of the day -

4-5 And they rise and they go in

Like stars clear in the night:

16-17 Outside noise will drown them out,

Daylight will blind the rays:

        modern. 1854. Vol. XLIV. S. 12, and next. ed.

COMMENTS:

Autograph - RGALI. F. 505. Op. 1. Unit ridge 11. L. 1 vol.

First post - Rumor. 1833. No. 32, March 16. S. 125. Entered - modern. 1836. Vol. III. P. 16, under the general title "Poems sent from Germany", under the number XI, with the general signature "F.T." Then - modern. 1854. Vol. XLIV. S. 12; Ed. 1854. S. 21; Ed. 1868. S. 24; Ed. SPb., 1886. pp. 88–89; Ed. 1900. pp. 103–104.

Printed by autograph. See "Other editions and variants". S. 242.

Probably dated no later than 1830.

Autograph - on the back of the sheet with verse. "Cicero". The author's signs in the autograph are specifically Tyutchev's: six dashes (in lines 2, 5, 10, 13, 15, 17), three question marks, all in the second stanza (lines 1, 2, 3), an exclamation point and ellipsis at the end. The end of the stanzas is based on the contrast of spiritual activity (calls: “admire”, “eat”, “attention”) and, as it were, passive isolation - a call to silence. The last word in all stanzas - "keep quiet" - is accompanied by an autograph different signs. In the first case there is a dot, in the second - an ellipsis, in the third - an exclamation mark and an ellipsis. The semantic, emotional load of this word in the poem increases. Especially expressive is the dash at the end of the famous paradox - "A thought uttered is a lie." The judgment is open, the thought is not completed, the ambiguity of the statement is preserved.

IN Muran. album(p. 18–19) text, as in the autograph, but the 16th line - “They will be drowned out by external noise” (in the autograph - “deafen”). Signs: removed all dashes at the end of lines, instead of them in the 2nd line - an exclamation mark, in the 5th - a colon, in the 10th - a semicolon, in the 13th - an exclamation point, in the 15th - a comma , in the 17th - a colon, at the end of the poem there is a point.

During printed reproduction, the text has undergone significant deformations. 2nd line, which is in the autograph - "And their feelings and dreams", - in Molve has a different meaning: “And your thoughts and dreams!”, But already in Pushkin’s modern. - “And their feelings and dreams”; so in the future. In the autograph, the 4th and 5th lines - “They get up and set / Silently, like stars in the night, -” (apparently, the accents: “set”, “like stars”), but in Molve- another option: "They rise and hide themselves / Like peaceful stars in the night", in Pushkin's modern. - autograph option, but in modern. 1854 and in other editions mentioned above given new version lines: "And they rise and set one / Like clear stars in the night." The 16th and 17th lines in the autograph looked like: “They will be deafened by external noise / Daytime rays will disperse -” (the word “disperse” here requires stress on the last syllable). IN Molve these lines - "They will be deafened by the noise of life / Dispersed by daylight", but in editions of the 1850s. and the subsequent ones indicated - "They will be drowned out by external noise / Daytime rays will blind." Corrections aimed at making the verses smoother and devoid of old stresses obscured specifically Tyutchev's expressiveness. The intonations are also far from sufficiently fixed in the lifetime and two subsequent editions. Not all Tyutchev dashes were retained; the exclamation mark along with the ellipsis at the end of the poem was unreasonably missing. Thus, the emotional pattern of the text was impoverished (in Molve, on the contrary, an exclamation mark and an ellipsis were placed at the end of each stanza, but in this case the dynamics of emotion indicated by the poet was ignored).

There is a whole history of awareness and interpretation of this poem. ON THE. Nekrasov, having completely reprinted it in his article, attributed it to that group of the poet's works, "in which thought prevails", but gave preference to verse. "Like a bird early spring...”, although he did not deny the “obvious merits” of the verse. Silentium! and "Italian villa" ( Nekrasov. S. 215). The reviewer “Library for Reading” (1854, vol. 127, sec. 6, pp. 3–4) Ed. 1854 just two verses. - “How the ocean embraces the globe of the earth ...” (see. comment. P.361) and "Silentium!". Regarding the latter, he remarked: “Another poem, equally sweet in thought and expression, bears the Latin title: “Silentium” (the poem is given in full. - VC.) <…>Everyone thinks in exactly the same way as Mr. Tyutchev, but the novelty of thought does not constitute dignity in art. A thought may seem new only to those who are little acquainted with thoughts. Art acts, inevitably, by all known, visiting thoughts, and great writer- one who, for a thought that is felt by everyone, finds the most correct, shortest and most beautiful expression which others cannot find.

I.S. Aksakov ( biogr. P. 48) believed that this poem and “As over hot ashes ...” are “besides their high dignity, psychological and biographical interest. The first of them, the same "Silentium", which, printed in 1835 (Aksakov made a factual error. - VC.) in Molve, did not attract any attention to itself and in which all this weakness of the poet is so well expressed - to convey exact words, the logical formula of speech, the inner life of the soul in its fullness and truth. Aksakov completely reprinted the poem, highlighting in italics lines 1, 2, 10, 11, 12, 13 containing aphoristically expressed thoughts.

Silentium! is one of the favorite poems of L.N. Tolstoy. On Sat. verse. Tyutchev, he marked him with the letter "G" (Depth) ( THOSE. S. 145). According to the memoirs of contemporaries, he often recited it by heart. A.B. Goldenweiser recalled the writer's statement: “What an amazing thing! I do not know better than a poem"(Goldenweiser A.B. Near Tolstoy. M., 1922. T. II. S. 303). Quotes from the poem are used in the novel "Anna Karenina". In one version of the third chapter of the sixth part of the novel, Levin quoted him; Levin told Kitty about his brother Sergei Ivanovich: “He is special, amazing person. He does exactly what Tyutchev says. Some noise will stir them up, listen to their singing and be silent. So he listens to the singing of his loving thoughts, if they exist, and will not show them for anything, will not defile them ”( LT. T. 20. S. 671). Subsequently, Tolstoy removed from Levin's speech the reference to Tyutchev and the quote in relation to Sergei Ivanovich, bringing the image of Konstantin himself closer to the idea of ​​"Silentium!". Tolstoy included the poem in the "Circle of Reading" and accompanied it with philosophical reflection, in essence, he created new type commenting on a poem - philosophical and religious:

The more solitary a person is, the more audible to him is always the voice of God calling him.

(The poem is given in full. - VC.).

By the mere fact that a good intention has been expressed, the desire to fulfill it has already been weakened. But how can one keep from expressing the nobly self-satisfied impulses of youth? Only much later, remembering them, you regret them, like a flower that could not resist - picked it unopened and then saw it on the ground wilted and trampled<…>

Temporary renunciation of everything worldly and the contemplation in oneself of one's divine essence is the nourishment of the soul necessary for life, just as food is for the body. LT. T. 42. S. 107-108).

It was important and original that the meaning of Tyutchev's poem was revealed outside the sphere of individualistic morality. Tyutchev's idea "only know how to live in yourself" was developed by Tolstoy in the spirit of active humanism, active goodness. Tolstoy is against superficial sociability, it has no value in his eyes, it can be based on immoral considerations, he is for a deep unity of the individual with other people on the basis of great morality.

The first two judgments in Tolstoy's "Circle of Reading" reveal psychological mechanism moral call to silence. The writer proposed two psychological motivations for the need for silence, the denial of self-disclosure.

First. “Just because a good intention has been expressed, the desire to fulfill it has already been weakened.” Again, Tolstoy reveals the psychology of an active person; from Tyutchev's contemplation, he leads the connecting thread to active practical humanism: to remain silent about good moves souls are needed in order to better realize them. This is a purely Tolstoyan-Levinian turn of thought. Verbosity is understood as a surrogate for the real thing.

Second. The conscience of man requires an active inner life, inner concentration, self-deepening: " The best part the drama that takes place in our soul is a monologue, or rather an intimate discussion between God, our conscience and us. An unscrupulous person, an empty one, is alien to this moral dialogue with oneself, moral self-report, self-examination, self-examination. The judgment of one's own conscience can only take place in silence.

The ideological concept of "Silentium!" Tolstoy organically incorporated personality into his philosophy, into his ethics. He explained and accepted the poem from the position of active philanthropy.

V.Ya. Bryusov ( Ed. Marx. S. XLII), considering the poem, solves the epistemological problem: “From the consciousness of the incomprehensibility of the world, something else follows - the inability to express one's soul, to tell one's thoughts to another.

How can the heart express itself?

How can someone else understand you?

Will he understand how you live?

As human thought is powerless, so is human word powerless. Before the beauty of nature, Tyutchev vividly felt this impotence and compared his thought with a “shot bird”. No wonder, then, that in one of his most heartfelt poems he left us such stern advice:

Be silent, hide and conceal

And feelings and dreams.

Only know how to live in yourself ... "

A. Derman argued with Bryusov (Zavety. 1912. No. 9. P. 197): “Thus, from the famous exclamation “the thought uttered is a lie!” Mr. Bryusov made a syllogistic bridge to the assertion that non-rational forms of comprehension of the world are preferable to rational cognition. This is clearly unconvincing and is based on an inexplicable ignorance of the direct meaning of the exclamation and the entire poem "Silentium" as a whole. Not " thought, i.e., all rational knowledge, is a lie', but 'thought spoken", and the meaning of the poem is solely that the thought is distorted at its birth when it becomes a word." Developing his thought and quoting the poem, the polemicist clarifies his understanding of Tyutchev's idea: impotence of the word lies in the inability to convey the power of thought, meaning is not equality thoughts and words, and differences, in the leakage and distortion of thought when transferred to another.

For D.S. Merezhkovsky, this poem is “today, tomorrow”. The logic of Tyutchev's thought, according to the writer, is aimed at "suicide": if the world is based on evil will, active action is meaningless, only contemplation is reasonable. A person is not needed by another person for action. If action is meaningless, then communication is not needed. Hence the conclusion: "Only know how to live in yourself" - an expression of individualism, loneliness, sociallessness. The next step on the same path of development is taken by Balmont, who wished to live by himself and be his own sun, and by Z. Gippius, who wants to "love yourself like God." “Suicides still don’t know that the potassium cyanide they poison with is Silence: “Be quiet, hide and hide / Both your feelings and your dreams ... / Only know how to live in yourself ...”. His disease is ours: individualism, loneliness, lack of society" ( Merezhkovsky. S. 13).

K.D. Balmont singled out this poem in Tyutchev's legacy: “The artistic impressionability of a symbolist poet, full of pantheistic moods, cannot obey the visible; she transforms everything in the depths of her soul, and external facts, processed by philosophical consciousness, appear before us as shadows caused by the magician. Tyutchev understood the need for that great silence, from the depths of which, as from an enchanted cave, illuminated inner light, transformed beautiful ghosts come out ”( Balmont. Book. 1. S. 88–89).

Vyach. Ivanov considered this poem to be decisive in Tyutchev's attitude: "Be quiet, hide and hide" - the banner of Tyutchev's poetry; his words are “secret signs of the great and inexpressible music of the spirit” (By the Stars. St. Petersburg, 1909). pp. 37–38); the poet-theorist means self-immersion, when "there are no barriers" between a person and a naked abyss, such familiarization with the world's abysses is inexpressible in a word and requires Silentium. This moment of being is valuable and eternal. Vyach. Ivanov brought the verse closer in meaning. Silentium! and “Day and Night”: “The latest poets do not get tired of glorifying silence. And Tyutchev sang about silence more inspired than anyone else. “Be silent, hide and conceal…” - this is the new banner he has raised. Moreover, the most important feat of Tyutchev is the feat of poetic silence. That is why there are so few of his poems, and his few words are significant and mysterious, like some secret signs of the great and inexpressible music of the spirit. The time has come when the “thought uttered” became a lie” (ibid., p. 38).

Symbolists, studying the structure of Tyutchev's image and trying to find a model of symbolic poetry from this poet, turned to "Silentium!", Seeing in it a theoretical justification for the search for symbols. If “a thought uttered is a lie” and no logical combination of words, in any particular image, can adequately express the idea, the only way remains - “poetry of allusions, symbols” - this is how V.Ya. developed his thought. Bryusov (The meaning of modern poetry. Selected works. M., 1955. Vol. 2. P. 325). “Living speech is always the music of the inexpressible; “A thought uttered is a lie,” A. Bely wrote referring to Tyutchev (The Magic of Words. Symbolism. M., 1910. P. 429) and concluded: “The “wordless” is combined in the symbol-word inner world a person with "meaningless" outside world". Ultimately, the development of this thought, he reduced lyrical creativity to magic spell through onomatopoeia and a model found in the poetic experience of Tyutchev.

Read the verse "Silentium!" Tyutchev Fedor Ivanovich is difficult and easy at the same time. This profound philosophical work was published in 1830. However, it was written a little earlier, after which it was repeatedly edited by the author himself. He was extremely sensitive to this work, because it became a manifestation of his inner feelings and understanding of life. In addition, the creation revealed the personal characteristics of the poet's life. It was then that Tyutchev experienced some difficulties in relations with his future wife Eleanor Peterson. He decided to express his anxieties and worries on paper. It was this sincerity that caused the poem to bring immense popularity to the author.

At the beginning of the work, Fyodor Ivanovich encourages the reader to be silent about his feelings and emotions. Considering the poet's diplomatic activity, such a philosophy of life is absolutely logical. However, the manifestations of romanticism in the following lines are extremely atypical for him. He writes about dreams, about stars at night and other phenomena that are so far from pragmatic reality. Judging by the fact that the text of Tyutchev's poem "Silentium" is addressed to a man, it can be assumed that the poet is talking to himself. After all, he was not going to show his creation to the public. Speaking about the falsity of the thought expressed, the author, most likely, appeals to biblical motives. Only God can control what goes on in a person's head. Words are also available to the devil.

The product evokes conflicting feelings. There is a theory that the poet himself is afraid of his thoughts. He says that they need to “listen”, but they should not be expressed. After all, only then will happiness and joy remain inside. It's so easy to scare them away, and Tyutchev is afraid of losing the one he loves so much. Poetry is very much taught in literature classes in high school. And you can read it online or download it in full on our website.

Be silent, hide and conceal
And your feelings and dreams -
Let in the depths of the soul
They get up and come in
Silently, like stars in the night,
Admire them - and be silent.

How can the heart express itself?
How can someone else understand you?
Will he understand how you live?
Thought spoken is a lie.
Exploding, disturb the keys, -
Eat them - and be silent.

Only know how to live in yourself -
There is a whole world in your soul
Mysterious magical thoughts;
Outside noise will deafen them
Daytime rays will disperse, -
Listen to their singing - and be silent! ..

Silence has many meanings and everyone understands it in their own way. There was once a young man who wanted to know the meaning of life. To do this, he decided to travel around the most famous philosophers of his time. The first philosopher gave him a very large and long explanation about the meaning of life. The young man was impressed and filled with rapturous awe at the grandeur of his reasoning.

But here immediately this theory was criticized by another philosopher, who convincingly pointed out many shortcomings in his system; and instead referred to another philosophy, which, as he claimed, was much higher.

Philosophers argued and each of them asserted the truth of his own philosophy, denying the truth of someone else's. Some said that the truth could not be found in this life at all, others that the truth had already been written in one book or another.

In the end, the young man became entangled in an infinite number of contradictory systems. Then he decided to go deep into the forest, where he came across a yogi who was in deep meditation.

His face expressed equanimity, peace and contemplation. With impatience the young man asked the yogi what is the meaning of life. In response, the yogi did not even blink an eye, continuing to meditate as before.

The young man was again disappointed, but was inspired by the consciousness of the yogi and the next day he returned to him again, but the yogi again answered with silence to the repeated question about the meaning of life. Then the young man realized that the meaning of life cannot be explained in words.

Mikhail Nesterov. Silence

In general, there is little that can be explained in words, especially when we are talking about meanings. Meaning is a passenger without a seat, constantly in search of it. There are many places in which it can be placed, but not so much as to exhaust the meaning completely.

There is always a residue that cannot be grasped and expressed in words. Thus, two alternatives exist simultaneously and scatter in different directions: words and silences, listening and speaking, reading and writing. In one place there is a lack of it, in another there is an excess. Those who know are silent, those who do not know speak.

Meaning is expressed in words, but is not present in them; it is the border connecting words and things in which meaning resides. Meaning is not given in finished form, it is generated in the word, speech, pictures. Writing and speaking are ways of generating meanings given to a person for understanding events and being. Meaning is born at the tip of the tongue, pen or brush.

Silence, in my opinion, is not a way of generating meaning, it is a language special conditions in which nothing can be expressed in words. The secret is languageless and wordless, you can only speak to it in its language - the language of silence. It is no coincidence that silence originated in mystical schools and in mystical-religious movements, the goal of which is not the search for meaning, but direct communication with God.

Pavel Ryzhenko. Silence

God cannot be described in the language of man, any word would be insufficient in relation to Him, just as Tao, which can be expressed in words, is not Tao. Hence hesycham, apophaticism, mental prayer, the desire for solitude, silence, seclusion and silence.

The opposition of silence and speaking makes sense in the case of everyday understanding of silence, silence as a response to the unacceptable behavior of another. Then it becomes a negative text, a negative value in relation to a word or action, as a variant of non-resistance to evil by violence, as humility, as a barrier.

Silence in this case is such a strategy of behavior that is opposite to aggression and evil, which a person stops not directly, but by force of mind. This political weapon escape from negativity, manipulation, undesirable consequences for oneself. Silence is a healing force, which can not only say a lot, but also do a lot.

Victor Bregeda. Silence

Silentium! *
Be silent, hide and conceal
And your feelings and dreams -
Let in the depths of the soul
They get up and come in
Silent as the stars in the night
Admire them - and be silent.

How can the heart express itself?
How can someone else understand you?
Will he understand how you live?
Thought spoken is a lie.
Exploding, disturb the keys, -
Eat them - and be silent.

Only know how to live in yourself -
There is a whole world in your soul
Mysterious magical thoughts;
Outside noise will deafen them
Daytime rays will disperse, -
Listen to their singing - and be silent! ..
F. Tyutchev, 1829-early 1830s

Silence is a pause, a gathering of forces, a bridge, like an inhalation for the exhalation following it: words, pictures, music; the place where the word is born.