F.I. Tyutchev is a famous Russian poet who wrote many poems about nature. He has landscape lyrics, where the author simply admires the pictures of Russian nature. Great place are occupied by philosophical poems in which natural phenomena are correlated with human life. The poem “Winter is angry for a reason...” is completely different. It looks like a little fairy tale.
The entire poem is based entirely on personification. Winter and Spring are shown as living beings who fight for their rights. Tyutchev even writes the names of the seasons with capital letters as if they were names.
Winter is portrayed as an angry, grumpy old woman, trying to stay longer and boss around some more. And spring here is young, mischievous and cheerful. She brings with her noise, the sound of larks, laughter and joy. Tyutchev uses this artistic technique, like alliteration, and the reader seems to hear the sounds of spring.
A real battle is taking place before our eyes. We feel this struggle because Tyutchev uses many verbs: winter is angry, fussing, grumbling; spring is knocking, laughing, making noise. All nature is on the side of spring (“And everything is fussing, everything is forcing winter out…”), but winter does not want to give up without a fight:
The evil witch went crazy
And, capturing the snow,
She let me in, running away,
To a beautiful child.
But Spring is not afraid of difficulties. The struggle did not tire or weaken her. “In spite of the enemy” she became even more beautiful.
The general mood of the poem is cheerful and joyful, because F.I. Tyutchev shows here the victory of the new over the old and glorifies spring as a symbol of life and renewal of nature.
“It’s not for nothing that winter is angry...” Fyodor Tyutchev
No wonder winter is angry,
Its time has passed -
Spring is knocking on the window
And he drives him out of the yard.And everything started to fuss,
Everything forces Winter to get out -
And larks in the sky
The ringing bell has already been raised.Winter is still busy
And he grumbles about Spring.
She laughs in her eyes
And it just makes more noise...The evil witch went crazy
And, capturing the snow,
She let me in, running away,
To a beautiful child...Spring and grief are not enough:
Washed my face in the snow
And she only became blusher,
Against the enemy.
Analysis of Tyutchev’s poem “It’s not for nothing that Winter is 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 his passion for literature, but also by the opportunity to communicate directly with outstanding German poets. By that time Tyutchev himself was already writing very sophisticated poems and publishing them in Russia under various pseudonyms, believing that a diplomat has no right to publicly advertise his hobbies. However, it is early work this poet boasts an abundance of works related to landscape lyrics. Among them is the poem “Winter is angry for a reason...”, 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 spoken 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, but winter still doesn’t want to go away. Naturally, the required 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, but with its help the author managed to very accurately convey that borderline state 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 tenacity, not wanting to so easily give up previously won positions, she is “angry”, “still fussing” and hopes to turn back time. 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, revitalize forests and fill the air with an amazing aroma. The poet compares her to a beautiful child who has the magical gift of transforming the world. Winter is depicted by Tyutchev as an angry and grumpy old woman who tries to maintain her power in any way and even goes so far as to throw snow at her rival. But this trick does not help, since spring “only became blush in defiance of the enemy.”
Analysis of Fyodor Ivanovich Tyutchev’s poem “It’s not for nothing that Winter is angry...”
To help language teachers and secondary school students.
1.
Fyodor Tyutchev
Winter is angry for a reason (1836)
No wonder winter is angry,
Her time has passed -
Spring is knocking on the window
And he drives him out of the yard.
And everything started to fuss,
Everything forces Winter to get out -
And larks in the sky
The ringing bell has already been raised.
Winter is still busy
And he grumbles about Spring:
She laughs in her eyes
And it just makes more noise...
The evil witch went crazy
And, capturing the snow,
She let me in, running away,
To a beautiful child...
Spring and grief are not enough:
Washed in the snow
And only became blusher
Against the enemy.
2.
A little about the poet
Tyutchev Fedor Ivanovich (1803 - 1873)
Russian poet, corresponding member St. Petersburg Academy Sciences (1857). Spiritually intense philosophical poetry Tyutcheva conveys a tragic sense of the cosmic contradictions of existence.
Born on November 23 (December 5, n.s.) in the Ovstug estate, Oryol province, into an old noble family of the middle estate. My childhood years were spent in Ovstug, my youth were connected with Moscow.
Home education was supervised by the young poet-translator S. Raich, who introduced the student to the works of poets and encouraged his first poetic experiments. At the age of 12, Tyutchev was already successfully translating Horace.
In 1819 he entered the literature department of Moscow University and immediately accepted live participation in his literary life. After graduating from the university in 1821 with a candidate's degree in literary sciences, at the beginning of 1822 Tyutchev entered the service in State College foreign affairs A few months later he was appointed an official under the Russian diplomatic mission in Munich. From that time on, his connection with the Russian literary life is interrupted for a long time.
Tyutchev spent twenty-two years abroad, twenty of them in Munich. Here he got 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 hired to serve in the Ministry of Foreign Affairs.
The talent of Tyutchev, who so willingly turned to the elemental foundations of existence, itself had something elemental; V 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 give expression only in Russian verse; several of his French poems are completely insignificant. The author of "Silentium", he created almost exclusively "for himself", under the pressure of the need to speak out to himself. What remains indisputable, however, is the reference to “the correspondence of Tyutchev’s talent with the life of the author,” made by Turgenev: “... his poems do not smell like composition; they all seem to be written in famous case, as Goethe wanted, that is, they were not invented, but grew on their own, like fruit on a tree.”
3.
In the poem by F.I. Tyutchev “It’s not for nothing that Winter is 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 to get out of the yard” - the second and fourth. Size - iambic trimeter.
The artistic effect of the poem is achieved with the help of various tropes: personification, metaphors, epithets, comparisons, contrasts (antithesis).
Winter is personified with an evil witch, Spring - with a wonderful child.
The words “Winter” and “Spring” are written as proper names, with a capital letter, which makes these seasons living heroines of the verse, acting independently and differently, having their own character.
Winter is angry with Spring, who knocks on her window and drives her out of the yard. Therefore, Winter is forced to grumble about Spring and worry about being in the yard.
And how can Winter’s grumbling and troubles be expressed? In early spring, snowstorms and night frosts are possible.
Winter cannot stand Spring’s laughter, her actions, and runs away in a rage, finally throwing either a heavy snowball at Spring, or bringing down an entire avalanche of snow on her.
Spring is the month that not only follows Winter, but also seems to emerge from Winter, so it is not as opposed to Winter as it is. let's 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”, the poems also give another synonym for this concept - the “enemy” of Spring.
However, these synonyms are not explicit, but contextual, since two non-synonymous concepts are metaphorically brought together precisely in this context.
Winter perceives Spring as an enemy and treats Spring as an enemy. Spring does not quarrel, but asserts its legal right to change the seasons, since it is full of young forces that attract it to rapid development.
No matter how much we love Winter, the author inclines the reader’s sympathies to the side of Spring, especially since Winter is trying to offend the beautiful child, and this is not in her favor.
Undoubtedly, children can be playful and mischievous - this is how Spring is given in this work - but these are not meaningless pranks, this is a natural necessity.
Literally “everything” is on Spring’s side - after all, “everything is fussing, everything is forcing Winter out.” “Everything” is nature awakening from winter sleep, emerging from winter torpor. All processes occurring at this moment in the bowels of the earth, in tree trunks, in the life of birds are active and rapid. Larks report this with a “raised ringing of bells.”
In its own way, Spring is delicate: it warns of its arrival by “knocking on the window,” that is, it knocked on Winter’s door before entering the boundaries that no longer belong to it. "Drives from the yard" ... - the verb "drives" is given here as a synonym for the verb "nudges", that is, directs, hurries, forces you to go in a certain direction." Obviously, Spring does not allow itself to be rude towards Winter.
Winter cannot be held back by any obstacles: brave Spring (“laughs in your eyes”) brought with it the singing of birds, the ringing of drops, the sound of streams, and this noise is becoming more and more louder. Thus, the text of the poem is filled with the most diverse sounds of early spring.
The weapon of Winter's battle, snow, Spring, like a true philosopher-sage, despite her youth, takes it to her advantage: “she washed herself in the snow and only became blusher...”
With the help of a picture of an unequal battle (the outcome of which is predetermined) of an old witch and an amazing rosy-cheeked baby, Tyutchev gives a picture of the changing seasons in the spirit of the metaphorical ideas of our ancestors who professed paganism - a bright, dynamic picture, because so many transformations are happening before our eyes: And everything began to fuss,
Everything forces Winter to get out -
And larks in the sky
The ringing bell has already been raised.
It is interesting that the metaphor “And everything began to fuss” can take us to the ancient Slavic holiday of Zhavoronki, which actually falls on March 22 - the day spring equinox. It was believed that on this day larks returned to their homeland, and other migratory birds followed them. On this day, children with gingerbread larks in their hands walked with their parents into the field and chanted:
"Larks, come!
Drive away the cold winter!
Bring warmth to spring!
We're tired of winter
She ate all our bread!”
The visual range of the verse, along with the sound, carries the reader into all this spring chaos. The Last Confrontation Winters are expressed using the richest metaphors: “It’s not for nothing that Winter is angry,” “its time has passed,” Spring is knocking on the window and driving it out of the yard.”
Let's try to indicate 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 entire work as a whole. The entire poem from beginning to end is one expanded metaphor, which makes it unusually rich in both form and content.
Distinctive technique of this verse is the abundance of verbs active action: “angry”, “passed”, “knocks”, “drives” - in the first stanza; “fussed”, “boring”, “raised” - in the second stanza; “fussing”, “grumbling”, “laughing”, “making noise” - in the third; “got mad”, the gerund “grabbing, “let 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 with fifteen verbs) was distributed among the 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 formed 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 order words that characterize Winter even more deeply, despite the fact that logical stress also highlights the epithet “evil”), “beautiful” (“beautiful child” - direct word order) and comparative the adjective "blush" in the compound nominal predicate(“became blushing” - reverse word order).
4.
The presence of the author’s attitude to what is happening in the poem “Winter is angry for a reason” is obvious, but it is not expressed using the first person (the author, as 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 grief are not enough” - a phraseological unit that forms a metaphor in the context of the verse), not afraid of the cold (“washed itself in the snow”), how healthy and optimistic it is ( "And she only blushed in defiance of the enemy." All the author's sympathies are on the side of Spring.
Thus, the glorification of Spring became a glorification of ebullient energy, youth, courage, freshness, and the energy of iambic trimeter fit here perfectly.
5.
It is unlikely that such a description of Winter will ever be found in Russian landscape poetry: winter, as a rule, in Russian folk songs, in literary adaptations of folklore - a hero, although sometimes harsh, but positive, not negative. They wait for her, they greet her, they lovingly poetize her:
"...Hello, winter guest!
We ask for mercy
Sing songs of the north
Through forests and steppes."
(I. Nikitin)
"Winter sings and echoes,
The shaggy forest lulls
The ringing sound 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:
"Enchantress Winter"
Bewitched, the forest stands..."
However, if before Winter was characterized by Tyutchev as a “witch,” then she turned into a “sorceress” or “witch.” Actually, all these three words - witch, sorceress, sorceress - are synonyms. True, in our minds the word “enchantment” is associated with some kind of magical, enchanting 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 (let us recall that only when creating lyrical works did the poet give preference to the Russian language) Tyutchev introduced ideas of Western European rather than Russian poetics into the winter theme, but thereby enriched Russian poetry, introduced his own into poetry about nature , Tyutchevsky, shade.
6.
Explaining words that students do not understand.
NUDIT - compels, compels.
CURRENT - Bust around - 1. without extra. To do something with diligence, to work, to fuss.
The work is written in ordinary courtyard language. In those days, only peasants spoke it. The author wanted to reproduce a scene from his childhood. He, being far from Russia, tried to describe the time when winter does not want to go away, and spring comes and tries to drive away the grumpy old woman. The poet achieved the desired effect only by the manner of speech with which this work was written.
The work does not carry any artistic meaning, but it extremely well and clearly shows the boundaries of nature, its state when one season gives way to another. The author says that winter must go away, because its time has already expired and spring is knocking on the window. But winter is very angry, does not want to leave her place and hopes to turn back time. But this is excluded, since the coming spring breathes life into icy rivers, forests, etc. She laughs in her rival's eyes and shows her that her time has long passed.
Tyutchev shows spring as a child with a magical gift that can transform the world. Winter is an old woman who always grumbles and is ready to do anything to stay in her place.
Text by F. I. Tyutchev. Winter is angry for a reason (1836).
No wonder winter is angry,
Her time has passed -
Spring is knocking on the window
And he drives him out of the yard.
And everything started to fuss,
Everything forces Winter to get out -
And larks in the sky
The ringing bell has already been raised.
Winter is still busy
And he grumbles about Spring:
She laughs in her eyes
And it just makes more noise.
The evil witch went crazy
And, capturing the snow,
She let me in, running away,
To a beautiful child.
Spring and grief are not enough:
Washed in the snow
And only became blusher
Against the enemy.
Analysis
In the poem by F.I. Tyutchev “Winter is angry for a reason.” five stanzas of four lines each - twenty lines in total. Rhyme - cross: "angry - knocking" - the first and third lines rhyme; “It’s time to get out of the yard” - the second and fourth. Size - iambic trimeter.
The artistic effect of the poem is achieved with the help of various tropes: personification, metaphors, epithets, comparisons, contrasts (antithesis).
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 living heroines of the verse, acting independently and differently, having their own character. Winter is angry with Spring, who knocks on her window and drives her out of the yard. Therefore, Winter is forced to grumble about Spring and worry about being in the yard.
And how can Winter’s grumbling and troubles be expressed? In early spring, snowstorms and night frosts are possible.
Winter cannot stand Spring’s laughter, her actions, and runs away in a rage, finally throwing either a heavy snowball at Spring, or bringing down an entire avalanche of snow on her. Spring is the month that not only follows Winter, but also seems to emerge from Winter, so it is not as opposed to Winter as it is. let's 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”, the poems also give another synonym for this concept - the “enemy” of Spring.
However, these synonyms are not explicit, but contextual, since two non-synonymous concepts are metaphorically brought together precisely in this context.
Winter perceives Spring as an enemy and treats Spring as an enemy. Spring does not quarrel, but asserts its legal right to change the seasons, since it is full of young forces that attract it to rapid development.
No matter how much we love Winter, the author inclines the reader’s sympathies to the side of Spring, especially since Winter is trying to offend the beautiful child, and this is not in her favor.
Undoubtedly, children can be playful and mischievous - this is how Spring is given in this work - but these are not meaningless pranks, this is a natural necessity.
Literally “everything” is on Spring’s side - after all, “everything is fussing, everything is forcing Winter out.” “Everything” is nature awakening from winter sleep, emerging from winter torpor. All processes occurring at this moment in the bowels of the earth, in tree trunks, in the life of birds are active and rapid. Larks report this with a “raised ringing of bells.”
In its own way, Spring is delicate: it warns of its arrival by “knocking on the window,” that is, it knocked on Winter’s door before entering the boundaries that no longer belong to it. "He's driving him out of the yard." - the verb “drives” is given here as a synonym for the verb “nudges,” that is, it directs, hurries, forces one to go in a certain direction.” Obviously, Spring does not allow itself to be rude towards Winter.
Winter cannot be held back by any obstacles: brave Spring (“laughs in your eyes”) brought with it the singing of birds, the ringing of drops, the sound of streams, and this noise is becoming more and more louder. Thus, the text of the poem is filled with the most diverse sounds of early spring.
Winter's weapon of battle, snow, Spring, like a true philosopher-sage, despite her youth, takes it to her advantage: "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 rosy-cheeked baby, Tyutchev gives a picture of the changing seasons in the spirit of the metaphorical ideas of our ancestors who professed paganism - a bright, dynamic picture, because so many transformations are happening before our eyes:
And everything started to fuss,
Everything forces Winter to get out -
And larks in the sky
The ringing bell has already been raised.
It is interesting that the metaphor “And everything began to fuss” can take us to the ancient Slavic holiday of Lark, which actually falls on March 22 – the day of the vernal equinox. It was believed that on this day larks returned to their homeland, and other migratory birds followed them. On this day, children with gingerbread larks in their hands walked with their parents into the field and chanted:
"Larks, come!
Drive away the cold winter!
Bring warmth to spring!
We're tired of winter
She ate all our bread!”
The visual range of the verse, along with the sound, carries the reader into all this spring chaos. The last confrontation of Winter is expressed using the richest metaphors: “It’s not for nothing that Winter is angry,” “its time has passed,” Spring is knocking on the window and driving it out of the yard.”
Let's try to indicate 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 entire work as a whole. The entire poem from beginning to end is one expanded metaphor, which makes it unusually rich in both form and content.
A distinctive technique of this verse is the abundance of verbs of active action: “angry”, “passed”, “knocking”, “drives” - in the first stanza; “fussed”, “boring”, “raised” - in the second stanza; “fussing”, “grumbling”, “laughing”, “making noise” - in the third; “got mad”, the gerund “grabbing, “let go”, the gerund “running away” - in the fourth quatrain; “washed”, the linking verb “became” - in the fifth. It is not difficult to calculate that the number of verbs and verbal forms (two gerunds in the presence of fifteen verbs) were distributed among the 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 formed 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” is an 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 a compound nominal predicate ("became ruddy" - reverse word order).
The presence of the author’s attitude to what is happening in the poem “Winter is angry for a reason” is obvious, but it is expressed not with the help of the first person (the author, as a lyrical hero, as it were), but with the help of other, already indicated, means. The author likes how the “beautiful child” “laughs”, how cheerful it is (“Spring and grief are not enough” - a phraseological unit that forms a metaphor in the context of the verse), not afraid of the cold (“washed itself in the snow”), how healthy and optimistic it is ( "And she only blushed in defiance of the enemy." All the author's sympathies are on the side of Spring.
Thus, the glorification of Spring became a glorification of ebullient energy, youth, courage, freshness, and the energy of iambic trimeter fit here perfectly.
Winter by other authors
In Russian landscape lyrics, it is unlikely that such a description of Winter will ever be found: winter, as a rule, in Russian folk songs and in literary adaptations of folklore, is a hero, although sometimes harsh, but positive, not negative. They wait for her, they greet her, they lovingly poetize her:
"...Hello, winter guest!
We ask for mercy
Sing songs of the north
Through forests and steppes."
(I. Nikitin)
"Winter sings and echoes,
The shaggy forest lulls
The ringing sound 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:
"Enchantress Winter"
Bewitched, the forest stands. "
However, if before Winter was characterized by Tyutchev as a “witch,” then she turned into a “sorceress” or “witch.” Actually, all these three words - witch, sorceress, sorceress - are synonyms. True, in our minds the word “enchantment” is associated with some kind of magical, enchanting 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 (remember that only when creating lyrical works did the poet give preference to the Russian language), Tyutchev introduced Western European rather than Russian poetics into the winter theme , but in this way he enriched Russian poetry, introduced his own, Tyutchev’s, shade into poems about nature.
Analysis of poem No. 4
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 his 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, it is the early work of this poet that can boast of an abundance of works related to landscape lyric poetry. Among them is the poem “Winter is angry for a reason...”, 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 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, but winter still doesn’t want to go away. Naturally, the required 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, but 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 tenacity, not wanting to so easily give up previously won positions, she is “angry”, “still fussing” and hopes to turn back time. 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, revitalize forests and fill the air with an amazing aroma. The poet compares her to a beautiful child who has the magical gift of transforming the world around her. Winter is depicted by Tyutchev as an angry and grumpy old woman who tries to maintain her power in any way and even goes so far as to throw snow at her rival. But this trick does not help, since spring “only became blush in defiance of the enemy.”
“It’s not for nothing that winter is angry,” analysis of Tyutchev’s poem
Landscape lyrics have always been common among Russian poets. The beauty of our nature, the change of seasons, unpredictability climatic conditions- anything could become the object of depiction in a poem. But Russian poetry would not be truly Russian poetry if it did not use personification - a trope with the help of which nature is endowed with the properties of a living being, in particular a person. Obviously, these are echoes of the beliefs of the ancient Slavs, who believed that everything around was inhabited by spirits, good and evil. These are goblins, brownies, mermaids, and many other lower deities.
However, poets who sensitively perceive reality, who are able to convey the most subtle nuances of the relationship between man and nature, nevertheless depicted and depict it as an integral living organism. For example, Fyodor Ivanovich Tyutchev expressed his attitude towards nature this way:
She has a soul, she has freedom,
It has love, it has language.
Naturally, after reading such lines, there is a strong belief that nature is a kind of organism that lives according to its own laws, the understanding of which is beyond our ability. And I want to understand them, as they say, I want to unravel all the secrets of nature.
The poem “Winter is angry for a reason.” F.I. Tyutchev is well known to every schoolchild. Firstly, because thanks to iambic trimeter and cross-female and masculine rhyme, it is easy to remember. Secondly, very colorful images of the main characters appear in the poem: "evil witch" Winters and "beautiful child" Spring. Author's use capital letter in the names of the heroines, of course, immediately evokes an association with a fairy tale, and the fairy tale is close and familiar to every person, because “we all come from childhood.”
So, the poem is built on contrast: Winter is angry, and Spring laughs, "The evil witch went mad". A "Spring and grief are not enough". Of course, Winter and Spring compete, and in the end they part as enemies. But the battle itself is unfolding before our eyes, because the use large quantity verbs in the present tense form evokes a feeling of involvement in what is happening: "angry". "knocking". "drives". "busy". "laughs". "makes noise". All these words, which also use alliteration (onomatopoeia), create a score of spring dissonance, when we hear the sounds of drops, the chirping of birds returning from the south, and the chirping of larks in the sky. Now the poem resembles a hymn because it glorifies spring - the time of renewal, the birth of a new life.
After reading such a poem, causeless joy suddenly arises. Maybe because it's Spring "laughs" And "makes noise". Or because she "became blushing". after all, happy, joyful children always evoke a feeling of tenderness and a desire to kiss a flushed cheek "lovely child". Of course, the author also sympathizes with Spring. Although she "drives out of the yard" old woman-winter, but does it, as they say, legally, because "her time has come". But Winter behaves very rudely. At first he gets angry, grumbles like an old man, but then moves on to decisive action: "pissed off" and even threw snow at her young rival as a farewell. Therefore, there is no traditional philosophical elegiac motif: they say, it’s time for me to smolder, for you to bloom. No, only joy and triumph of victory sounds.
So, thanks to the abundance of tropes, in a small lyrical work the author manages to create a whole kaleidoscope of events, although eventfulness is not typical for lyric poetry as a type of literature. However, with the help of this poem, the poet evokes a strong belief that spring will definitely come, and every person will have a chance to look at the world in a new way, somehow differently, to change something in their life.
Analysis of the poem “Winter is angry for good reason” for 5th grade
Tyutchev's lyrics are particularly diverse and unique. It is permeated with the deepest philosophical meaning: both in the descriptions of nature and in the themes of love and homeland. The lyricism of nature is the greatest artistic achievement of Fyodor Tyutchev. He perfectly manages to convey the movement and dynamism of the landscape. Tyutchev’s unique and living nature has its own images - it is an organism that feels, thinks, has its own voice, its own preferences.
Each poem of the poet is imbued with the mystery of nature, which is jealously hidden from the eyes of the uninitiated. The poetics of spring carries within itself an Edenic, pristine freshness. The image of spring in Tyutchev’s works is always pristinely pure and beautiful. If autumn is filled with earthly motifs and emptiness, being the personification of eternity, then spring is the time great hopes, new life, time of awakening from hibernation. The spring muse is always associated with a bright future.
Tyutchev's nature is forever young, like spring itself. Winter does not threaten her with aging. In his poems, the poet expressed the triumph of spring as eternal youth. Tyutchev dedicated several of his poems to her in the 30s: “ Spring waters", "Napoleon's Tomb", " Spring thunderstorm", "Spring", "Winter is angry for a reason." The optimism of poetry affirms a wonderful future, personified by the coming spring. The poet’s worldview reflects the thirst for life and pure love, which are embodied in the life-affirming jubilation of the lines “ Spring Waters" and "Spring Thunderstorm".
In the poem “It’s not for nothing that Winter is angry...” the poet masterfully depicted the last battle of winter and spring. Winter is a decrepit old woman who is angry, “still fussing,” grumbling, delaying the end of the time allotted to her. Spring is young, mischievous, cheerful girl who drives the evil old woman out of the yard, laughing in her eyes. This is not just a bright and imaginative description of winter and spring. This is the victory of life over death, wonderful time updates. This poem is a hymn to eternal youth.
Tyutchev's lines about spring masterfully imitate the overflow of bubbling spring streams and the singing of birds. Tyutchev humanized nature in a way that perhaps none of his predecessors could. Birches are waiting, the pond is dreaming, flowers are smiling, thunder is playing and laughing. Streams are messengers, trumpeting to all ends about the arrival of the new, about the replacement of the dilapidated, old and mossy with the ever-renewing unique world that brings the youth of the coming spring.
In the poem by F.I. Tyutchev “Winter is angry for good reason...” in a fabulous, allegorical form, early spring. This poem is very joyful, the poet wants to convey the feeling of happiness that winter will soon end and spring will come.
The poet describes the change of seasons and changes in nature, as if in a fairy tale, he gives winter and spring the characteristics of people. Tyutchev portrays winter as an evil character: “The evil witch has gone mad...” The image of an angry old woman immediately appears in our imagination. The author uses words that characterize Winter as an evil creature: “grumbles,” “angry,” “enemy.”
Spring is depicted as a very young girl: she “laughs,” “makes noise,” “a beautiful child.” It’s as if she’s playing rather than fighting with Winter. Even the snow that Winter threw at her did not upset or frighten Spring: “Spring and grief are not enough...” She behaves like a playful child.
The entire poem is based on personification: Winter and Spring are depicted as an old woman and a girl. The author even capitalizes words like names. In addition, the author uses metaphors: “they raised the ringing bell,” “she washed her face in the snow,” “she became blushing.”
It seems to me that F.I. Tyutchev loved spring very much, that’s why he depicted it so joyfully and sympathetically. I also love spring, and I really liked this poem.
Listen to Tyutchev’s poem It’s not for nothing that Winter is angry
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