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 of the St. Petersburg Academy of Sciences (1857). Tyutchev's spiritually intense philosophical poetry 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 took an active part in its 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 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 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; some French poems its 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 beautiful child.
The words "Winter" and "Spring" are written as proper names, with capital letters, 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 close 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 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 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 Larks, which actually falls 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 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 feature 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; “went 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 comparative the adjective “blush” in a compound nominal predicate (“blush has become” - reverse word order).
4.
Presence 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 (remember that only when creating lyrical works the poet gave preference to the Russian language) Tyutchev introduced winter theme representations of Western European rather than Russian poetics, but in this way he enriched Russian poetry and introduced his own, Tyutchev’s, shade into poems about nature.
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.
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 the poem “Winter is angry for a reason, 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 man, he considered his literary creations to be fun and a way to escape from serious government affairs. He was forced to publish his poems by persistent requests from friends who highly appreciated the talent of the aspiring poet. Among these “light” sketches was the poem “It’s not for nothing that Winter is angry...” (1836), which Tyutchev included in a message to his comrade. It was never published during the poet's lifetime.
A distinctive feature of the work is its spontaneity and easy conversational style. The poet did not think at all about how the reading public would perceive him. He had no intention of showing the poem to anyone other than his friend. Subsequently, technology, complex images, and philosophical reflections appeared in the poet’s work. In the meantime, he was not bound by anything. His inspiration knew no bounds and flowed freely.
The poem is reminiscent of Russian folk tale. At least there is a confrontation between good and evil in the images of Spring and Winter. It is no coincidence that Tyutchev names the seasons in capital letters. Before us are the living magical characters exhibiting ordinary human feelings and experiencing human sensations. The author “revitalizes” the world with the help of numerous personifications (“angry”, “laughs”, “fussing”).
The fairy tale is woven into life thanks to the appearance of larks, which with good reason Spring and Winter enter into a struggle. This struggle personifies the first signs of the awakening of nature, the troubles of winter - night frosts and cold winds, and the laughter of spring - the spring murmur of streams and the singing of birds. Tyutchev describes the final snowfall very figuratively. Defeated Winter throws a handful of snow at the “beautiful child”. But this hopeless last attempt comes to nothing. The last snow quickly melts, allowing Spring to wash itself and become even more beautiful.
“It’s not for nothing that winter is angry...” is a wonderful example of Tyutchev’s landscape lyrics, not yet constrained by critical remarks poetic world. It does not carry any semantic load, so 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.
Reading the poem “Winter is angry for a reason” by Fyodor Ivanovich Tyutchev is like plunging into a beautiful pre-spring time, when everything around seems delightful. The work was written in 1936, but it was published only after the death of the author. Such romantic trends in the poet’s work began to appear after he moved abroad. There he not only became interested in literature, but also had the opportunity to communicate with famous authors. Inspired by their work, Tyutchev wrote this lyrical landscape work, which he sent to his friend as a sketch. He published infrequently, and he did so under different pseudonyms, because he believed that it was not appropriate for a diplomat to advertise his creative efforts.
The poem is written in simple speech. Perhaps with this style the author was trying to connect it with childhood memories. Exactly at teenage years The changing seasons are felt most acutely. And the poet managed to describe this event as accurately as possible. That time when spring has not yet come into its own, but no longer allows winter to triumph on the throne; that wonderful anticipation of something bright and new. Snowy time appears in the form of a grumpy old woman who does not want to give up her place beautiful child. This has an echo of the philosophy of life, because everything comes to an end, and something new comes to replace it.
The text of Tyutchev’s poem “Winter is angry for a reason” excites the mind. He immerses you in thoughts about the transience of life, in which the seasons replace each other so fleetingly that, at times, you do not notice their passing. However, it is here that the author stops the reader’s gaze, forcing him to see this moment and remember it, as if it were something very important. Such a work should definitely be taught in literature classes in high school. You can download it or read it in full online on our website.
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 my face in the snow
And she only became blusher,
Against the enemy.
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 entirely based on personification. Winter and Spring are shown as living beings who fight for their rights. Tyutchev even writes the names of the seasons with a capital letter, 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.
It's happening before our eyes real battle. 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. She “in defiance of the enemy” 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.
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 of the St. Petersburg Academy of Sciences (1857). Tyutchev's spiritually intense philosophical poetry 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 took an active part in its 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 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 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; 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 all his life spoke almost exclusively in French, to his deepest impulses. creative thought could only be expressed 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. However, the indication of “the correspondence of Tyutchev’s talent with the life of the author,” made by Turgenev, remains indisputable: “... his poems do not smell like composition; they all seem written for a certain occasion, as Goethe wanted, that is, they are 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 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 close 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, so 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: the 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 powerful.” 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 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 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 of Winter is expressed with the help of the richest metaphors: “It’s not for nothing that Winter is angry,” “its time has passed,” Spring is knocking on the window and driving 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 each line. That is, the metaphor of spring is both each quatrain individually and the entire poem as a whole - 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; “went 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).
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 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.
5.
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 (let us remember that only when creating lyrical works did the poet give preference to the Russian language), Tyutchev most likely introduced into the winter theme ideas of Western European, not only Russian poetics, but in this way he enriched Russian poetry, introduced his own, Tyutchev’s, shade into poems about nature.
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.
