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« Native nature in the works of Russian writers"
(for children of younger and middle age)
Vurnary, 2013
The nature of our Motherland is rich and diverse. There are many dense forests, wide steppes and deep rivers in it.
Since ancient times, man and nature have been closely interconnected. Man is part of nature. But plants and animals are also parts of nature. Nature is our common home. In Greek, “house” is “ekos”, and science is “logos”. The science of nature, our common home is called "ecology".
Today our natural home is in great danger. Scientists are alarmed about the impending ecological catastrophe on our planet.
Careless and irrational use of natural resources has led to the fact that nature is getting poorer, many plants and animals disappear, birds and insects die. It seems that everyone has forgotten that man cannot exist outside of nature. After all, he lives on earth, eats its fruits, breathes air, drinks water. And at the same time, he cares so little about the preservation of his habitat! I would like to recall that in ancient times people were very careful about nature. We can judge this by the fairy tales, myths, legends that have come down to us.
Bazhov, P. Malachite Box: Tales. - M., 2005. - 224 p.
The Malachite Box is a collection of tales about hard work at mining plants, about the joy of creativity, about caring for nature. The book will introduce you, guys, to ordinary earthly people, such as Danila the master, the old man Kokovanya, the girl Darenka. And next to them are fairy-tale characters - the mistress of the Copper Mountain, Veliky Poloz, Ognevushka-Poskakushka.
Bianchi, V. Forest newspaper. Tales and stories. – M., 2009.- 444 p.
At the heart of all forest tales, short stories and short stories by Vitaliy Bianchi are based on his own scientific observations on the life of the forest and its inhabitants. It is impossible not to fall in love with the cute furry and feathered heroes of Vitaly Bianchi when he talks about their habits, dexterity, cunning, ability to escape and hide. With excitement, we follow the adventures of the little traveler Peak from the story "Mouse Peak", we get acquainted with the poor ant, who, by all means, needs to get home before sunset. We are waiting for the strong and dexterous elk Odinets, making his way through the thickets, to silently emerge from the thicket.
And in the fairy tale "The Owl" by V. Bianchi, he very simply and clearly shows the dependence of one phenomenon in nature on another. In a simple chain of facts: owl - field mice - bumblebees - clover pollination, the meaning of a complex relationship between organisms is revealed to you.
Mamin-Sibiryak D.N. Gray neck. Fairy tale and stories. - M., 2005. - 223 p.
It is impossible not to fall in love with the heroes of Mamin's stories - the Siberian: they are good-natured, hardworking, responsive to other people's suffering. Before the reader of the works of D.N. Mamin - Sibiryak, a picture of the majestic Ural nature is revealed, with its dense forests, winding rivers, quiet lakes and countless animals, birds, fish; the big human soul of a simple worker, an ordinary Russian person, who managed to make animals his friends and helpers with care and love, is revealed.
Paustovsky K. hare paws: Stories and tales. - M., 2008. - 188s.
The imagery and magic of the Russian language are in an elusive way connected with nature, with the muttering of springs, a flock of cranes, with fading sunsets; the distant song of the girls in the meadows and the haze of a fire pulling from afar.
He truly has an extraordinary gift to convey the sounds, colors and smells of nature, to draw a mysterious and captivating world.
Permyak E.A. Russian fairy tales about nature. - M., 2006. - 62 p.
Fiction, bold fantasy in the tales of Evgeny Permyak is real, practically justified, as close to life as possible. Heroes of fairy tales do not seek help from magical forces. Inquisitive knowledge, labor wins. In his scientific and cognitive fairy tales and fairy tales, the writer affirms the triumph of the human mind, shows how folk fantasy, a bright, unrealizable dream in the past about the triumph of goodness and justice, about the happiness of a working person, becomes a reality in our days, a dream embodied in our country.
Based on the fabulous traditions of Russian folk poetry, the writer breathed new, modern content into this traditional genre.
Prishvin M.M. The pantry of the sun. Stories about nature. – M., 2010.- 169 p. .
Prishvin M.M. - hunter and traveller. He traveled a lot around the country, wandered a lot with a hunting rifle, then with a camera through the Central Russian forests and fields.
Mikhail Mikhailovich Prishvin left a huge wealth in the form of short stories describing native nature in prose in all its manifestations, in all its glory, left in the form of the most ordinary brief notes about nature. M. M. Prishvin’s short stories about nature are rather more miniatures of nature, small descriptions of those observations, those sensations and feelings from walks that plants, trees and small inhabitants of the forest left in his heart. Mikhail Mikhailovich recorded interesting events from the life of the forest in the form of small sketches. So he shared those feelings that nature shared with him.
Skrebitsky G.A. Forest echo. - M., 2005. - 150 p.
Skrebitsky G.A. Unknown paths. - M., 2002. - 140 p.
From the book "Unknown Paths" young readers will learn how interesting the life of any, even the most ordinary animals, teaches us to understand and love our fabulously rich native nature.
The book "Forest Echo" includes stories about the first steps of the future naturalist, and the idea is given how important it is to take care of natural resources from an early age.
Sladkov N.I. forest secrets: stories and fairy tales. M., 2007. - 397 p.
The remarkable Russian writer N.I. Sladkov devoted all his work to nature. In his stories and fairy tales, Nikolai Ivanovich writes about how beautiful and unique the life of nature is, about the riddles that she makes to people about the endless diversity of the world around us. “Each clearing in the forest,” he said, every lowland and hillock is not just a clearing, lowland and hillock, but a place of agreement. Plants and animals living on them live in harmony, favorably influencing each other.
Tolstoy L.N. Fairy tales. - M., 2002. - 99 p.
Fairy tales created by Leo Tolstoy often have a scientific and educational character. Animation of objects, a magical fairy-tale form help to assimilate geographical concepts: “Shat Ivanovich did not listen to his father, lost his way and disappeared. And Don Ivanovich listened to his father and went where his father ordered. But he went through all of Russia and became famous ”(“ Shat and Don ”).
The tale “Volga and Vazuza” is very interesting, which teaches you to reason and draw the right conclusions. In them, the writer sought to give accessible information about the laws of nature, advised how to practically use these laws in peasant life and household: “There is a worm, it is yellow, it eats a leaf. From the worm of that silk. “The swarm sat on a bush. Uncle took it off, took it to the hive. And he had a whole year of white honey. “Listen to me, my dog: bark at the thief, don’t let us into the house, but don’t scare the children and play with them.” “The girl caught a dragonfly and wanted to tear her legs. Father said: these same dragonflies sing at dawn. The girl remembered their songs and let them go.
Ushinsky K.D. Rogue cat. Stories and fairy tales. – M., 2009.- 63 p.
Wonderful, bright, figurative language Konstantin Dmitrievich talks about the delights of nature. Reading his stories, you yourself become richer, and you yourself understand more clearly how much beauty is around you on earth.
K. Ushinsky owns the enormous wealth of the Russian language, he knows its beauty, he knows how to find the exact word, visible, tangible, "his own word." Therefore, his prose sounds like a song.
Chaplina V.V. My pets. - M., 2008. - 188 p.
In the book "My Pets" by the wonderful writer Chaplina V.V. tells about the habits of animals and the friendship of man and beast. The stories "Funny Bear", "Spoiled Vacation", "Puska", "How good!" - are full of comical situations that sometimes happen to us when we get to know the "charming" animals better. What the animals do at the same time can easily piss off even a very calm person, and Vera Chaplina talks about it witty, but without mockery. It can be seen that the writer herself has repeatedly found herself in such situations, and that the people whom she shows confused and angry, despite everything, are able to maintain a kind, human attitude towards their little “tormentors”. It seems that Vera Chaplin is no longer telling some stories, but simply helps to notice and make out our not always noticeable four-legged and winged neighbors.
Dear Guys!
We need to remember how much joy the world around us gives us: a blossoming bud, the rustle of rain, the radiance of the sun, the greenery of foliage, and how can one not love and cherish this? It is necessary to protect nature not because it is “our wealth”, but because it is valuable in itself, a person cannot exist without a natural environment, but nature without a person can. ... writers, writers- classics about native nature, children, about animals. Artworks domestic ...
The work program in the Russian language for grade 6 was compiled using materials from the Federal State Standard for Basic General Education (fgos: basic general education / / fgos.
Working programmStudied works Russian folklore and folklore of other peoples, ancient Russian literature, literature of the 18th century, Russians writers... one of the valuable qualities of a person. native nature in Russian poetry of the XX century A. Blok. "Summer...
M. M. Dunaev Faith in the crucible of doubt Orthodoxy and Russian literature in the 17th and 20th centuries
LiteratureSelenia, This meager nature- Edge native longsuffering, you are the end Russian people! But Tyutchev ..., gradually fill the space of many, many works Russians writers- with a sharp polarization in the assessment of revolutionary activity ...
Larisa Salomatina nature has no bad weather
Document... ". And what works writer did you read? Children call works. - Mamin-Siberian was very fond of native nature. Listen ... figuratively and expressively, taking as a model works Russians writers-classics. But our task is...
At the end of the 19th century, stories and short stories became widespread in Russian literature, replacing the novels of Turgenev, Dostoevsky, Tolstoy. Actively used the form short work and A.P. Chekhov. The limited scope of the narrative required a new approach to the word from the writer. In the fabric of the novel there was no place for multi-page descriptions, lengthy reasoning that reveals the author's position. In this regard, the choice of details, including the details of the landscape, which has not disappeared from the pages of even the smallest sketches of a mature Chekhov, is extremely important.
The depiction of life could not be complete without descriptions of nature, but this is not the only reason for the author's use of them. The landscape creates an emotional background against which the action unfolds, emphasizes psychological condition characters, gives the stories a deeper meaning.
To describe nature, Chekhov uses simple and familiar signs, often limiting himself to only one or two phrases. So, for example, in the story “About Love”, the landscape is introduced only at the beginning of the story: “Now the gray sky and trees wet from the rain could be seen through the windows ...”, and at the very end: “... the rain stopped, and looked out Sun". But despite the stinginess visual means, each event turns out to be associated with specific seasons, days and weather, because nature always somehow correlates with the mood of Chekhov's heroes. The happiness of the teacher of literature from the story of the same name is connected in our perception with a “wonderfully good” summer, and the inner experiences of the hero of the story “Ionych”, Dr. Startsev, who is waiting for a date with Kotik, are inseparable from the night cemetery landscape.
A short stroke in the description of the state of nature can reverse the impression of the work, give additional meaning to individual facts, and place accents in a new way. Thus, the sun that has peeped out at the end of the already mentioned story “On Love” makes us gain hope for people to overcome their lack of freedom. Without this detail, the work would leave a feeling of the same hopelessness that lies in the words that conclude the story “Gooseberries”: “The rain was knocking on the windows all night.” The description of a “sad August night” in “The Mezzanine House” creates a premonition of something unkind, although at that moment we do not know that the still happy lovers will have to part. The picture of the monotonously and deafly noisy, indifferent sea, depicted in the story “The Lady with the Dog”, interrupts the reader’s train of thought, reminding “about higher purposes being, about ... human dignity”.
Keeping the traditional function of the landscape, which is necessary for revealing the characters' characters, Chekhov uses the method of parallel description of the nature and state of mind of the characters. When Nikitin, a teacher of literature, "felt an unpleasant aftertaste in his soul", "it was raining, it was dark and cold." The inconvenience of a cold dark forest with ice needles stretching through puddles corresponds to the dreary thoughts of the student Ivan Velikopolsky, while the view of his native village, illuminated by a crimson stripe of dawn, arises when the hero is seized by the “sweet expectation of happiness”. Soft moonlight responds to the quivering state of the already mentioned Startsev, warms up passion in him; the moon goes behind the clouds when he loses hope and his soul becomes dark and gloomy. The marvelous romantic landscape painted by the narrator of The House with a Mezzanine turns into a dreary view of the area, where instead of flowering rye and screaming quails, “cows and tangled horses” appear when “a sober, everyday mood has taken possession” of the hero.
In addition to deepening the psychological analysis, the landscape is necessary for a more figurative characterization of the environment in which events unfold. In the description of the scene of the story “Ward No. 6”, the forest of thistles and nettles, the tips of the nails sticking out of the fence remind of barbed wire, emphasize the similarity of the hospital with a prison, anticipating the story of a person’s lack of freedom.
Spiritual captivity, in which the heroes of many of Chekhov's stories are, is opposed by a sense of freedom generated by the images of native nature. The boundless landscape, evoking thoughts about the grandeur and beauty of the native land, in the story “Gooseberry” contrasts with the description of the limited world of Nikolai Ivanovich Chimshi-Himalayan. After describing the hustle and bustle of a stuffy and cramped life “in a case”, in which the whole city was immersed, intimidated by the ridiculous Belikov so that even the weather during his funeral forces everyone to be in galoshes and with umbrellas, in the story “The Man in the Case” suddenly, as a window to another world, a beautiful rural picture appears, bathed in moonlight, from which it breathes freshness and peace.
The landscape is full of life where there is a possibility of light in the dim whirl of everyday life. The sudden insight of a teacher of literature, who survived the rapture of “petty-bourgeois happiness”, is illuminated by the bright March sun and voiced by the noise of starlings in the garden, so there is hope that Nikitin’s flight from vulgarity will take place. The hero of the story “The Lady with the Dog” Gurov sees a lifeless landscape: “a fence, gray, long, with nails”, which reminds us of the fence from “Ward No. at home or in prison companies.” The shadow of the bars on the floor of Ward 6 reinforces the feeling of the hopelessness of Dr. Ratin's situation; but when death breaks the nets that have entangled his mind and will, “a herd of deer, unusually beautiful and graceful,” flashes before the eyes of the dying person, personifying a breakthrough into another reality.
Death triumphs over life in the story “The Black Monk”, in which the landscape has a special meaning. The death of the Pesotsky garden, which serves as a symbol of a full-blooded, multicolored life, emphasizes the horror of the world, which allows only a madman to be happy. Against the background of the natural beauty of the pictures of Russian nature that permeate the narrative, the thoughts of master Kovrin, possessed by megalomania, seem even crazier; and the tangible concreteness of every detail of the description, whether it be a path in the rye, a river at sunset, or bare tree roots, contrasts with the abstraction of the black ghost.
In the use of the landscape, Chekhov's attitude towards his heroes is manifested. Belikov never appears against the backdrop of nature. Nikolai Ivanovich Chimshu-Gimalayan is surrounded by “ditches, fences, hedges”. These are people who have lost their human form. While a spark was glimmering in Dr. Startsev's soul, the story of his life was accompanied by descriptions of nature; the author even gave him his favorite maple tree in the garden. Ionych, who looks like a pagan god, is no longer worth such a gift. The more alive the soul, the more consonant it is with the essence of nature. The Volchaninov sisters, the heroines of the story “A House with a Mezzanine,” are organically inscribed in the landscape of the old estate, as attractive to the author as the narrator who saw them, who turned out to be a landscape painter. Ivan Ivanovich bathing in the rain is inseparable from the landscape in the story “Gooseberry”, the unity of which
horn with nature is emphasized by the movement of white lilies swaying on the waves emanating from it. This hero is entrusted with expressing the thoughts closest to the author.
Ivan Ivanovich, Burkin - good people. The calm realistic landscapes seen by their eyes always remind of beauty. The soul on a moonlit night is “mild, sad, beautiful, and it seems that the stars look at it kindly and with tenderness, and that there is no longer evil on earth and everything is fine” (“The Man in the Case”). “Now, in calm weather, when all nature seemed meek and thoughtful, Ivan Ivanovich and Burkin were imbued with love for this field, and both thought about how great, how beautiful this country is” (“Gooseberry”), “Burkin and Ivan Ivanych went out onto the balcony; from here was beautiful view on the garden and on the stretch, which now shone in the sun like a mirror” (“On Love”). The patient, seized with fear Kovrin, sees a restless impressionistic landscape: “The bay, as if alive, looked at him with many blue, blue, turquoise and fiery eyes and beckoned to itself” (“The Black Monk”). Nikitin, who has lost his sober worldview, dreams of something surreal: “Here I saw oaks and crows' nests that looked like hats. One nest swayed, Shebaldin looked out of it and shouted loudly: “You haven’t read Lessing!” (“Teacher of Literature”). The idle gaze of the artist, the guest of the Volchaninovs, reveals romantic landscapes reminiscent of the gallant painting of the 18th century. The aesthetic Ryabovsky draws a meaningful symbolic landscape: “... black shadows on the water are not shadows, but a dream, ... in view of this magical water with a fantastic brilliance, in view of the bottomless sky and sad, thoughtful shores, speaking of the vanity of our life and about the existence of something higher, eternal, blissful, it would be good to forget, to die, to become a memory ”(“ Jumper ”).
Symbolism is also characteristic of Chekhov's landscape, but there is no pathos and edification of Ryabovsky in it. In the writer's stories, the words "garden", "rain", "moon", "morning", "autumn", "spring" and others are needed not only to indicate the place and time of action or weather. These are symbols that allow filling the works with a deep philosophical meaning. Let's take a closer look at some of these landscape details.
One of the cross-cutting images of Chekhov's work is rain - a symbol of the hopelessness of everyday life, the impossibility of true happiness. The incessant rain, with conversations about which the story "Darling" begins, is just as monotonous and boring as the entrepreneur Kukin, whose face does not leave the expression of despair even on the day of a happy wedding. It is raining when the literature teacher Nikitin begins to realize the imaginary happiness that he has inherited. The view of the gray sky and wet trees precedes the story of the hero of the story "About Love" Alekhine about a life in which happiness is incompatible with decency. Noise until ^kdya is accompanied by a description of the ugly happiness of the landowner Chimshi-Gimalayan, achieved at the cost of losing a living soul. Rainy weather overshadows the day of the funeral of Belikov, who became a dead man during his lifetime. At the same time, the intelligent, philosophically minded Ivan Ivanovich, who knows how to resist the routine of the narrow-minded, with pleasure exposes his face to the rain.
The image of the garden is also constantly present in Chekhov's stories. It is a symbol of goodness, beauty, humanity, meaningfulness of existence. The garden is full of the music of happiness, it is a haven for lovers, where even tulips and irises ask “to declare their love with them” (“Teacher of Literature”). Nikitin and Manyusya, Kovrin and Tanya, the Artist and Misya, Startsev and Ekaterina Ivanovna meet in the gardens when their souls are filled with pure, sincere feeling. The garden is responsive to the state of mind of the characters and affects their mood. Tired, with shattered nerves, Kovrin finds himself in a cold garden, covered in acrid smoke; but “the sun rose and brightly illuminated the garden”, and “a joyful feeling stirred in his chest, which he experienced in childhood when he ran through this garden” (“The Black Monk”). The garden requires constant care, so it also symbolizes work, movement, the inextricable link between generations: “But what made the garden most fun and gave it a lively look was constant movement. From early morning until evening, near the trees, bushes, in the alleys and flowerbeds, like ants, people swarm with wheelbarrows, hoes, watering cans ... ”(“ The Black Monk ”). In general, a garden is an ideal of a full-fledged being: “When a green garden, still wet from dew, is all shining from the sun and seems happy, ... then I want my whole life to be like that” (“A House with a Mezzanine”). Therefore, the death of the garden always symbolizes death.
The moon is traditionally considered a symbol of death. Moonlight floods many of Chekhov's landscapes, filling them with a sad mood, peace, tranquility and stillness, similar to what death brings. The story of Belikov's death is followed by a description of a field that is visible to the horizon; "and in the full extent of this field, flooded with moonlight; no movement, no sound." Kovrin, shortly before his death, admiring the bay filled with moonlight, is amazed at the harmony of colors, peaceful, calm and high mood. The moon illuminates the cold corpse of Dr. Ratin, a prisoner of ward No. 6. But the idea of the relationship between the moon and death is most clearly expressed in the story “Ionych”, when Startsev sees the cemetery “world, where the moonlight is so good and soft, as if its cradle is here”, where “breathes forgiveness, sadness and peace.”
The moon is a multi-valued symbol. Reflected in the water, it causes a surge of dark passion in the soul, changes the worldview, darkens the mind. In the dusk, the Black Monk appears in front of Kovrin on the banks of the river, and his “pale, terribly pale, thin face” could turn out to be the moon peeking out from behind the clouds. If the garden was a symbol of bright, uplifting love, then the moon pushes to a forbidden feeling, encourages infidelity. In the story “The Lady with the Dog,” Gurov and Anna Sergeevna take their first steps towards each other, marveling at the unusual lilac sea with a golden stripe running along it from the moon. Olga Ivanovna from the story “The Jumper”, enchanted by “moonlight”, turquoise color"Water like she's never seen before," decides to cheat on her husband. Inexperienced Anya, the heroine of the story "Anna on the Neck", takes the first step on the path of a spoiled coquette when "the moon was reflected in the pond." Erotic fantasies take possession of Startsev’s excited moonlight: “... it was no longer pieces of marble that were whitening before him, but beautiful bodies, he saw forms that bashfully hid in the shade of trees, felt warmth, and this languor became painful ...” (“Ionych ”).
So simply, naturally, laconicly, Chekhov draws landscapes in his stories, not only constituting a single and harmonious image of the Russian land, but also enriching the works with an inexhaustible depth of meaning.
Poetics of nature in the works of I.S. Turgenev
In the last decade, ecology has experienced an unprecedented flourishing, becoming an increasingly important science, closely interacting with biology, natural history, and geography. Now the word "ecology" is found in all the media. And for more than a decade, the problems of interaction between nature and human society have been of concern not only to scientists, but also to writers.
The unique beauty of native nature at all times encouraged to take up the pen. How many writers in verse and prose have sung this beauty!
In their works, they not only admire, but also make you think, warn about what unreasonable things can lead to. consumer attitude to nature.
The legacy of 19th century literature is great. The writings of the classics reflect character traits interactions of nature and man inherent in the past era. It is difficult to imagine the poetry of Pushkin, Lermontov, Nekrasov, novels and stories of Turgenev, Gogol, Tolstoy, Chekhov without describing the pictures of Russian nature. The works of these and other authors reveal the diversity of the nature of their native land, help to find in it the beautiful sides of the human soul.
Realism, established in literature as a way of depicting reality, largely determined the methods of creating a landscape and the principles for introducing the image of nature in the text of a work. Turgenev introduces descriptions of nature into his works, diverse in content and construction: this and General characteristics nature, and types of terrain, and landscapes proper. The author's attention to the description of nature as an arena and an object of labor becomes more and more intent. In addition to expanded, generalized paintings, Turgenev also resorts to the so-called landscape touches, brief references to nature, forcing the reader to mentally complete the description conceived by the author. Creating landscapes, the artist depicts nature in all the complexity of the processes that take place in it, and in diverse connections with man. Turgenev describes the characteristic landscapes of Russia, his landscapes are extremely realistic and materialistic. It is also noteworthy that for the Russian classic it was important to saturate nature descriptions with vivid emotions, as a result of which they acquired a lyrical coloring and a subjective character.
When creating a landscape, I.S. Turgenev was also guided by his own philosophical views on nature and human relations to it.
In the monograph "Nature and Man in Russian Literature of the 19th Century" V.A. Nikolsky rightly notes: “... Turgenev declares ... the independence of nature from human history, the non-social nature of nature and its forces. Nature is eternal and unchanging. It is opposed by a person who is also considered outside the specific historical conditions of his existence. An antinomy arises: man and nature, requiring their permission. With it they connect the questions that tormented them: about the infinite and the finite, about free will and necessity, about the general and the particular, about happiness and duty, about the harmonious and disharmonious; questions inevitable for everyone who was looking for ways of rapprochement with the people "Nikolsky V.A. Nature and Man in Russian Literature of the 19th Century. - M. 1973, - S. 98 ..
The creative individuality of the writer, the peculiarities of his poetic worldview are reflected with particular force in the depiction of nature.
The embodiment of nature in the creative heritage of I.S. Turgenev acts as a harmonic, independent and dominant force, influencing a person. At the same time, the orientation of the writer to the Pushkin and Gogol traditions is felt. Turgenev conveys through landscape sketches his love for nature, the desire to enter its world. In addition, many of the writer's works are full of emotional expression of landscape descriptions.
The landscape in Turgenev's works is not only a background for the development of the action, but one of the main means of characterizing the characters. The philosophy of nature most fully reveals the features of the worldview and artistic system of the author. Turgenev perceives nature as "indifferent", "imperious", "selfish", "suppressing" Turgenev I.S. Full coll. op. and letters. Letters, vol. 1, 1961, - S. 481 .. Turgenev's nature is simple, open in its reality and naturalness, and infinitely complex in the manifestation of mysterious, spontaneous, often hostile forces. However, in happy moments it is for a person a source of joy, vivacity, heights of spirit and consciousness.
Ivan Sergeevich Turgenev in his work expressed his attitude to nature as the soul of Russia. Man and the world of nature in the works of the writer act in unity, regardless of whether the steppes, animals, forests or rivers are depicted.
Turgenev has the finest poeticization of nature, which is expressed in his view of it as an artist. Turgenev is a master of halftones, a dynamic, soulful lyrical landscape. The main tone of the Turgenev landscape, as in the works of painting, is usually created by lighting. The writer captures the life of nature in the alternation of light and shadow, and in this movement he notes the similarity with the changeable mood of the characters. The function of the landscape in Turgenev's novels is ambiguous, it often acquires a generalized, symbolic sound and characterizes not only the hero's transition from one state of mind to another, but also turning points in the development of the action (for example, the scene at Avdyukhin's pond in "Rudin", a thunderstorm in "On the Eve " and etc.). This tradition was continued by L. Tolstoy, Korolenko, Chekhov.
Turgenev's landscape is dynamic, it is related to the subjective states of the author and his hero. It is almost always refracted in their mood.
Nature in the works of Turgenev is always poeticized. It is colored by a sense of deep lyricism. Ivan Sergeevich inherited this trait from Pushkin, this amazing ability to extract poetry from any prosaic phenomenon and fact; everything that at first glance may seem gray and banal, under the pen of Turgenev acquires a lyrical coloring and picturesqueness.
In the work of Ivan Sergeevich Turgenev himself, nature is the soul of Russia. In the works of this writer, the unity of man and the natural world is traced, whether it be an animal, forest, river or steppe. This is well shown in the stories that make up the famous "Notes of a Hunter".
In the story "Bezhin Meadow" the lost hunter not only experiences fear along with the dog, but also feels guilty before the tired animal. The Turgenev hunter is very sensitive to manifestations of mutual kinship and communication between man and animal.
The story "Bezhin Meadow" is dedicated to Russian nature. At the beginning of the story, the features of the change in nature during one July day are depicted. Then we see the onset of evening, the sunset. Tired hunters and the dog go astray, feel lost. The life of nocturnal nature is mysterious, in front of which man is not omnipotent. But Turgenev's night is not only creepy and mysterious, it is also beautiful with a "dark and clear sky" that stands "solemnly and high" above people. Turgenev night spiritually liberates a person, disturbs his imagination with the endless mysteries of the universe: “I looked around: the night stood solemnly and regally ... Countless golden stars seemed to quietly flow all, vying with each other, flickering, in the direction of the Milky Way, and, right, looking at them, as if you yourself vaguely felt the impetuous, unstoppable run of the earth ... ".
The nature of the night leads children around the fire to beautiful, fantastic stories of legends, offers one riddle after another, and she herself tells their possible solution. The story about the mermaid is preceded by the rustling of reeds and mysterious splashes on the river, the flight of a shooting star (according to the peasant beliefs of the human soul). Night nature responds to the laughter and crying of the mermaid in Turgenev’s story: “Everyone was silent. Suddenly, somewhere in the distance, there was a drawn-out, ringing, almost groaning sound ... It seemed that someone shouted for a long, long time under the very sky, someone then another seemed to respond to him in the forest with a thin, sharp laugh, and a weak, hissing whistle rushed along the river.
Explaining the mysterious phenomena of nature, peasant children cannot get rid of the impressions of the world around them. From mythical creatures, mermaids, brownies at the beginning of the story, the children's imagination switches to the fate of people, to the drowned boy Vasya, the unfortunate Akulina, etc. ... Nature disturbs the thought of a person with its riddles, makes you feel the relativity of any discoveries, clues to its secrets. She humbles the forces of man, demanding recognition of her superiority.
This is how Turgenev's philosophy of nature is formed in the "Notes of a Hunter". Following short-term fears, the summer night brings people peaceful sleep and peace. Omnipotent in relation to man, the night itself is only a moment. "A fresh stream ran over my face. I opened my eyes: the morning was beginning ...".
One of the most important themes in the work of Russian poets is the theme of nature, which is closely connected with the theme of the Motherland. “Love for native nature is one of the most important signs of love for one’s country…” These are the words of the writer K. G. Paustovsky, an unsurpassed master of describing the Russian landscape, a writer whose heart was overflowing with tenderness and love for native nature.
Who can disagree with him? It is impossible to love the Motherland if you do not live in one soul with the life of your beloved birch. You cannot love the whole world if you do not have a Motherland. It is these ideas that are considered in the poems of such great poets as A. S. Pushkin, M. Yu. Lermontov, A. A. Fet, F. I. Tyutchev and many others.
As a true artist, Pushkin did not choose any special "poetic subjects", the source of his inspiration was life in all its manifestations. As a Russian person, Pushkin could not but be concerned about everything connected with the Motherland. He loved and understood his native nature. In each season, the poet found a special charm, but most of all he loved autumn and dedicated many lines to it. In the poem "Autumn" the poet wrote:
Sad time! Oh charm!
Your farewell beauty is pleasant to me -
I love the magnificent nature of wilting,
Forests clad in crimson and gold…
The poet's landscape is not an insensitive image, he is active, has his own symbolic meaning, its meaning. In the poem “On the hills of Georgia…” sadness shines through not only in the landscape, but also in the mood of the poet. He writes: “Night darkness lies on the hills of Georgia…”. These lines convey a romantic dream of a magical land. Pushkin depicts a world of strong passions and feelings.
Speaking about another great Russian poet, M. Yu. Lermontov, we should note that in the images of nature the poet sought and found, first of all, correspondence to his spiritual experiences. Infinitely loving the Russian people, his homeland, the author subtly felt the uniqueness of his native land. Nature in his poetry is a free romantic element. It is in it that for the poet lies the harmony and beauty of the surrounding world, the highest measure of justice and happiness.
So, for example, in the poem "Motherland" Lermontov reflects on his "strange love" for Russia, for nature. It consists in love for fields, forests, unpretentious landscapes, for a couple of “whitening birches”. In the poem “When the yellowing field is agitated ...” it is shown that native expanses, nature, as it were, heal the poet, he feels his unity with God:
Then the anxiety of my soul humbles itself,
Then the wrinkles on the forehead diverge,
And I can comprehend happiness on earth,
And in the sky I see God.
A special place in this topic is occupied by the poem "Morning in the Caucasus". The poet lovingly describes the stars, the moon, the clouds; A "wild veil" fog winds around the wooded mountains:
Here on the rock is a newborn ray
Blushed suddenly, cut through the clouds,
And pink along the river and tents
Spilled shine, and shines here and there.
We feel what a deep feeling, what sincere tenderness and love the "chains of blue mountains", "tops" evoke in the poet. They, like all Russian nature, were for Lermontov the embodiment of his Motherland. If you see all this at least once, it is impossible to forget these lands, the poet is sure. “Like a sweet song of the fatherland,” he fell in love with the Caucasus.
Poets II half of XIX centuries, too, often turned to images of nature. The poet-philosopher A. A. Fet is also known as the "singer of nature." Indeed, nature in his poems is captured subtly, the poet notices the slightest changes in her state:
Night light, night shadows,
Shadows without end
A series of magical changes
sweet face,
In smoky clouds purple roses,
reflection of amber,
And kisses, and tears,
And dawn, dawn!..
(“Whisper, timid breathing…”, 1850)
The poet in his work plays on every string of the soul, making them sound like beautiful music. Changes in the "sweet face" and changes in nature - such parallelism is typical of Fet's poems.
In Fet's poetry, nature is depicted in detail; in this sense, the poet can be called an innovator. Before Fet, generalization reigned in Russian poetry addressed to nature, but for Fet, the specific detail is important first of all. In his poems, we meet not only traditional birds with a familiar poetic halo - such as the nightingale, swan, lark, eagle - but also such simple and unpoetic ones as the owl, harrier, lapwing, swift. For example:
It is significant that we are dealing with an author who distinguishes birds by their voice and, moreover, notices where this bird is located. This, of course, is not just a consequence of a good knowledge of nature, but the poet's long-standing and thorough love for her.
Summarizing what has been said, we turn to the famous poem by F. I. Tyutchev "Not what you think, nature ...". It is an angry appeal to those who do not understand the divine essence of nature and do not hear its language. Tyutchev considered the rejection of nature as a special world with its own laws a sign of moral poverty and even ugliness. It is no coincidence that the images of nature occupied such an important place in the poet's lyrics (“There is in the initial autumn ...”, “How the ocean embraces the globe of the earth ...”, “Spring morning”).
So, true poems about the Motherland, about the nature of the native country always evoke a feeling of pride. They are always modern, as they are illuminated by the unfading light of true humanity, great love for it, for all life on Earth. We can say that some of the most beautiful are poems that touch on a topic that concerns us, and, in addition, the landscape is an integral part of all the lyrical works of Russian poets.
In no literature of the world, pictures of nature occupy such a significant place as in Russian. In our literature there are works where nature is the main character, determines the philosophical content of the work, let us recall Ostrovsky's "Thunderstorm" and "Forest", Chekhov's "Cherry Orchard", " Quiet Don» Sholokhov, “Spring Waters”, “Bezhin Meadow”, “Forest and Steppe” by Turgenev. The names themselves speak of the role of landscape in these works.
The theme of nature enters our literature with the romantic landscape of Zhukovsky. The poet endows nature with a soul like a man, animates it; like any romantic, he loves to dream in the bosom of nature, he sees in it the imprint of the Divine.
The evening died... the edges of the clouds faded,
The last ray of dawn on the towers is dying;
The last shining stream in the river
With the extinct sky is fading away.
Everything is quiet: the groves are sleeping, there is peace in the neighborhood.
Stretched out on the grass under the bowed willow,
I listen how it murmurs, merged with the river,
A stream overshadowed by bushes.
Pushkin in his work went a long way from romanticism to a realistic worldview. This can be traced and
by the nature of landscape sketches. Pushkin's work in southern exile, for example, is characterized by a romantic perception of nature. Nature is associated with the concept of freedom, beauty, greatness. Pushkin's romance is inspired by the sky, ocean, sea, mountains - the majestic, grandiose and at the same time exotic beauty of nature.
The daylight went out.
Fog fell on the blue evening sea.
Noise, noise, obedient sail.
Worry over me, gloomy ocean...
In contrast, the following verses come to mind:
See what it looks like here:
A row of miserable huts,
Behind them is black soil, flat slopes,
Above them there is a thick band of gray clouds...
Before us is a purely realistic, even social, landscape, characteristic of Russian art in the middle of the 19th century.
Nature for Lermontov is also a source of inspiration, this is the beauty that reconciles with life, its imperfection, variability, impermanence. In the poem “When the yellowing field is agitated”, we read how nature pacifies the poet, calms the heart irritated by petty vain life. Then, when the poet is one with nature, then he feels that life is beautiful:
Then the anxiety of my soul humbles itself,
Then the wrinkles on the forehead diverge, -
And I can comprehend happiness on earth, -
And in the sky I see God.
Lermontov has many poems that represent symbolic pictures of landscape sketches, which in fact are an intimate confession of the soul. These are "Three palm trees", "Leaf", "Cliff", "Pine", "Sail" and others.
But there was a wet mark in the wrinkle
Old Rock. Alone
He stands deep in thought
And he weeps softly in the desert.
And according to Tyutchev, man is the son of nature, nature has a soul, and its soul is cosmic. Nature and man are one. Both nature and man have two principles: elemental and rational - night and day, light and darkness, thunder and calm, gratitude and grumbling, and so on. A person feels both his greatness and his ghostliness, frailty before nature:
Nature does not know about the past.
Our ghostly years are alien to her.
And in front of her we are vaguely aware
Themselves only a dream of nature.
Tyutchev can talk a lot about the meaning and awareness of the theme of nature, and what has been said is only one facet of this topic.
I would like to dwell in more detail on the meaning and embodiment of this theme in the work of I. S. Turgenev.
Turgenev is a writer who sings of everything beautiful in man and nature. Moderation, harmony, grace, grace not only delight him, but are also a source of strength for life and the meaning of life. “Simplicity, calmness, clarity of lines” - these words belonging to Turgenev largely determine the views on nature. There is a lot of optimism in the "Notes of a Hunter" coming from admiration for the beauty of nature. And the man in Turgenev's stories is beautiful as a part of nature.
In the novel "Fathers and Sons" all scenes of love take place against the backdrop of a flowering garden. loving person beautiful, and it is always complemented by blooming, fragrant nature. Let's remember the window that opened in Odintsova's room and Bazarov's love impulse, let's remember Katya and Arkady's declaration of love, Fenechka with a bouquet of morning roses in the garden arbor, she herself looks like a rose. The beauty of a woman is akin to the beauty of nature, inseparable from it, and precisely because of this, she has the right to life, respect and delight.
In Turgenev, the character of a man is determined through his attitude towards a woman, through the ability to love and feel her. This skill is, as it were, a tuning fork of talent and decency of nature, its merits.
The same can be said about nature. Nature is a philosophical category. The feeling of nature determines the character. A person who does not feel her beauty, significance, his unity with her is flawed, lonely, limited, unviable. That's also why Bazarov is dying.
To understand the philosophical concept of the novel, the epilogue, the description of Bazarov's grave, the image of flowers on the grave is very important. Turgenev argues with Pushkin's concept of indifferent nature. No, nature is not indifferent to life, but it is so majestic that all conflicts and claims of man, all his dramas seem temporary, insignificant, transient. It soothes, reconciles and introduces to eternity. She absorbs everyone and everyone, forgives and takes into her bosom. She is wise and all-forgiving for both rebellious and meek hearts. Like a mother... “No matter how passionate, sinful, rebellious the heart is hidden in the grave, the flowers growing on it serenely look at us with their innocent eyes: they tell us not only about eternal calmness, about that great calmness of “indifferent” nature ; they also speak of eternal reconciliation and endless life...”
