Winter is not without reason angry, its time has passed. Winter is getting angry
“Winter is angry for a reason…” Fyodor Tyutchev
Winter is getting angry
Her time has passed
Spring is knocking on the window
And drives from the yard.And everything fussed
Everything forces Winter out -
And larks in the sky
The alarm has already been raised.Winter is still busy
And grumbles at Spring.
She laughs in her eyes
And it only makes more noise...Wicked witch pissed off
And, capturing the snow,
Let go, run away
To a beautiful child...Spring and grief is not enough:
Washed in the snow
And only became blush,
Against the enemy.
Analysis of Tyutchev's poem "Winter is not without reason angry ..."
Thanks to a successful diplomatic career, Fyodor Tyutchev lived abroad for almost 20 years, where he discovered a craving for romanticism. This was facilitated not only by a passion for literature, but also by the opportunity to communicate directly with outstanding German poets. By that time, Tyutchev himself had already written very sophisticated poems and published them in Russia under various pseudonyms, believing that a diplomat had no right to publicly advertise his hobbies. However, exactly early work This poet boasts an abundance of works related to landscape lyrics. Among them is the poem "Winter is not without reason angry ...", created in 1836. The poet sent it in a letter to his friend Prince Gagarin in the form of a sketch, but this work was published only after the death of the author.
The peculiarity of this poem is that it was written not in the “high calm”, to which Tyutchev resorted from time to time, but in the colloquial language, with the help of which the courtyard peasants spoke at that time. However, this should not be attributed to the whim of the poet. It's just that Tyutchev, being hundreds of miles from Russia, tried to reproduce a picture familiar from childhood, when spring comes into its own, and winter still does not want to leave. Naturally, the desired effect in the work could be achieved only if it was written in a simple and unpretentious style, bordering on primitivism. Therefore, this poem does not carry a special artistic load, however, with its help, the author managed to very accurately convey that borderline state of nature, when one season replaces another.
The poet points out that the time of winter has already passed, and now "spring is knocking on the window." However, her rival shows enviable persistence, not wanting to give up the previously won positions so easily, she is “angry”, “still busy” and hopes to turn back the clock. But this is impossible, since everything around indicates the imminent arrival of spring, which “laughs in the eyes” of its rival, continuing to breathe life into frozen rivers and fields, enliven forests and fill the air with an amazing aroma. The poet compares her with a beautiful child who has the magical gift to transform the world. Winter is depicted by Tyutchev as an angry and grouchy old woman who is trying in any way to maintain her power and even goes so far as to throw snow at her rival. But this trick does not help, since spring "only became a blush in defiance of the enemy."
Winter is getting angry
Her time has passed
Spring is knocking on the window
And drives from the yard.
And everything fussed
Everything forces Winter out -
And larks in the sky
The alarm has already been raised.
Winter is still busy
And grumbles at Spring.
She laughs in her eyes
And it only makes more noise...
Wicked witch pissed off
And, capturing the snow,
Let go, run away
To a beautiful child...
Spring and grief is not enough:
Washed in the snow
And only became blush,
Against the enemy.
Analysis of the poem "Winter is not without reason angry, its time has passed" by Tyutchev
F. Tyutchev for a long time did not publish his poems. Being in the diplomatic service and being a respected and wealthy person, he considered his literary creations to be fun and a way to distract himself from serious state affairs. He was forced to publish his poems by the persistent requests of his friends, who highly appreciated the talent of the novice poet. Among these "light" sketches was the poem "Winter is not without reason angry ..." (1836), which Tyutchev included in a message to his friend. It was never published during the poet's lifetime.
A distinctive feature of the work is its spontaneity and easy colloquial style. The poet did not think at all about how the reading public would perceive him. He was not going to show the poem to anyone but a friend. Subsequently, technique, complex images, and philosophical reflections appeared in the poet's work. So far, he hasn't been connected to anything. His inspiration knew no bounds and flowed freely.
The poem resembles a Russian folk tale. At least, there is a confrontation between good and evil in the images of Spring and Winter. Tyutchev does not accidentally name the seasons with capital letters. Before us are living magical characters, showing ordinary human feelings and experiencing human sensations. The author “enlivens” the world around him with the help of numerous personifications (“angry”, “laughing”, “busy”).
The fairy tale is woven into life thanks to the appearance of larks, which, for good reason, enter into the struggle of Spring with Winter. This struggle personifies the first signs of the awakening of nature, the troubles of winter - night frosts and cold wind, and the laughter of spring is the spring murmur of streams and the singing of birds. Very figuratively Tyutchev describes the final snowfall. Defeated Winter throws a handful of snow at the "beautiful child". But this hopeless last attempt comes to nothing. The last snow melts quickly, allowing Spring to wash and become even more beautiful.
“Winter is not angry for nothing ...” is a wonderful example of Tyutchev’s landscape lyrics, not yet shackled by the critical remarks of the poetic world. It does not carry any semantic load, therefore it is perceived surprisingly easily and freely. Few poets, not only of the 19th century, but also in our time, can boast of such a simple, but at the same time artistically verified style.
Why did the author become so famous, what was his path and why is his work "Winter not for nothing angry" is still on everyone's lips? Perhaps the answers to all these questions lie in the author's biography, in the twists and turns of his fate, and perhaps also in the personal life of Fyodor Ivanovich Tyutchev himself. In any case, in order to answer all these questions, you need to familiarize yourself with how to short biography poet and writer, and with one of his most popular works.
Tyutchev was one of the few who truly sincerely and sincerely loved his native state, never forgot about it, even while living in a foreign land - perhaps this was another factor for his works to become so sincere, filled and close to understanding to a simple Russian man of his world and for the understanding of the Russian soul to a foreigner.
Important details of the biography of Fedor Ivanovich Tyutchev
In the Tyutchev family on December 5, one thousand eight hundred and three, a joyful event for the whole family and a long-awaited event for its individual members took place - an heir was born, whom they decided to call the old Russian name Fedor. A boy was born in the family estate in the most favorable conditions for living, and at first he studied here - all this helped him from an early age to receive decent education, which in those years was available only to the wealthiest citizens. Here Fedor Ivanovich also showed an unlimited craving for quality education- the boy read excitedly and without respite absolutely everything that came to hand, and, thanks to his teacher and main mentor, the boy also showed interest in fiction, which he could read long evenings, sitting on the veranda or in the library chair.Love for literature led Tyutchev to the fact that even in the most early years he became interested in Latin - and here his teacher helped him, who fully supported the student's interest, helped him master the basics and even delve into the subject, and helped him so much that already at a fairly young age Fyodor translated odes and other serious works of foreign authors, and did it skillfully and with the skill inherent in him from childhood.
The craving for creativity in Tyutchev's life manifested itself in the earliest years, and this was the first bell informing everyone around about the extraordinary mindset of the young guy, as well as his obvious genius. In addition to the craving for education, Tyutchev had an amazing memory, which helped him remember all the important details not only from childhood, but also from the rest of his rather difficult life.
In the early years of Tyutchev, education was popular mainly among the stronger sex - and, most likely, this was what drove the parents who attracted the young man to study with such persistence, because an intelligent and educated person had the opportunity for a great future, had his own opinion on everything that happened around and was considered a worthy member of high society. But even without parental control, the boy learned faster than his peers, because his successes were noticed at the beginning of his journey.
Fedor Ivanovich considered home education for himself only the initial stage of a long and hard way, and already in 1817 Moscow University accepted the genius of his time as a volunteer at lectures on Russian literature. It is here that he not only receives a lot of valuable knowledge to the extent that he considers acceptable for himself, but also gets acquainted with a lot of interesting fields that fully share his interests in the field of literature, self-development and writing skills. Here he becomes a member of a society of interests, the main focus of which is Russian literature, and they accept him here with an open mind - the writer's talent is appreciated in all circles at once.
Here, in a foreign land, Fedor Ivanovich meets his first wife, Eleanor, with whom he promises to be near both in grief and in joy. Unfortunately happy family life apparently, fate itself prevented it from happening. Once, while traveling from St. Petersburg to Turin, the ship on which the Tyutchev family was traveling suffered a serious wreck, everyone who was on the ship became direct participants in the rescue operation - they say that Ostrovsky himself saved the Tyutchev family, who, by chance, also ended up in this travel. A tender and weak woman could hardly endure such severe stress, and very soon after her arrival home, Eleanor became very ill. Quite a bit of time passed before the sad moment of her death, which happened right before the eyes of the writer - they say that Fyodor Ivanovich's hair became covered with senile gray hair overnight, and the stress that he experienced from the death of his wife is difficult to compare with other shocks throughout his life.
Despite this sad event, Fedor Ivanovich did not lose interest in life - very soon he presented his new spouse Ernestine, with whom, according to contemporaries, his romance began long before the death of his first wife. Interestingly, Ernestina also lost her husband quite early - he died from an unpleasant, but very common disease at that time, and bequeathed to Tyutchev to look after his wife. Perhaps it was the common grief that brought the two lonely people so close, and it was this that gave them a chance for a happy future together.
Despite a successful and really rapidly developing career, in 1839 Fyodor Ivanovich was forced to leave his service abroad and go to the country that he loved so passionately and so often sang in his works. Here he was caught by the real Russian winter, which he missed so much on the trip, and the warmest, brightest spring, about which Fyodor Ivanovich speaks with such warmth and all-consuming love.
Poem by Fyodor Ivanovich Tyutchev “Winter is angry for a reason”
Winter is getting angry Her time has passed
Spring is knocking on the window
And drives from the yard.
And everything got busy
Everything forces Winter out -
And larks in the sky
The alarm has already been raised.
Winter is still busy
And grumbles at Spring.
She laughs in her eyes
And it only makes more noise...
Wicked witch pissed off
And, capturing the snow,
Let go, run away
To a beautiful child...
Spring and grief is not enough:
Washed up in the snow
And only became blush
Against the enemy.
The poem “Winter is angry for good reason” was written by Fedor Ivanovich Tyutchev just at the time when the writer traveled a lot around the world. It shows everything that a Russian person needs and wants to see, who sincerely misses his beloved homeland. Tyutchev in the poem convinces the reader that such a beautiful early spring can only be in home country- here and spring drops, and the long-awaited warmth.
It is interesting that the seasons in this poem by Tyutchev are represented by bright and lively images - each season has its own, special character, which is fully consistent with the weather at this time of the year. Winter is an evil witch who frightens with her severe frosts, covers cities with snow and hides them from people's eyes, and spring is a young lady who only smiles and has fun.
Such images are pleasant and easy to perceive for any inhabitant of our country, regardless of age - children easily remember the lines from the work, because the poem itself resembles good fairy tale with a happy ending, and adults get the opportunity to plunge into the world of childhood and innocence, when everything was still easy and understandable.
Of course, Tyutchev left behind a simply colossal legacy, which is interesting today to the most diverse categories of citizens. Among his works there is a wide choice of directions, which is available to anyone:
landscape lyrics
love lyrics
Civic lyrics
The memory of the writer not only does not decrease, but every year it becomes more and more global - Fedor Ivanovich is immortalized in a variety of monuments, entire alleys and streets are named after him, and schoolchildren read his works with pleasure, which are an invariable and integral part of the school curriculum.
Thanks to the actions that Fedor Ivanovich performed during his lifetime, the memory of him and his work are always alive in the hearts and souls of his admirers and connoisseurs of his work.
Analysis of the poem by Fyodor Ivanovich Tyutchev "Winter is angry for a reason..."
To help language teachers and secondary school students.
1.
Fedor Tyutchev
Winter is angry for a reason (1836)
Winter is getting angry
Her time has passed
Spring is knocking on the window
And drives from the yard.
And everything fussed
Everything forces Winter out -
And larks in the sky
The alarm has already been raised.
Winter is still busy
And grumbles at Spring:
She laughs in her eyes
And it only makes more noise...
Wicked witch pissed off
And, capturing the snow,
Let go, run away
To a beautiful child...
Spring and grief is not enough:
Washed up in the snow
And only became blush
Against the enemy.
2.
A little about the poet
Tyutchev Fedor Ivanovich (1803 - 1873)
Russian poet, corresponding member of the St. Petersburg Academy of Sciences (1857). Spiritually intense philosophical poetry Tyutchev conveys the tragic feeling of the cosmic contradictions of being.
He was born on November 23 (December 5, NS) in the Ovstug estate of the Oryol province in an old noble family. Childhood years were spent in Ovstug, youthful years are connected with Moscow.
Home education was led by a young poet-translator S. Raich, who introduced the student to the works of poets and encouraged his first experiments in poetry. At the age of 12, Tyutchev was already successfully translating Horace.
In 1819 he entered the verbal department of Moscow University and immediately took an active part in its literary life. After graduating from the university in 1821 with a Ph.D. in verbal sciences, at the beginning of 1822 Tyutchev entered the service of the State Collegium of Foreign Affairs. A few months later he was appointed an official at the Russian diplomatic mission in Munich. Since that time, his connection with the Russian literary life interrupted for a long time.
Tyutchev spent twenty-two years in a foreign land, twenty of them in Munich. Here he married, here he met the philosopher Schelling and became friends with G. Heine, becoming the first translator of his poems into Russian.
Tyutchev's poetry first received real recognition in 1836, when his 16 poems appeared in Pushkin's Sovremennik.
In 1844 he moved with his family to Russia, and six months later he was again accepted into the service of the Ministry of Foreign Affairs.
The talent of Tyutchev, who so willingly turned to the elemental foundations of being, itself had something elemental; V the highest degree it is characteristic that the poet, who, by his own admission, expressed his thoughts more firmly in French than in Russian, who wrote all his letters and articles only in French, and who spoke almost exclusively in French all his life, could use the innermost impulses of his creative thought give expression only in Russian verse; several French poems of his are quite insignificant. The author of "Silentium", he created almost exclusively "for himself", under the pressure of the need to speak out to himself. Indisputable, however, remains an indication of "the correspondence of Tyutchev's talent with the life of the author", made by Turgenev: "... his poems do not smell like an essay; they all seem to be written on famous case, as Goethe wanted, that is, they were not invented, but grew by themselves, like a fruit on a tree.
3.
In the poem by F.I. Tyutchev "Winter is not without reason angry ..." five stanzas of four lines each - a total of twenty lines. Rhyme - cross: "angry - knocking" - the first and third lines rhyme; "it's time - from the yard" - the second and fourth. Size - iambic trimeter.
The artistic effect of the poem is achieved with the help of various tropes: personifications, metaphors, epithets, comparisons, oppositions (antitheses).
Winter is personified with an evil witch, Spring - with a beautiful child.
The words "Winter" and "Spring" are written as proper names, with a capital letter, which makes these seasons the living heroines of the verse, acting independently and differently, having their own character.
Winter is angry at Spring, who knocks on her window and drives her out of the yard. Therefore, Winter is forced to grumble at Spring and fuss about her stay in the yard.
And in what way can the grumbling and troubles of Winter be expressed? In early spring and snow blizzards are possible, and night frosts.
Winter cannot stand the laughter of Spring, her actions, and runs away in a rage, finally launching into Spring either with a heavy snowball, or bringing down a whole avalanche of snow on her.
Spring is a month that not only follows Winter, but also seems to emerge from Winter, so it is not as opposed to Winter as it is. say, summer, and in connection with this, there is still no deep antithesis in these two concepts.
The opposition (antithesis) in this text can be such concepts as "evil witch" (Winter) and "beautiful child" (Spring) and two emotions - the anger of Winter and the laughter (joy) of Spring.
In addition to the "evil witch" in the verses, one more synonym for this concept is given - the "enemy" of Spring.
However, these synonyms are not explicit, but contextual, since two non-synonymous concepts are metaphorically close in this context.
Winter perceives Spring as an enemy and treats Spring as an enemy. Spring, on the other hand, does not antagonize, but asserts its legitimate right to change the seasons, as it is full of young forces that impel it to rapid development.
No matter how much we love Winter, the author inclines the reader's sympathy towards Spring, especially since Winter is trying to offend a beautiful child, and this is not in her favor.
Undoubtedly, children are playful and mischievous - such is Spring in this work - but these are not meaningless pranks, this is a natural necessity.
Literally "everything" is on the side of Spring - after all, "everything is bustling, everything is forcing Winter out." "All" is nature awakening from winter sleep emerging from winter torpor. All the processes taking place at this moment in the bowels of the earth, in the trunks of trees, in the life of birds, are active and swift. Larks report this with a "raised chime".
Spring is delicate in its own way: it warns of its arrival by "knocking on the window", that is, it knocked on the door to Winter before entering the limits that no longer belong to it. "Drives from the yard" ... - the verb "drives" is given here as a synonym for the verb "forces", that is, directs, hurries, compels to go in a certain direction. "It is obvious that Spring does not allow itself rudeness in relation to Winter.
No obstacles to Winter can hold back Spring: the brave Spring ("laughs in the eyes") brought with it the singing of birds, the ringing of drops, the sound of streams, and this noise is becoming "more and more". Thus the text of the poem is filled with various sounds of early spring.
The weapon of battle of Winter, snow, Spring, as a true philosopher-sage, despite his youth, takes advantage of himself: "she washed herself in the snow and only became blush ..."
With the help of a picture of an unequal battle (the outcome of which is predetermined) of an old witch and an amazing ruddy baby, Tyutchev gives a picture of the change of seasons in the spirit of the metaphorical ideas of our ancestors who professed paganism - a bright, dynamic picture, because so many transformations take place before our eyes:
Everything forces Winter out -
And larks in the sky
The alarm has already been raised.
It is interesting that the metaphor "And everything fussed" can refer us to the old Slavic holiday Larks, really falling on March 22 - the day of the vernal equinox. It was believed that on this day larks return to their homeland, and others fly after them. migratory birds. On this day, children with gingerbread larks in their hands walked with their parents into the field and sang:
"Larks, come on!
Studen drive away the winter!
Bring the warmth of spring!
We are sick of winter
She ate all the bread!"
The visual range of the verse, along with the sound, carries the reader into all this spring turmoil. The last confrontation of Winter is expressed with the help of the richest metaphors: "Winter is not without reason angry", "its time has passed", Spring knocks on the window and drives from the yard"...
Let's try to point out all the metaphors in this amazing poem, and we will make sure that they are present in every line. That is, the metaphor of spring is both each quatrain individually, and the whole work as a whole. The whole poem from beginning to end is one extended metaphor, which makes it unusually rich both in form and in content.
A distinctive feature of this verse is the abundance of verbs of active action: "angry", "passed", "knocking", "drives" - in the first stanza; "fussed", "nudity", "raised" - in the second stanza; "busy", "grumbles", "laughs", "" makes noise - in the third; “enraged”, the gerund “capturing, letting go”, the gerund “running away” - in the fourth quatrain; “washed”, the linking verb “became” - in the fifth. It is easy to calculate that the number of verbs and verb forms (two gerunds in the presence of fifteen verbs) were divided into stanzas in the following order: 4,3,4,4,2 In the last quatrain there are only two verbs that characterize only Spring, since Spring has won and Winter is no longer in the yard.
All these seventeen verbs and verb forms form the metaphors of this verse in such abundance.
And the author no longer needed epithets in in large numbers- there are only three of them: "evil" ("evil witch" - inversion, reverse word order, characterizing Winter even more deeply, despite the fact that the logical stress also highlights the epithet "evil"), "beautiful" ("beautiful child" - direct order words) and comparative adjective "blush" in the compound nominal predicate(“became blush” - the reverse order of words).
4.
The presence of the author's attitude to what is happening in the poem "Winter is not angry for nothing" is obvious, but it is expressed not with the help of the first person (the author, as a lyrical hero, as if not to be seen), but with the help of other means already indicated. The author likes how the “beautiful child” “laughs”, how cheerful it is (“Spring and sorrow are not enough” - a phraseological unit that forms a metaphor in the context of the verse), not afraid of the cold (“washed in the snow”), what health and optimism it exudes ( "And she became only blush in defiance of the enemy"). All the author's sympathies are on the side of Spring.
Thus, the glorification of Spring became the glorification of seething energy, youth, courage, freshness, and the energy of iambic trimeter fit here perfectly.
5.
In Russian landscape lyrics, such a description of Winter is unlikely to be found: winter, as a rule, in Russian folk songs, in literary adaptations folklore - a hero, although sometimes harsh, but positive, not negative. They are waiting for her, they greet her, they poetize her lovingly:
"... Hello, winter guest!
Please have mercy on us
Sing the songs of the north
Through forests and steppes."
(I. Nikitin)
"Winter sings - calls out,
hairy forest cradles
The bell of a pine forest."
(Sergey Yesenin)
In 1852, sixteen years after the "Angry Winter", F.I. Tyutchev wrote poems about winter in a slightly different vein, without negative connotations:
"Enchanted Winter
Bewitched, the forest stands ... "
However, if before Tyutchev characterized Zima as a "witch", then she turned into a "sorceress", "sorceress". Actually, all these three words - witch, sorceress, sorceress - are synonyms. True, in our minds the word "enchantment" is associated with some kind of magical, bewitching phenomena. Winter, a sorceress at the beginning of her appearance, is reborn as she is exhausted into a witch, whose spell weakens.
Being away from home for a long time, reading literature in German and French and writing articles in French (recall that only when creating lyrical works the poet preferred the Russian language) Tyutchev introduced into the winter theme representations of Western European rather than Russian poetics, but in this way he enriched Russian poetry, introduced his own, Tyutchevian, shade into poems about nature.
6.
Explaining words that students do not understand.
NUDIT - forces, forces.
KHLOPOCHET - To bother - 1. without additional. Do something with diligence, work, fuss.
Analysis of the poem by Fyodor Ivanovich Tyutchev "Winter is angry for a reason..."
To help language teachers and secondary school students.
1.
Fedor Tyutchev
Winter is angry for a reason (1836)
Winter is getting angry
Her time has passed
Spring is knocking on the window
And drives from the yard.
And everything fussed
Everything forces Winter out -
And larks in the sky
The alarm has already been raised.
Winter is still busy
And grumbles at Spring:
She laughs in her eyes
And it only makes more noise...
Wicked witch pissed off
And, capturing the snow,
Let go, run away
To a beautiful child...
Spring and grief is not enough:
Washed up in the snow
And only became blush
Against the enemy.
2.
A little about the poet
Tyutchev Fedor Ivanovich (1803 - 1873)
Russian poet, corresponding member of the St. Petersburg Academy of Sciences (1857). Tyutchev's spiritually intense philosophical poetry conveys a tragic sense of the cosmic contradictions of being.
He was born on November 23 (December 5, NS) in the Ovstug estate of the Oryol province in an old noble family. Childhood years were spent in Ovstug, youthful years are connected with Moscow.
Home education was led by a young poet-translator S. Raich, who introduced the student to the works of poets and encouraged his first experiments in poetry. At the age of 12, Tyutchev was already successfully translating Horace.
In 1819 he entered the verbal department of Moscow University and immediately took an active part in its literary life. After graduating from the university in 1821 with a Ph.D. in verbal sciences, at the beginning of 1822 Tyutchev entered the service of the State Collegium of Foreign Affairs. A few months later he was appointed an official at the Russian diplomatic mission in Munich. From that time on, his connection with Russian literary life was interrupted for a long time.
Tyutchev spent twenty-two years in a foreign land, twenty of them in Munich. Here he married, here he met the philosopher Schelling and became friends with G. Heine, becoming the first translator of his poems into Russian.
Tyutchev's poetry first received real recognition in 1836, when his 16 poems appeared in Pushkin's Sovremennik.
In 1844 he moved with his family to Russia, and six months later he was again accepted into the service of the Ministry of Foreign Affairs.
The talent of Tyutchev, who so willingly turned to the elemental foundations of being, itself had something elemental; it is highly characteristic that the poet, who, by his own admission, expressed his thoughts more firmly in French than in Russian, wrote all his letters and articles only in French, and throughout his life spoke almost exclusively in French, the most secret impulses of his creative thought could only be expressed in Russian verse; several French poems of his are quite insignificant. The author of "Silentium", he created almost exclusively "for himself", under the pressure of the need to speak out to himself. Indisputable, however, remains an indication of "the correspondence of Tyutchev's talent with the life of the author", made by Turgenev: "... his poems do not smell like a composition; they all seem to be written for a certain occasion, as Goethe wanted, that is, they are not invented, but grew by themselves, like a fruit on a tree."
3.
In the poem by F.I. Tyutchev "Winter is not without reason angry ..." five stanzas of four lines each - a total of twenty lines. Rhyme - cross: "angry - knocking" - the first and third lines rhyme; "it's time - from the yard" - the second and fourth. Size - iambic trimeter.
The artistic effect of the poem is achieved with the help of various tropes: personifications, metaphors, epithets, comparisons, oppositions (antitheses).
Winter is personified with an evil witch, Spring - with a beautiful child.
The words "Winter" and "Spring" are written as proper names, with a capital letter, which makes these seasons the living heroines of the verse, acting independently and differently, having their own character.
Winter is angry at Spring, who knocks on her window and drives her out of the yard. Therefore, Winter is forced to grumble at Spring and fuss about her stay in the yard.
And in what way can the grumbling and troubles of Winter be expressed? In early spring, snow blizzards are possible, and night frosts
Winter cannot stand the laughter of Spring, her actions, and runs away in a rage, finally launching into Spring either with a heavy snowball, or bringing down a whole avalanche of snow on her.
Spring is a month that not only follows Winter, but also seems to emerge from Winter, so it is not as opposed to Winter as it is. say, summer, and in connection with this, there is still no deep antithesis in these two concepts.
The opposition (antithesis) in this text can be such concepts as "evil witch" (Winter) and "beautiful child" (Spring) and two emotions - the anger of Winter and the laughter (joy) of Spring.
In addition to the "evil witch" in the verses, one more synonym for this concept is given - the "enemy" of Spring.
However, these synonyms are not explicit, but contextual, since two non-synonymous concepts are metaphorically close in this context.
Winter perceives Spring as an enemy and treats Spring as an enemy. Spring, on the other hand, is not hostile, but asserts its legitimate right to change the seasons, so full of young forces that attract it to rapid development.
No matter how much we love Winter, the author inclines the reader's sympathy towards Spring, especially since Winter is trying to offend a beautiful child, and this is not in her favor.
Undoubtedly, children are playful and mischievous - such is Spring in this work - but these are not meaningless pranks, this is a natural necessity.
Literally "everything" is on the side of Spring - after all, "everything is bustling, everything is forcing Winter out." "Everything" is nature awakening from its winter sleep, emerging from its winter stupor. All the processes taking place at this moment in the bowels of the earth, in the trunks of trees, in the life of birds, are active and swift. Larks report this with a "raised chime".
Spring is delicate in its own way: it warns of its arrival by "knocking on the window", that is, it knocked on the door to Winter before entering the limits that no longer belong to it. "Drives from the yard" ... - the verb "drives" is given here as a synonym for the verb "forces", that is, directs, hurries, compels to go in a certain direction. "It is obvious that Spring does not allow itself rudeness in relation to Winter.
No obstacles to Winter can hold back Spring: the bold Spring ("laughs in the eyes") brought with it the singing of birds, the ringing of drops, the sound of streams, and this noise is getting "more and more". Thus, the text of the poem is filled with various sounds of early spring.
The weapon of battle of Winter, snow, Spring, as a true philosopher-sage, despite his youth, takes advantage of himself: "she washed herself in the snow and only became blush ..."
With the help of a picture of an unequal battle (the outcome of which is predetermined) of an old witch and an amazing ruddy baby, Tyutchev gives a picture of the change of seasons in the spirit of the metaphorical ideas of our ancestors who professed paganism - a bright, dynamic picture, because so many transformations take place before our eyes:
And everything fussed
Everything forces Winter out -
And larks in the sky
The alarm has already been raised.
It is interesting that the metaphor "And everything began to fuss" can refer us to the ancient Slavic holiday of the Lark, which really falls on March 22 - the day of the vernal equinox. It was believed that on this day larks return to their homeland, and other migratory birds fly after them. On this day, children with gingerbread larks in their hands walked with their parents into the field and sang:
"Larks, come on!
Studen drive away the winter!
Bring the warmth of spring!
We are sick of winter
She ate all the bread!"
The visual range of the verse, along with the sound, carries the reader into all this spring turmoil.
The last confrontation of Winter is expressed with the help of the richest metaphors: "Winter is not without reason angry", "its time has passed", Spring knocks on the window and drives from the yard "... Let's try to point out all the metaphors in this amazing poem, and we will make sure that they are present in each line. That is, the metaphor of spring is both each quatrain individually and the whole work as a whole. The entire poem from beginning to end is one detailed metaphor, which makes it unusually rich both in form and in content.
A distinctive feature of this verse is the abundance of verbs of active action: "angry", "passed", "knocking", "drives" - in the first stanza; "fussed", "nudity", "raised" - in the second stanza; "busy", "grumbles", "laughs", "" makes noise - in the third; “enraged”, the gerund “capturing, letting go”, the gerund “running away” - in the fourth quatrain; “washed”, the linking verb “became” - in the fifth. It is easy to calculate that the number of verbs and verb forms (two gerunds in the presence of fifteen verbs) were divided into stanzas in the following order: 4,3,4,4,2 In the last quatrain there are only two verbs that characterize only Spring, since Spring has won and Winter is no longer in the yard.
All these seventeen verbs and verb forms form the metaphors of this verse in such abundance.
And the author no longer needed a large number of epithets - there are only three of them: "evil" ("evil witch" - inversion, reverse word order, characterizing Winter even more deeply, despite the fact that the logical stress also highlights the epithet "evil"), "beautiful "("beautiful child" - direct word order) and the comparative degree of the adjective "blush" in the compound nominal predicate ("became blush" - reverse word order).
4.
The presence of the author's attitude to what is happening in the poem "Winter is angry for good reason" is obvious, but it is expressed not with the help of the first person (the author, as a lyrical hero, as if not to be seen), but with the help of other, already indicated means. The author likes how the “beautiful child” “laughs”, how cheerful it is (“Spring and sorrow are not enough” - a phraseological unit that forms a metaphor in the context of the verse), not afraid of the cold (“washed in the snow”), what health and optimism it exudes ( "And she became only blush in defiance of the enemy"). All the author's sympathies are on the side of Spring.
Thus, the glorification of Spring became the glorification of seething energy, youth, courage, freshness, and the energy of iambic trimeter fit here perfectly.
5.
In Russian landscape lyrics, such a description of Winter is unlikely to be found again: winter, as a rule, in Russian folk songs, in literary adaptations of folklore, is a hero, although sometimes harsh, but positive, not negative. They are waiting for her, they greet her, they poetize her lovingly:
"... Hello, winter guest!
Please have mercy on us
Sing the songs of the north
Through forests and steppes."
(I. Nikitin)
"Winter sings - calls out,
Shaggy forest cradles
The bell of a pine forest."
(Sergey Yesenin)
In 1852, sixteen years after the "Angry Winter", F.I. Tyutchev wrote poems about winter in a slightly different vein, without negative connotations:
"Enchanted Winter
Bewitched, the forest stands ... "
However, if before Tyutchev characterized Zima as a "witch", then she turned into a "sorceress", "sorceress". Actually, all these three words - witch, sorceress, sorceress - are synonyms. True, in our minds the word "enchantment" is associated with some kind of magical, bewitching phenomena. Winter, a sorceress at the beginning of her appearance, is reborn as she is exhausted into a witch, whose spell weakens.
Being away from his homeland for a long time, reading literature in German and French and writing articles in French (recall that only when creating lyrical works did the poet prefer the Russian language), Tyutchev introduced most likely representations of Western European, not only Russian poetics, but in this way he enriched Russian poetry, introduced his own, Tyutchevian, shade into poems about nature.
6.
Explaining words that students do not understand.
NUDIT - forces, forces.
KHLOPOCHET - To bother - 1. without additional. Do something with diligence, work, fuss.
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