Anna Ljunggren's article discusses the impact of the romantic cult of improvisation on Tiutchev's poetry, behaviour and attitude towards his own work. An attempt has been made to connect the repetitions in his poetry to the oral way of composing.

Present study focuses on the intertextuality of Tiutchev's poetry and the use of «indirect allusions» which forecast similar technique in the works of Postsymbolists. In Tiutchev's lyrics indirect allusions to a concrete text of another writer are often disguised by the implicit references to other works of same author. A good example of such technique provides Tiutchev's employment of citations from Lermontov's works. The further discussion of this phenomenon dwells on Tiutchev's treatment of Zhukovskii's poetry («Kak khorosho ty, o more nochnoe...», «Ja znal ee esche togda...», «Pamjati Zhukovskogo» etc.). For the younger poet the central theme of Zhukovskii's lyrics is the loss in love, and this theme forms a connection between literary and biographical context.

An allegoric evocation of faith out of Tiutchev's poem about Napoleon is analysed in connection with Mandel'stam's persistent references to Tiutchev's mystical and metaphysical theme of the stone rolling down the mountain, inspired by the prophecy of Daniel and a saying by Spinosa, as well as in the context of Tiutchev's images of the mighty cliff in the sea and the underwater rock. Gogol's simile for «the war for faith in Russia», «a rock not made by human hand in the middle of the stormy sea» in the second version of «Taras Bulba», is identified, following Mandel'shtam's train of associations, as a likely antecedent of Tiutchev's «underwater rock of faith».

Tiutchev's poetry is traditionally divided in two parts, the love poetry and poems on nature, philosophy and existential questions on one hand and his political verse on the other. The poem «The day of the Orthodox East» combines these two in juxtaposing the religious-political theme of Russian Orthodox Easter with the theme of the poet's daughter's severe disease. In analysing this poem we get the opportunity to study fragments of two kinds of poetics and the poet's attempt to combine them in this very poem. Per-Arne Bodin is lecturer at the Slavic Department, Stockholm university. He has written numerous articles on the relation between Russian literature and the Orthodox tradition.

Present work examines the relations of two writers on the basis of M. Pogodin's archives.

This short commentary points at Mme de Stal's «Dix annes exil» (1821) as the source of the central image of the poem («blood that cannot melt the ice»), and reconstructs possible stages of its genesis.

It is usually maintained that the first poem of Napoleon's cycle is reminiscent of Chateaubriand's pamphlet «De Buonoparte et de Bourbons» (1814), and that Napoleon's order to the army (issued on June 22, 1812) is cited in the third poem of the same cycle. But it is possible to indicate another source that is chronologically closer to both poems, namely Chateaubriand's «Mmoires d'outre-tombe», where can be found the quotes from Napoleon's order as well as his description as a son of Revolution. This internal evidence is reinforced by Tiutchev's marked interest in «Mmoires d'outre-tombe» at the time of its first publication (1849) attested in his wife's letters.

Svetlana Dolgopolova and Anna Ljunggren's article «Ernestine Tiutchevs album (herbarium) as a source of commentary» focuses upon this insufficiently described document. The herbarium that Ernestine Tiutchev brought with her from Germany to Russia is a sample of the all-European album culture bearing an imprint of Romanticism. It is an important document for both Tiutchev's biographers as well as historians of art.

The publication of the documents concerning Tiutchev's diplomatic career during 1820s and 1830s. Texts are given both in French original and in Russian translation with detailed biographic and historic comments.

The first scholarly publication of Tiutchev's political letter (1844), later known also as «Russia and Germany».

An extensive commentary to Tiutchev's essay (1844), including the history of its creation, the reconstruction of political and cultural context, and the review of its ideological as well as factual sources.

This is a preface to the publication of the synopsis of the lectures on Tiutchev delivered by late Prof. Yuri Lotman at the University of Tartu in Spring 1981. The lecturing manner of Lotman and the characteristic features of his approach to Tiutchev is described.

The synopsis of Prof. Lotman's lectures written down by his students are published for the first time with the commentaries of Lyubov Kiseleva. The course provides the complex analysis of the Tiutchev's lyrics, the mechanisms of his poetics, it's genesis, the creative contacts of Tiutchev with his contemporary poets, etc.