The role of nature descriptions in Turgenev's works. Female images in Turgenev's prose (based on the novel "The Nest of Nobles")

Introduction…………………………………………………………………..2 1. Nature in the works of I.S. Turgenev…………………………..3 2. The role of landscape sketches in the novel by I.S. Turgenev “Fathers and Sons”………………………………………………………………….....4 Conclusion………………………………… ………………………………..15 References……………………………………………………….16

Introduction

At all times in the history of mankind, the unique power of the beauty of nature prompted to take up the pen. For a long time, writers have sung this beauty in their poems and prose works. In the great heritage of the literature of the 19th century, there is a reflection of the characteristic features of the relationship between man and natural phenomena. This feature can be traced in the works of many classics, the theme of nature often becomes central in their work, along with the themes of art, love, etc. the poetry of such great poets as Pushkin, Lermontov, Nekrasov, the novels and stories of Turgenev, Gogol, Tolstoy, Chekhov cannot be imagined without depicting pictures of Russian nature. In the works of these and other authors, the diversity and richness of native nature is revealed, it becomes possible to discern in it the excellent qualities of the human soul. One of the outstanding landscape painters in world literature is considered to be I.S. Turgenev. His stories, novels, novels are imbued with a poetic description of the world of Russian nature. His landscapes are distinguished by artless beauty, vitality, amazing poetic vigilance and observation. Turgenev is imbued with special deep feelings for nature from childhood, subtly and sensitively perceives its manifestations. The state of natural phenomena is intertwined with his experiences, which is reflected in his works in different interpretations and moods. Turgenev as a landscape painter first appears before the reader in the "Notes of a Hunter". Unsurpassed mastery in the depiction of the Russian landscape is also shown in the novel "Fathers and Sons", and also in many other works.

Conclusion

The image of nature in the work of Turgenev is distinguished by its versatility. Turgenev in the depiction of the landscape conveys a deep feeling of love for his native country and its people, in particular for the peasantry. The writer's work is rich in landscape sketches, which have their own independent meaning, but are compositionally subordinate to the key idea of ​​the work. Describing landscape paintings, Turgenev depicts the depth and strength of the impact of nature on a person, which contains the source of his mood, feelings, thoughts. A characteristic feature of the Turgenev landscape is the ability to reflect the spiritual mood and feelings of the characters. But in the writer's work, nature acts not only as a source of pleasure, but also as a secret, incomprehensible force, before which the impotence of man is manifested. The thought of the doom of desires, aspirations of a person due to his mortality is obvious. Eternity is the lot of nature alone: ​​“Whatever passionate, sinful, rebellious heart hides in the grave, the flowers growing on it serenely look at us with their innocent eyes, they tell us not only about eternal peace, about that eternal peace "indifferent" nature; they also speak of eternal reconciliation and endless life.” It is the mysterious essence of nature that occupies a special place in the writer's work, as it acts as a kind of supernatural force that not only influences what is happening, but is also the ultimate ideal instance. It is this idea, a similar meaning given by the author to nature, that is revealed in some of Turgenev's works called "mysterious stories".

Bibliography

1. Golubkov VV Artistic skill of Turgenev. - M., 1960. 2. Krasnokutsky V.S. On some symbolic motifs in the work of I.S. Turgenev // Questions of historicism and realism in Russian literature of the 19th – present. XX century. - L., 1985. 3. Lavrov P.L. I.S. Turgenev and the development of Russian society. literary heritage. - M., 1967. 4. Muratov A.B. I.S. Turgenev after Fathers and Sons. – L., 1972. 5. Muratov A.B. Novels and stories of the 60s. I.S. Turgenev. Sobr. Cit.: in 12 volumes. - M., 1978. 6. Nezelenov A.I. I.S. Turgenev in his works. - St. Petersburg, 1985. 7. Nikolsky V.A. Nature and Man in Russian Literature of the 19th Century. – M. 1973. 8. Turgenev I.S. Complete collection of works and letters in 28 volumes. T. 7. - M.-L., "Nauka", 1964. 9. Fisher V.M. Tale and novel by Turgenev. - In: Turgenev's work / Ed. I.P. Rozanova and Yu.M. Sokolov. - M., 1960. 10. Shcheblykin IP History of Russian literature 11-19 centuries. "Graduate School". - Moscow, 1985.

I don’t need rich nature, or magnificent composition, or spectacular lighting, no miracles, give me at least a dirty puddle, so that there is truth in it, poetry, and there can be poetry in everything - this is the artist’s business.

Tretyakov from a letter to the artist A.G. Goravsky

October 1861

The end of the 20th century is a time of severe trials for man and mankind. We are prisoners of modern civilization. Our life takes place in shaky cities, among concrete houses, asphalt and smoke. We fall asleep and wake up to the roar of cars. A modern child looks at a bird with surprise, and sees flowers only standing in a festive vase. My generation does not know how nature was seen in the last century. But we can imagine it thanks to the captivating landscapes of J.S. Turgenev, L.N. Tolstoy, I.A. Bunin and others. They form in our minds love and respect for the native Russian nature.

Writers very often refer to the description of the landscape in their works. The landscape helps the author to tell about the place and time of the depicted events. Landscape is one of the content elements of a literary work, performing many functions depending on the style of the author, the literary direction (trend) with which it is associated, the writer's method, as well as on the type and genre of the work.

For example, a romantic landscape has its own characteristics: it serves as one of the means of creating an unusual, sometimes fantastic world, opposed to reality, and the abundance of colors makes the landscape also emotional (hence the exclusivity of its details and images, often fictional by the artist). Such a landscape usually corresponds to the nature of a romantic hero - suffering, melancholy - dreamy or restless, rebellious, struggling, it reflects one of the central themes of romanticism - the discord between a dream and life itself, symbolizes mental upheavals, sets off the mood of the characters.

The landscape can create an emotional background against which the action unfolds. It can act as one of the conditions that determine the life and life of a person, that is, as a place for a person to apply his labor. And in this sense, nature and man are inseparable, perceived as a single whole. It is no coincidence that M.M. Prishvin emphasized that a person is a part of nature, that he is forced to obey its laws, it is in it that Homo sapiens finds joy, the meaning and purpose of existence, and here his spiritual and physical capabilities are revealed.

The landscape, as part of nature, can emphasize a certain state of mind of the hero, set off one or another feature of his character by recreating consonant or contrasting pictures of nature.

The landscape can also play a social role (for example, the gloomy rural landscape in the third chapter of the novel “Fathers and Sons”, testifying to the peasant ruin: “There were also rivers with open banks, and tiny ponds with thin dams, and villages with low huts under dark, often up to half swept roofs”).

Through the landscape, they express their point of view on events, as well as their attitude to nature, the heroes of the work.

Ivan Sergeevich Turgenev is rightfully considered one of the best landscape painters of world literature. He was born in central Russia - one of the most beautiful places in our vast country, the writer spent his childhood in the estate of Spasskoe-Lutovinovo, Mtsensk district, Oryol province. The Turgenev estate was located in a birch grove on a gentle hill. Around a spacious two-story manor house with columns, to which semicircular galleries adjoined, a huge park was laid out with linden alleys, orchards and flower beds. The park was amazingly beautiful. Mighty oaks grew in it next to century-old firs, tall pines, slender poplars, chestnuts and aspens. At the foot of the hill on which the estate stood, ponds were dug, which served as the natural boundary of the park. And further, as far as the eye could see, stretched fields and meadows, occasionally interspersed with small hills and groves. The garden and park in Spasskoye, the surrounding fields and forests are the first pages of the book of Nature, which Turgenev never gets tired of reading all his life. Together with the serf tutors, he went along the paths, roads leading to the fields, to where rye quietly swells in summer, from where villages almost lost in barns can be seen. It was in Spasskoye that he learned to deeply love and feel nature. In one of his letters to Pauline, Viardot Turgenev speaks of the merry excitement that causes him to contemplate a fragile green twig against the background of a distant blue sky. Turgenev is struck by the contrast between a thin twig, in which living life trembles tremblingly, and the cold infinity of the sky, indifferent to it. “I can’t stand the sky,” he says, “but life, reality, its whims, its accidents, its habits, its fleeting beauty ... I adore all this.” The letter reveals a characteristic feature of Turgenev's writer's appearance: the more acutely he perceives the world in the individual uniqueness of transient phenomena, the more disturbing and tragic her love for life, for its fleeting beauty, becomes. Turgenev is an unsurpassed master of landscape. Pictures of nature in his works are distinguished by concreteness.

In describing nature, Turgenev strives to convey the finest marks. No wonder Prosper Merine found “Jewellery Art of Description” in Turgenev’s landscapes. And it was achieved mainly with the help of complex definitions: “pale clear azure”, “pale golden spots of light”, “pale emerald sky”, “noisy dry grass”. Listen to these lines! The author conveyed nature with simple and precise strokes, but how bright these colors were juicy. Following the traditions of the oral poetic creativity of the people, the writer, drawing most of the metaphors and comparisons from nature surrounding a person: “yard boys ran after doltur like little dogs”, “people are like trees in the forest”, “son is a cut piece”, “pride rose on the hind legs." He wrote: “In nature itself there is nothing cunning tricky, she never flaunts anything, does not flirt;? She is good-natured even in her whims.” All poets with true and strong talents did not become “positive” in the face of nature ... they conveyed their beauty and greatness with great and simple words. Turgenev's landscape gained worldwide fame. The nature of central Russia in the works of Turgenev will captivate us with its beauty. The reader not only sees the endless expanses of fields, dense forests, copses cut by ravines, but as if he hears the rustle of birch leaves, the sonorous polyphony of the feathered inhabitants of the forest, inhales the aroma of flowering meadows and the honey smell of buckwheat. The writer philosophically reflects now on harmony in nature, now on indifference towards man. And his characters feel nature very subtly, they know how to understand its prophetic language, and it becomes, as it were, an accomplice to their experiences.

Turgenev's skill in describing nature was highly appreciated by Western European writers. When Floter received a two-volume collection of his works from Turgenev, he wrote: “How grateful I am for the gift you have given me ... the more I study you, the more your talent amazes me. I admire... this sympathy that spiritualizes the landscape. You see and you dream..”.

Nature in Turgenev's works 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.

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. Compared to other novels, "Fathers and Sons" is much poorer in landscapes and lyrical digressions. Why is the artist subtle, possessing the gift of extraordinary observation, able to notice “the hasty movements of the wet foot of a duck, with which she scratches her head on the edge of a puddle”, to distinguish all the shades of the sky, a variety of bird voices, almost, almost not to use his fimegrane art in the novel “Fathers and children?" The only exceptions are the evening landscape in the eleventh chapter, whose functions are clearly polemical, and the picture of an abandoned rural cemetery in the epilogue of the novel.

Why is the colorful Turgenev language so poor? Why is the writer so "modest" in the landscape sketches of this novel? Or maybe this is a certain move that we, its researchers, should unravel? After much research, we came to the following: such an insignificant role of landscape and lyrical digressions was due to the very genre of the socio-psychological novel, in which the main role was played by philosophical and political dialogue.

To clarify the artistic skill of Turgenev in the novel “Fathers and Sons”, one should turn to the composition of the novel, understood in a broad sense, as the connection of all elements of the work: characters, plot, landscape, and language, which are diverse means of expressing the writer’s ideological intent.

Turgenev draws the image of a modern Russian peasant village with extremely sparse, but expressive artistic means. This collective image is created in the reader through a series of details scattered throughout the novel. In the countryside during the transitional period of 1859-1860, on the eve of the abolition of serfdom, poverty, misery, lack of culture strikes, like a terrible legacy of their many centuries of slavery. On the way of Bazarov and Arkady to Maryino, the places could not be called picturesque. in some places one could see small forests, and, dotted with small and low shrubs, ravines curled, reminding the eye of their own image on the ancient plans of Catherine's time. There were also rivers with open banks, and tiny ponds with thin dams, and villages with low huts under dark, often up to half-swept roofs, and threshing sheds with twisted brushwood walls and yawning gates near an empty church, then brick ones with fallen off in some places plastered, then wooden with bowed crosses and devastated cemeteries. Arkady's heart sank little by little. As if on purpose, the peasants met all shabby, on bad nags; like beggars in rags, roadside willows with peeled bark and broken branches have become; emaciated, rough, as if gnawed, cows greedily plucked the grass in the ditches. It seemed that they had just escaped from someone's formidable, deadly claws, and, caused by the miserable sight of exhausted animals, in the midst of a red spring day, a white ghost of a bleak, endless winter with its snowstorms, frosts and snows rose up ... "No," thought Arkady, - this region is not rich, it does not impress either with contentment or diligence, it cannot remain like this, transformations are necessary ... but how to fulfill them? Even the confrontation of the “white ghost” itself is already a predestination of the conflict, a clash of two views, a clash of “fathers” and “children”, a change of generations.

However, then the picture of the spring awakening of nature for the renewal of the Fatherland, their homeland; “Everything around was golden green, everything was wide and softly agitated and lay down under the quiet breath of a warm breeze, all trees, bushes and grasses; everywhere the larks sang with endless ringing strings; the lapwings either screamed, hovering over the low-lying meadows, or silently ran across the hummocks; beautifully blackening in the delicate green of still low spring loaves, rooks walked; they disappeared in the rye, already slightly whitened, only occasionally their heads showed up in its smoky waves. But even in this joyful landscape, the significance of this spring in the lives of the heroes of different generations is shown in different ways. If Arkady is happy with the “wonderful today”, then Nikolai Petrovich only remembers the poems of Alexander Sergeyevich Pushkin, which, although interrupted on the pages of the novel by Yevgeny Bazarov, reveal his state of mind and mood:

“How sad is your appearance to me,

Spring, spring, time for love!

Which… "

(“Eugene Onegin”, ch.VII)

Nikolai Petrovich Kirsanov is a romantic in his spiritual disposition. Through nature, he joins the harmonious unity with the universal world. At night in the garden, when the stars “swarmed and mingled” in the sky, he liked to indulge in “the sad and joyful game of lonely thoughts.” It was at these moments that his state of mind had its own charm of quiet elegiac sadness, light elation above the ordinary, everyday flow: “He walked a lot, almost to the point of fatigue, and the anxiety in him, some kind of searching, indefinite, sad anxiety, everything did not subside. he, a forty-four-year-old man, an agronomist and a landlord, was welling up with tears, causeless tears.” All his thoughts are directed to the past, so the only road for Nikolai Petrovich, who has lost his "historical vision", is the road of memories. In general, the image of the road runs through the entire narrative. The landscape conveys a sense of spaciousness, not the isolation of space. It is no coincidence that the hero travels so much. Much more often we see them in the garden, alley, road ... - in the bosom of nature, rather than in the limited space of the house. And this leads to the wide scope of the problematic in the novel; such a holistic and versatile image of Russia, shown in "landscape sketches", more fully reveals the universal in the characters.

The estate of Nikolai Petrovich is like his double. “When Nikolai Petrovich separated himself from his peasants, he had to set aside four completely flat and bare fields for a new estate. He built a house, a service, and a farm, planted a garden, dug a pond and two wells; but the young trees were badly received, very little water was accumulated in the pond, and the wells turned out to be of a salty taste. Only one arbor of lilacs and acacia has grown quite a lot; they sometimes drank tea and dined in it.” Nikolai Petrovich fails to put good ideas into practice. His failure as the owner of the estate contrasts with his humanity. Turgenev sympathizes with him, and the arbor, “overgrown” and fragrant, is a symbol of his pure soul.

“It is interesting that Bazarov resorts to comparing others with the natural world more often than other characters in the novel. This, apparently, is the imprint of his inherent professionalism. And yet, these comparisons sometimes sound differently in the mouth of Bazarov than in the author's speech. Resorting to a metaphor, Bazarov defines, as it seems to him, the inner essence of a person or phenomenon. The author, on the other hand, sometimes attaches a multidimensional, symbolic meaning to “natural” and landscape details.

Let us turn to one Bazarov text, from which life also forces him to abandon. In the first couple for Bazarov, “people are like trees in the forest; no botanist will deal with every single birch.” To begin with, we note that in Turgenev there is a significant difference between the trees. Just like the birds, the trees reflect the hierarchy of the characters in the novel. The motif of a tree in Russian literature is generally endowed with very diverse functions. The hierarchical characterization of trees and characters in Turgenev's novel relies rather not on mythological symbolism, but on direct associativity. It seems that the favorite tree of Bazarov-aspen. Arriving at the Kirsanovs’ estate, Bazarov goes “to a small swamp, near which there is an aspen grove, for frogs.” Aspen is a prototype, a double of his life. Lonely, proud, embittered, he surprisingly looks like this tree. “However, in the poor vegetation of Maryin, the earthiness of the owner of the estate, Nikolai Kirsanov, and the doom of the “living dead”, the lonely owner of the Bobyl farm, Pavel Petrovich, are affected.”

All the characters in the novel are tested by their relationship to nature. Bazarov denies nature as a source of aesthetic pleasure. Perceiving it materialistically (“nature is not a temple, but a workshop, and man is a worker in it”), he denies the relationship between nature and man. And the word "heaven", written in quotation marks by Turgenev and implying a higher principle, a bitter world, God, does not exist for Bazarov, and therefore the great esthete Turgenev cannot accept it. An active, masterly attitude towards nature turns into a blatant one-sidedness, when the laws that operate at the lower natural levels are absolutized and turn into a kind of master key, with the help of which Bazarov easily deals with all the mysteries of life. There is no love, but there is only a physiological attraction, there is no beauty in nature, but there is only an eternal cycle of chemical processes of a single substance. Denying the romantic attitude to nature as to the Temple, Bazarov falls into slavery to the lower elemental forces of the natural “workshop”. He envies the ant, which, as an insect, has the right “not to recognize the feeling of compassion, not like our self-broken brother.” In a bitter moment of life, Bazarov is inclined to consider even a feeling of compassion a weakness denied by the natural laws of nature.

But besides the truth of physiological laws, there is the truth of human, spiritualized naturalness. And if a person wants to be a “worker”, he must take into account the fact that nature at the highest levels is a “Temple”, and not just a “workshop”. And the tendency of the same Nikolai Petrovich to daydreaming is not rotten and not nonsense. Dreams are not simple fun, but a natural need of a person, one of the mighty manifestations of the creative power of his spirit.

“ In Chapter XI, Turgenev, as it were, casts doubt on the expediency of Bazarov’s denial of nature: “Nikolai Petrovich lowered his head and ran his hand over his face.” “But reject poetry? - he thought again, - not to sympathize with art, nature ...? And he looked around, as if wanting to understand how one can not sympathize with nature. All these thoughts of Nikolai Petrovich were inspired by the previous conversation with Bazarov. As soon as Nikolai Petrovich had only resurrected Bazarov's denial of nature in his memory, Turgenev immediately, with all the skill he was capable of, presented the reader with a wonderful, poetic picture of nature: “It was getting dark; the sun hid behind a small aspen grove that lay half a verst from the garden: its shadow stretched endlessly across the motionless fields. The peasant was trotting on a white horse along a dark narrow path along the very grove; he was clearly visible all over, up to the patch on his shoulder, despite the fact that he was riding in the shade; the horse's legs flickered pleasantly distinctly. The sun's rays from their own climbed into the grove and, breaking through the thicket, doused the aspen trunks with such a warm light that they became like pine trunks, and their foliage almost turned blue and a pale blue sky rose above it, slightly reddened by the dawn. The swallows flew high; the wind stopped completely; belated bees buzzed lazily and drowsily in the lilac flowers; midges huddled in a column over a lonely, far-stretched branch.

After such a highly artistic, emotional description of nature, full of poetry and life, one involuntarily thinks about whether Bazarov is right in his denial of nature or not? And when Nikolai Petrovich thought: “How good, my God! ... and his favorite poems came to his lips ...”, the reader’s sympathy was with him, and not with Bazarov. We cited one of them, which in this case performs a certain polemical function: if nature is so beautiful, then what is the point in denying it to Bazarov? This light and subtle test of the expediency of Bazarov's denial seems to us to be a kind of poetic intelligence of the writer, a certain allusion to the future trials that await the hero in the main intrigue of the novel.

How do other characters in the novel relate to nature? Odintsova, like Bazarov, is indifferent to nature. Her walks in the garden are just part of the way of life, it is something familiar, but not very important in her life.

A number of reminiscent details are found in the description of the Odintsova estate: “The estate stood on a gentle open hill, not far from the yellow stone church with a green roof, former columns and fresco painting over the main entrance, representing the “Resurrection of Christ” in the “Italian taste”. Particularly remarkable for its rounded contours was a swarthy warrior in a teddy bear prostrate in the foreground. Behind the church stretched in two rows a long village with here and there flickering chimneys on thatched roofs. The master's house was built in the style that is known to us under the name of Aleksandrovsky; this house was also painted yellow and had a green roof, and white columns, and a pediment with a coat of arms. The dark trees of the old garden adjoined the house on both sides, an alley of trimmed fir trees led to the entrance.” Thus, Odintsova's garden was an alley of trimmed Christmas trees and flower greenhouses that give the impression of artificial life. Indeed, the whole life of this woman "rolls like on rails", measuredly and monotonously. The image of "inanimate nature" echoes the external and spiritual appearance of Anna Sergeevna. In general, the place of residence, according to Turgenev, always leaves an imprint on the life of the hero. Odintsov in the novel is rather compared with spruce, this cold and unchanging tree was a symbol of "arrogance" and "royal virtues". Monotony and calmness is the motto of Odintsova and her garden. For Nikolai Petrovich, nature is a source of inspiration, the most important thing in life. It is harmonious, for it is one with "nature". That is why all the events associated with it take place in the bosom of nature. Pavel Petrovich does not understand nature, his soul, "dry and passionate", can only reflect, but by no means interact with it. He, like Bazarov, does not see the "sky", Katya and Arkady are childishly in love with nature, although Arkady is trying to hide it.

H The mood and characters of the characters are also emphasized by the landscape. So, Fenechka, “so fresh”, is shown against the backdrop of a summer landscape, and Katya and Arkady are as young and carefree as the nature around them. Bazarov, no matter how he denies nature (“Nature evokes the silence of sleep”), is still subconsciously one with it. It is into it that he goes to understand himself. He is angry, indignant, but it is nature that becomes a silent witness to his experiences, only he can trust her.

Closely linking nature with the mental state of the characters, Turgenev defines one of the main functions of the landscape as psychological. Fenechka's favorite place in the garden is an arbor of acacias and lilacs. According to Bazarov, "acacia and lilac - the guys are kind, they do not require care." And again, we are unlikely to be mistaken if we see in these words an indirect characterization of a simple, unconstrained Fenechka. Acacia and raspberries are friends of Vasily Ivanovich and Arina Vlasyevna. Only at a distance from their house, a birch grove “as if stretched out”, which for some reason is mentioned in a conversation with Bazarov’s father. It is possible that the hero of Turgenev here unconsciously anticipates a longing for Odintsova: he talks to her about a “separate birch”, and the folklore motif of a birch is traditionally associated with a woman and love. In a birch grove, only the Kirsanovs, there is a duel between Bazarov and Pavel Petrovich. Arkady and Katya's explanation takes place under an ash tree, a tender and light tree, fanned by a "weak wind", protecting lovers from the bright sun and too strong fire of passion. “In Nikolskoye, in the garden, in the shade of a tall ash tree, Katya and Arkady were sitting on a turf bench; on the ground near them Fifi fit, giving her long body that graceful turn that the hunters have a reputation for "hare couch". Both Arkady and Katya were silent; he held a half-opened book in his hands. And she picked out the remaining crumbs of white bread from the basket and threw them to a small family of sparrows, who, with characteristic cowardly impudence, jumped and chirped at her very feet. A weak wind, moving in the leaves of the ash-tree, gently moved back and forth, both along the dark path and along Fifi's yellow back; pale golden patches of light; an even shadow washed over Arkady and Katya; only occasionally did a bright streak light up in her hair. “What about Fenechka’s complaints about the lack of a shadow around the Kirsanovs’ house?” Does not save the inhabitants of the house and the "large marquise" "on the north side." No, it seems that fiery passion does not overwhelm any of the inhabitants of Maryin. And yet, the motive of heat and drought is associated with the "wrong" family of Nikolai Petrovich. “Those who enter into marital relations unmarried are considered the culprits of the drought” among some Slavic peoples. Different attitudes of people towards the frog are also associated with rain and drought. In India, it was believed that the frog helps to bring rain, as it can turn to the thunder god Parjanya, "like a son to a father." Finally. The frog "can symbolize false wisdom as the destroyer of knowledge," which may be important for the problematic of the novel as a whole.

Not only lilac and "circle" are associated with the image of Baubles. Roses, a bouquet of which she knits in her gazebo, are an attribute of the Virgin. In addition, the rose is a symbol of love. "Red, and not too big" rose (love) asks Bazarov from Fenechka. There is also a “natural” cross in the novel, hidden in the form of a maple leaf, shaped like a cross. And it is significant that a maple leaf suddenly falling from a tree, not at the time of leaf fall, but at the height of summer, resembles a butterfly. “A butterfly is a metaphor for the soul that fluttered out of the body at the time of death, and Bazarov’s untimely death is predicted by this sadly circling leaf in the air.”1.

Nature in the novel divides everything into living and non-living, natural to man. Therefore, the description of the “glorious, fresh morning” before the duel indicates how vain everything is before the grandeur and beauty of nature. “The morning was glorious, fresh; small motley clouds stood like lambs on a pale-clear azure; fine dew poured out on leaves and grasses, glittered with silver on cobwebs; damp dark, it seemed, still kept a ruddy trace of dawn; songs of larks rained down from all over the sky. The duel itself seems, in comparison with this morning, "what nonsense." And the forest, under which Pavel Petrovich is meant in Bazarov’s dream, is a symbol in itself. Forest, nature - everything that Bazarov refused is life itself. Therefore, his death is inevitable. The last landscape is a "requiem" according to Bazarov. “There is a small rural cemetery in one of the remote corners of Russia. Like almost all our cemeteries, it shows a sad look: the ditches surrounding it have long been overgrown; the gray wooden crosses are drooping and rotting under their once-painted covers; the stone slabs are all shifted, as if someone is pushing them from below; two or three plucked trees barely give a meager shade; sheep roam ugly over the graves ... But among them there is one that a person does not touch, that an animal does not trample on: only birds sit on it and sing at dawn. An iron fence surrounds it; two young fir trees are planted at both ends; Yevgeny Bazarov is buried in this grave." The entire description of the rural cemetery where Bazarov is buried is filled with lyrical sadness and mournful thoughts. Our research shows that this landscape is philosophical in nature.

Let's summarize. Images of the quiet life of people, flowers, shrubs, birds and beetles are contrasted in Turgenev's novel with images of high flight. Only two characters, equal in size scale personalities and their tragic loneliness, are reflected in hidden analogies with royal phenomena and proud birds. This is Bazarov and Pavel Petrovich. Why did they not find a place for themselves in the hierarchy of trees on the pages of the work? Which tree would correspond to a lion or an eagle? Oak? Oak means glory, fortitude, protection for the weak, unbreakable and resisting storms; this is the tree of Perun, the symbol of the "world tree" and, finally, of Christ. All this is suitable as a metaphor for the soul, for example, Tolstoy's Prince Andrei, but is not suitable for Turgenev's heroes. Among the small forests mentioned in the symbolic landscape in the third chapter of "Fathers and Sons" is "our forest". “This year they will mix him,” Nikolai Petrovich notes. The doom of the forest emphasizes the motif of death in the landscape and, as it were, predicts the death of Bazarov. It is interesting that the poet Koltsov, close in his work to folklore traditions, called his poem dedicated to the memory of Pushkin "Forest". In this poem, the forest is an untimely dying hero. Brings together the fate of Bazarov and "our forest" Turgenev and in the words of Bazarov before his death: “There is a forest here ...” Among the “small forests” and “bushes” Bazarov is lonely, and the only relative of his “forest” is his duel opponent Pavel Petrovich (so Bazarov’s dream also reveals a deep inner relationship of these heroes). The tragic break of the hero - a maximalist with the masses, nature, who "will be reduced", who "is there", but "is not needed" Russia. How can this tragedy of being, felt most of all by the complex and proud hero, be overcome? Turgenev raises this question not only in Fathers and Sons. But, I think, in this novel there are words about man and the universe, in which the author revealed to us, the readers, his sense of the Universe. It consists in "barely conscious watching for a wide wave of life, continuously rolling around us and in ourselves." The author thinks about the eternal nature, which gives peace and allows Bazarov to come to terms with life. Turgenev’s nature is humane, it helps to debunk Bazarov’s theory, expresses the “higher will”, therefore a person must become its continuation and custodian of “eternal” laws. The landscape in the novel is not only a background, but a philosophical symbol, an example of the right life.

Pisarev noted that the "artistic finish" of the novel "Fathers and Sons" is "irreproachably good." Chekhov spoke of Turgenev’s novel in the following way: “What a luxury “Fathers and Sons”! Just at least shout the guard. Bazarov's illness was made so strong that I became numb, and there was a feeling as if I was born from him. And the end of Bazarov? What about old people? It's the devil knows how it's done. Simply brilliant" .

The skill of Turgenev as a landscape painter is expressed with particular force in his poetic masterpiece “Bezhin Meadow”, “Fathers and Sons” are also not without excellent descriptions of nature “It was getting dark; the sun disappeared behind a small aspen grove; lying half a verst from the garden: its shadow stretched endlessly across the motionless fields. The peasant was trotting on a white horse along a dark narrow path along the grove itself, he was all clearly visible, all, up to the patch on his shoulder, of the road that rode in the shade; pleasantly - the horse's legs flashed distinctly. The sun's rays, for their part, climbed into the grove and, breaking through the thicket, poured over the trunks of pine trees, and their foliage almost turned blue, and a pale blue sky rose above it, slightly brought down by dawn. The swallows flew high; the wind stopped completely; belated bees buzzed lazily and drowsily in the lilac flowers; midges huddled in a column over a single outstretched branch.

The landscape can be included in the content of the work as part of the national and social reality that the writer depicts.

In some novels, nature is closely associated with folk life, in others with the world of Christianity or the life of quality. Without these pictures of nature, there would be no complete reproduction of reality.

The dry soul of Pavel Petrovich Kirsanov does not allow him to see and feel the beauty of nature. Anna Sergeevna Odintsova does not notice her either; she is too cold and sensible for that. For Bazarov, “nature is not a temple, but a workshop,” that is, he does not recognize an aesthetic attitude towards it.

Nature is the highest wisdom, the personification of moral ideals, the measure of true values. Man learns from nature, he does not recognize it.

Nature organically enters the life of the "having" heroes, intertwines with their thoughts, sometimes helps to reconsider their lives and even change them drastically.

The beauty of nature, its greatness, immensity develop in a person ideological and moral, patriotic and civic convictions, feelings of pride, love for the native land, aesthetic concepts, artistic taste, enrich sensations, emotional perception, representation, thinking and language. Nature makes everyone nobler, better, purer, lighter, more merciful. And fiction, recreating nature in a word, brings up in a person a sense of careful attitude towards it.

Not a high poet and writer can do this; our study of the topic shows that Turgenev is truly the Master of the Word, who managed to listen carefully, peer into her majesty Nature. His heroes merge and dissolve in it, for man is only a guest on earth.

Bibliography.

M. D. Pushkareva, M. A. Snezhnevskaya, T. S. Zepolova. native literature. "Enlightenment", M., 1970.

Yu. V. Lebedev. Russian literature of the 19th century. second half. "Enlightenment", M., 1990.

I. L. Kuprin. Literature at school 6 99. "Enlightenment", M., 1999

V.V. Golubkov. Artistic skill of Turgenev. Moscow, 1960

V. Yu. Troitsky. The book of generations about Turgenev's novel "Fathers and Sons". Moscow, 1979

I. P. Shcheblykin. History of Russian literature 11th - 19th century. "High School", Moscow, 1985

History of Russian literature of the 19th century. Moscow, 1985

Russian landscape in Turgenev's prose.

Karelina Yu.L.

Russian is one of the richest languages ​​in the world. Using this wealth, a person chooses the exact words to clearly convey not only thoughts, but also subtle, deep, passionate feelings. Since the end of the last century, there has been a transition of the scientific paradigm from system-structural linguistics to cognitive linguistics.

Artistic text is a reflection of the individual author's picture of the world, which is a variant of the artistic picture of the world. The artistic picture of the world includes a common part - a linguistic picture of the world, as well as an interpretive one, which reflects the individual author's perception of reality, the author's personal knowledge, his experience.

The linguistic picture of the world forms the type of a person's attitude to the world (nature, animals, himself as an element of the world). It sets the norms of human behavior in the world, determines his attitude to the world. Each natural language reflects a certain way of perceiving and organizing (“conceptualizing”) the world. The meanings expressed in it add up to a certain unified system of views, a kind of collective philosophy, which is imposed as mandatory on all native speakers.

The picture of the world is not a simple set of "photographs" of objects, processes, properties, etc., because it includes not only reflected objects, but also the position of the reflecting subject, his attitude to these objects, and the position of the subject is the same reality as and the objects themselves. Moreover, since the reflection of the world by a person is not passive, but active, the attitude towards objects is not only generated by these objects, but is also able to change them (through activity), hence the naturalness of the fact that the system of socially typical positions, relations and assessments finds a symbolic reflection in the system of the national language and takes part in the construction of the language picture of the world. In this way,the linguistic picture of the world as a whole and most importantly coincides with the logical reflection of the world in the minds of people.

The world, reflected through the prism of the mechanism of secondary sensations, captured in metaphors, comparisons, symbols, is the main factor that determines the universality and specificity of any particular national language picture of the world.

The symbolism of the seasons in the work of Turgenev corresponds to the traditions that have developed in the spiritual consciousness of the Russian people. This is one of the reasons that Turgenev's landscapes are easily perceived by the reader. The language of Turgenev's prose is harmonious in a carefully thought-out and coordinated variety of grammatical forms and meanings. Confirmation of this can be considered, for example, the story "Bezhin Meadow". A feature of the composition of the story is the technique of framing: the work begins with a picture of a beautiful July morning, permeated with light, and ends with the image of a morning, “young, hot light”:

“From early morning the sky is clear; the morning dawn does not burn with fire - it spreads with a gentle blush. The sun - not fiery, not red-hot, as during a sultry drought, not dull-purple, as before a storm, but bright and welcomingly radiant - peacefully rises under a narrow and long cloud, shines freshly and plunges into its purple fog ... " .

The image of light should be considered as a through image of the story "Bezhin Meadow", and many other stories of Turgenev. In the semantic composition, he is opposed to "gloom" and "darkness". It is the night landscape that plays a special role in creating the figurative and symbolic plan of his works.

It should be noted the richest color gamut of Turgenev's morning landscape (light, green, purple, blue, scarlet, red, gold - these are its main colors) and the reception of negative parallelism (not fiery, not red-hot, not dull purple, but bright and welcomingly radiant sun). Very often in the sketches of the morning, the morning fog is also described (lilac and thinning, through which the river turns blue) - as a necessary accessory of nature, one of its colors, a symbol of freshness. For Turgenev, morning is associated with freshness, cleansing, and is the most frequently depicted time of day, found in most works. Sometimes the writer does not name the exact time of day, but his “attributes” are conveyed, by which it becomes clear that this is morning (the edge of the sky turns red; jackdaws wake up in birches, awkwardly fly; the dawn flares up, a mighty luminary rises; everything stirred, woke up, sang, the early breeze began to roam, flutter over the earth; the predawn wind blew; large drops of dew blushed everywhere like fragrant diamonds).

Of the seasons, the most common in Turgenev's works are spring, summer and early autumn, occupying approximately the same positions. Description of winter landscapes is much less common. The central place in the writer's vocabulary is occupied by such key lexemes as the sun, sky, forest, grove, tree, wind, light, darkness, birds.

Almost every story describes the sky, its attributes are clouds, clouds, stars (the sky darkens at the edges; the first stars timidly appear in the blue sky; golden clouds spread across the sky smaller and smaller; a huge purple cloud slowly rose, barely across the clear sky high and sparse clouds were barely moving; by evening these clouds disappear, the last of them blackish and indefinite, like smoke, lay down in pink clubs; the upper, thin edge of a stretched cloud sparkles with snakes; around noon, a lot of round high clouds, golden-gray, with delicate white edges; from the very early morning the sky is clear; the color of the sky is light, pale lilac; golden stripes stretch across the sky; the edge of the sky turns red; stars twinkle in some places in the dark gray sky; the sky darkens along the edges; the motionless sky peacefully whitens; the edge of the sky grows dim; here it turns pale, the sky turns blue; through the joyfully rustling foliage, the bright blue sky shone through and seemed to sparkle; the sky was all clouded over with loose white clouds and then suddenly it was cleared in places; the May sky meekly turns blue; the dark clear sky stood solemnly and high above us).

Also very often there is a description of the sun, sunrise, sunset, dawn (the crimson sun quietly rises; the sun is higher and higher; the sun was setting; the sun has set; the entire interior of the forest was filled with the sun; the low sun no longer warms; the sun is not fiery, not incandescent; a mighty luminary rises; opposite the setting sun; the morning dawn does not burn with fire; the scarlet light of the evening dawn, the dawn flares up; the dawn blazed with fire and engulfed half the sky).

Nature at I.S. Turgenev is full of sounds (a fish splashes with a sudden sonority; the voice of a tit rang like a steel bell; furtively the smallest rain began to sow and whisper through the forest, raindrops pounded sharply, splashed on the leaves; larks sing loudly; sparrows chirp; clean and clear<...>came the sound of a bell; indistinct whisper of the night), smells (in dry and clean air it smells of wormwood, compressed rye, buckwheat; a special, lingering and fresh smell - the smell of a Russian summer night; the air is all filled with fresh bitterness of wormwood, buckwheat honey, "porridge"; strong, fresh the smell pleasantly restricts the breath; the forest smell intensifies; there is a slight waft of warm dampness;

so it will give you the accumulated warm smell of the night; smells of warm earth; an autumn smell is poured in the soft air, similar to the smell of wine), colors, a variety of shades of color (azure, pale gray, dark gray, bright blue, scarlet, purple, dull purple, purple, pale purple, gold, golden gray, reddish, green, green, yellow-white, bluish, blue, pink). She is endlessly rich, changeable.

The depicted natural world in Turgenev's prose is dynamic. Its changes are fixed with the help of verbs with the meaning of color and light signs or verbs with the meaning of change. In the concept under study, these are the verbs darken, turn blue, turn red, turn yellow, turn white, shine (the May sky turns blue gently; the forests darken; the ruddy sky turns blue; the edge of the sky turns red; red strawberries; the interior of the forest gradually darkens; it does not get dark anywhere, the thunderstorm does not thicken; here it turns pale, the sky turns blue; the sky darkens along the edges; the ripening rye turns yellow; the bushes heat up and seem to turn yellow in the sun; the villages turn yellow; young leaves of the willow shine, as if washed; all around everything shines and collapses; the low sun no longer warms, but shines brighter summer; the young grass gleams with the merry brilliance of emerald; the churches are whitening; the frost is still whitening at the bottom of the valley).

Turgenev's nature is animated, full of life and movement. Therefore, verbs and verb forms with the meaning of movement are so frequent in landscape sketches. In a numerous series - the verbs “stands”, “sits down”, “rises”, “spreads out”, etc. (the sun sets; the sun has set; the night stood solemnly and regally; the dark, clear sky stood immensely high above us; the birches were all white , without brilliance; in the distance, an oak forest stands as a wall and turns red in the sun; a mighty luminary rises; darkness rose from everywhere and even poured from the peaks of darkness; in front of a huge purple cloud slowly rose from behind the forest; unmowed bushes spread widely; a wide plain spread; golden clouds spread across the sky, etc.).

Quite often, in Turgenev's descriptions of nature, there are such landscape units as "freshness" and "dampness" (damp freshness of the late evening; a special, lingering and fresh smell; a strong, fresh smell pleasantly restricts breathing; the air is all filled with fresh bitterness of wormwood, buckwheat honey and "porridge"; a fresh stream ran over my face; it was fresh, but the proximity of heat was already felt; that special, dry freshness was felt in the air; how the whole person grows stronger, embraced by the fresh breath of spring; the air is fresh and thin; a slight breeze of warm dampness; damp; even an hour before night you do not feel damp; the earth is damp). Most often, these lexemes are used in "morning" and "evening" vocabulary, i.e. in descriptions of landscapes in the early morning and late evening. They are found both individually and in a bundle (raw freshness).

The depiction of Turgenev's landscapes is not simply following the traditions of Russian literature. This is a special world of the finest details, details, shades. The description of nature in Turgenev's stories makes it possible to see the extraordinary concreteness of landscape descriptions and the dependence of man on nature itself, their unity.

A huge role is played by the mood that the author conveys to us, describing this or that landscape, season, natural phenomenon. For example, in the story “The Forest and the Steppe”, Turgenev, drawing this or that season, tries to convey as brightly and figuratively as possible the mood and emotions that overwhelmed the author: “Do you know, for example, what a pleasure it is to leave in the spring before dawn? You go out onto the porch ... In the dark gray sky, stars twinkle here and there; a damp breeze occasionally runs in a light wave; a restrained, indistinct whisper of the night is heard; the trees faintly rustle, drenched in shadow... The pond barely begins to smoke... The edge of the sky is turning red... The air is brightening, the road is more visible, the sky is clearer, the clouds are turning white, the fields are turning green... And meanwhile the dawn is flaring up; already golden stripes stretched across the sky; vapours swirl in the ravines; the larks sing loudly, the pre-dawn wind blew - and the crimson sun quietly rises. The light will rush in like a stream; your heart will flutter like a bird. Fresh, fun, love! The sun is rising fast, the sky is clear. The weather will be glorious... You've climbed the mountain... What a view! The river winds for ten versts, dimly blue through the fog; gentle hills beyond the meadows,<...>, the distance clearly stands out ... How freely the chest breathes, how cheerfully the limbs move, how the whole person grows stronger, embraced by the fresh breath of spring! . Or a description of a summer landscape, a thunderstorm: “A summer, July morning! Who, except the hunter, has experienced how gratifying it is to wander through the bushes at dawn? a green line lies the trace of your feet on the dewy, whitened grass. You will move apart a wet bush - you will be showered with the accumulated warm smell of the night; the air is full of fresh bitterness of wormwood, honey of buckwheat and "porridge"; in the distance stands an oak forest and glistens and reddens in the sun; It's still fresh, but the proximity of the heat is already felt. Head languidly spinning from an excess of fragrance. There is no end to the shrub... In some places, in the distance, ripening rye turns yellow, buckwheat turns red in narrow stripes... The sun is higher and higher. Grass dries quickly. It has already become hot ... You are in the shade, you breathe odorous dampness; you feel good, but against you the bushes become hot and seem to turn yellow in the sun. But what is it? The wind suddenly came up and rushed; the air trembled all around: is it not thunder? .. what kind of lead strip in the sky?

Turgenev's description of nature is bright, rich, figurative, thanks to the figurative and expressive means that the author uses when describing the landscape, flora and fauna, and natural phenomena. First of all, this is a device of personification, comparison, contrasts, a number of epithets and metaphors (low hills ran down in gentle undulating peals; the sun beat from the blue, darkened sky; the sun flared up in the sky, as if ferociously; furtively, slyly, the tiniest rain began to sow and whisper through the forest; the stars flickered, stirred; long shadows ran from the dried haystacks; clouds, flat and oblong, like lowered sails; a star, like a carefully carried candle; the river winds extremely whimsically, creeps like a snake; blue is clear and tender, like a beautiful eye; hazy waves of evening fog; gloomy darkness).

According to Turgenev, nature is one great, harmonious whole, but in it there is an unceasing struggle of two opposing forces: each individual unit seeks to exist exclusively for itself. And at the same time, everything that exists in nature exists for another - as a result, all lives merge into one world life. Understanding the dialectical processes of universal life leads Turgenev to a keen sense of universal harmony, in which, through separation, each achieves reconciliation in the other.

Bibliography

Alekseev M.P., Batyuto A.I., Bityugova I.A., Golovanova T.P., Kiyko E.I., Mogilyansky A.G., Rovnyakova L.I. Notes // Turgenev I.S. Full coll. op. and letters: In 30 vols. 2nd ed., corrected. and additional Cit.: In 12 t. M., 1981. T. 6. S. 365 - 432.

Alekseev M.P. Russian culture and the Romanesque world. L., 1985. S. 214 - 223, 373 - 510.

Byaly G.A. Turgenev and Russian realism. M.; L., 1962.- 247 p.

Byaly G.A. Turgenev is an artist of the word // Questions lit. -M., 1981. No. 9. S. 264 - 270.

Golubkov V.V. Artistic skill of I.S. Turgenev. M., 1960. - 228 p.

Kiselev A.JI. Prishvin and Turgenev: Formation of the visual system in Russian literature // Poetics of Russian Soviet prose. Ufa, 1985. S. 93 - 104.

Kovalev V.A. "Notes of a hunter" by I.S. Turgenev. Questions of genesis. JI., 1980. - 133 p.

Kurlyandskaya 1976 - Kurlyandskaya, G.B. Turgenev and Tolstoy: Textbook. / G.B. Kurlyandskaya. - Kursk, 1976. -81 p.

Maslova 2001 – Maslova, V.A. Linguoculturology: Textbook for students. higher education institutions./V.A. Maslova. - M.: Publishing Center "Academy", 2001. - 208 p.

Pigarev K.V. Landscape of Turgenev and landscape in the painting of his time // Russian literature and fine arts. M., 1972. S. 82 - 109.

Nature and man are quite closely related. In fiction, authors often use descriptions of nature, its influence on characters, in order to reveal their soul, character or actions with its help.

I.S. Turgenev is known to readers as a master of landscape. Despite the fact that there are very few landscape sketches in the story "First Love", they are all very expressive and varied. In addition, they are not accidentally used in the text.

Each landscape painting in the work plays a certain role. Take, for example, an episode of the so-called "sparrow night", where a thunderstorm passes in the distance. The same new feeling, similar to the flashing of lightning, flashes for the first time in the soul of the main character Vladimir after talking with Zinaida. After reading the description of this night thunderstorm, we seem to imagine what is happening in the soul of a young man. The author, with the help of a description of nature, recreates the feeling that captured the main character.

A guy in love can no longer think about anything. He, “like a beetle tied to a leg”, circles around the house where his beloved lives. He sits for hours on high stone ruins in the hope of meeting Zinaida. In fact, it is surrounded by an everyday, but very lively landscape: “White butterflies fluttered lazily over dusty nettles, a lively sparrow sat nearby and chirped irritably, turning with its whole body and spreading its tail, incredulous crows occasionally croaked, sitting high on a bare top of a birch; the sun and the wind played softly in its thin branches; the ringing of the bells of the Donskoy Monastery flew in from time to time ... ". Here it becomes clear to us what Volodya really is. We see his romantic nature, the depth and strength of his feelings. Everything that happens in nature resonates in his soul: “I sat, looked, listened and was filled with some kind of nameless feeling, in which there was everything: sadness, and joy, and a premonition of the future, and desire, and fear of life ...” .

The complete opposite of Zinaida's state is the landscape in her garden. The girl "... it was very hard, she went into the garden and fell to the ground, as if she had been cut down." And “the circle was light and green; the wind rustled through the leaves of the trees. Somewhere pigeons cooed and bees buzzed. From above, the sky was tenderly blue ... ". The description of beautiful and bright nature was used at this moment specifically to show how bad and hard it was for Zinaida at that moment.

When Volodya watched the house of his beloved at night, he was overcome by a feeling of great excitement and fear. And nature at this moment seems to help us understand everything that the hero feels: “The night was dark, the trees whispered a little, a quiet chill fell from the sky. A streak of fire flashed across the sky: a star rolled. And suddenly everything became a deeply silent circle, as it often happens in the middle of the night ... Even the grasshoppers stopped chirping. One gets the feeling that nature is experiencing the same thing as the guy, and involuntarily affects his condition.

The author also very accurately described the state of Volodya at the moment when he found out about the relationship between his father and Zinaida: “What I learned was beyond my power ... It was all over. All my flowers were torn out at once and lay around me, scattered and trampled. This small excerpt from the description of nature well showed the state of mind of the hero.

The writer talentedly and accurately presented landscape sketches in the work, which made it possible to imagine how hard it was for the heroes and once again showed the extraordinary beauty of nature.

Titaev Ivan

The purpose of this work: to determine the artistic originality of Turgenev's landscape, to determine the role of landscape in the work of I.S. Turgenev "Bezhin Meadow", to trace the development of the central image - light in the story. Objectives of the work: to study the figurative and expressive means of the language; determine the role of trails in creating pictures of nature; to reveal the function of the landscape in the work of I.S. Turgenev "Bezhin meadow"; understand the relationship between man and nature.

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Municipal budgetary educational institution

Secondary school No. 105

Avtozavodskoy district of Nizhny Novgorod

Scientific Society of Students

The artistic originality of the landscape in the story
I.S. Turgenev "Bezhin Meadow"

Completed by: Titaev Ivan,

5th grade student

Scientific adviser:

Matrosova I. A.,

teacher of Russian language and literature

Nizhny Novgorod

2014

Introduction

“A person cannot but be occupied with nature, he is connected with it by a thousand inextricable threads; he is her son."

I.S. Turgenev

I. S. Turgenev is an extraordinary master of depicting pictures of Russian nature. With tremendous artistic power and depth, the writer reflected all the soft and discreet beauty of his native nature.

“The beautiful is the only immortal thing… The beautiful is poured everywhere,” Turgenev wrote in 1850. The reverence for the secret life of nature was extended by the writer to the attitude towards the human soul. Nature gives a person purity, tranquility, but it also makes him feel completely helpless and weak before her incomprehensible strength and mystery. Nature in his works is a living and comprehensive image, it is, as it were, another hero in the system of characters

Objective:

To determine the artistic originality of Turgenev's landscape, to determine the role of landscape in I.S. Turgenev's work "Bezhin Meadow", to trace the development of the central image - light in the story.

Tasks:

1. To study the figurative and expressive means of the language;
2. Determine the role of trails in creating pictures of nature;
3. To reveal the function of the landscape in the work of I.S. Turgenev "Bezhin meadow";
4. Understand the relationship between man and nature.

Research methods:

1) text analysis,

2) search method,

Object of study:

The work of I.S. Turgenev "Bezhin Meadow".

Subject of study:

Image of landscape sketches.

To achieve my goals and objectives, I need to study the following literature:

1. .Valagin, A.P.I.S. Turgenev “Notes of a hunter”: An experience of analyzing reading / A.P. Valagin / / Literature at school. - 1992. - No. 3-4. - S. 28-36.

2. I.S. Turgenev Bezhin meadow - M.: 2005.

3. Nikolina, N. A. Compositional and stylistic originality of the story by I. S. Turgenev “Bezhin meadow” / N. A. Nikolina//Rus. at school. - 1983. - No. 4. - S. 53-59.

4. Kikina, E. A. Man between light and darkness: materials for lessons based on the story by I. S. Turgenev “Bezhin meadow” / E. A. Kikina // Lit-ra: Supplement to the newspaper "First of September". - 2005. - No. 21. - S. 3-4.

I. The concept of "Landscape"

Landscape (from French paysage, from pays - country, locality) - a description, a picture of nature, part of the real situation in which the action takes place. The landscape can emphasize or convey the state of mind of the characters; at the same time, the internal state of a person is likened or contrasted with the life of nature. Depending on the subject, the image of the landscape can be rural, urban, industrial, sea, river, historical (pictures of the distant past), fantastic (the image of the future world), astral (supposed, conceivable, heavenly), lyrical.

The lyrical landscape is more often found in the works of lyrical prose (lyrical novel, short story, miniature), which is distinguished by the severity of the sensual-emotional beginning and the pathos of the exaltation of life. Given through the eyes of a lyrical (often autobiographical) hero: it is an expression of the state of his inner world, primarily sensual-emotional. The lyrical hero experiences a feeling of unity, concord, harmony with nature, therefore, a peaceful nature is drawn in the landscape, maternally disposed towards man; it is spiritualized, poeticized. The lyrical landscape, as a rule, is created on the combination of contemplation of a natural picture (directly at the moment or in images of memory) and hidden or explicit meditativeness (emotional reflection, reflection). The latter is connected with the themes of home, love, motherland, sometimes God, is imbued with a sense of world harmony, mystery and the deep meaning of life. There are many tropes in the descriptions, the rhythm is expressed. Lyrical landscapes are especially developed in the literature of the 19th-20th centuries (I. Turgenev, M. Prishvin).

II. Main part. The artistic originality of the landscape in the story of I.S. Turgenev "Bezhin Meadow"

1. Picture of an early summer morning.

The story opens with a landscape of a summer morning. The writer refers to the description of the sky, dawn, sun, clouds. The colors used to describe nature by the author are striking in their sophistication and variety: welcoming radiant, lilac, shimmer of forged silver, golden gray, pale lilac. Nature is regal and benevolent… A feeling of fragility and harmony emanates from it. There is no man in the landscape, he is not in control of this power and beauty, but only gazes with delight at God's creation. The entire description of the morning landscape is closed by the writer in the image of the high sky. As a result, there is a feeling of some kind of elevation.

Showing the awakening of an early summer morning, the writer draws on an abundance of personifications and verbal metaphors, where he also includes pictorial, visual epithets.

At the same time, the number of emotional epithets exceeds the number of pictorial ones.

The central images of the early morning: the morning dawn “does not burn ..., it spills”, the sun “peacefully rises, shines and sinks”, a cloud, a cloud are words with diminutive suffixes that indicate the fragility of the picture. The purpose of the artist is to show the meekness of the early morning, its fragility. Emotional epithets prevail, because the image of nature, the picture of the awakening of nature, is conveyed through the perception of the author-narrator. Delicate colors convey to us the idea of ​​the author himself that the beauty of the surrounding world is associated with such concepts as silence, peace, meekness.

2. Picture of a clear summer day.

Let us turn to the description of the picture of a clear summer day. In this picture, Turgenev clearly dominates the pictorial epithet in combination with metaphor; let us single out the epithet together with the noun and verb that it defines.

"... playing rays gushed and merrily and majestically ... a mighty luminary rises."

The main artistic means for creating the image of a summer day are epithets that help the reader see a picture of a beautiful, warm, sparkling day that gives a person a feeling of calm and purity. The perfective verb separates the timid, quiet morning, which is mainly described with the help of the imperfective verbs “does not burn, spills, floats” from the dynamic day: “Playing rays poured in ...” Here it is the complete awakening of nature, the light triumphs, which literally permeates everything around.

3. Picture of the night.

Turgenev's night landscape is also very emotional. To create it, the author uses personifications, metaphors, vivid expressive and emotional epithets, comparisons. Everything seems to come alive at night.

Turgenev uses an emotional, expressive epithet.These artistic means are necessary for the author in order to convey the state of the hero. Through the prism of his feelings, we see the night landscape. The emotional epithet “shyly dived ... the bird” also conveys the state in which the hero is: a feeling of fear, anxiety and anxiety. “The night was approaching and growing like a thundercloud; it seemed that together with the evening vapors, darkness was rising from everywhere and even pouring from the heights ... approaching every moment, gloomy gloom rose in huge clubs. My footsteps resounded dully in the freezing air. As the night grows, so does the hunter's anxiety. The picture of the impending night is revealed through the perception of a worried, anxious person who is finally convinced that he is lost. At first, he is seized by an "unpleasant feeling, then he becomes "somehow creepy", and, finally, fear develops into horror at the "terrible abyss". To a troubled imagination, everything appears in a gloomy light. Such is the psychological basis of the picture of the night in its initial stage.

The disturbing night landscape is replaced by highly solemn and calmly majestic pictures of nature, when the author finally went out onto the road, saw peasant children sitting by two fires, and sat down with the children at the merrily crackling lights. The calmed artist saw the high starry sky in all its splendor and even felt the special pleasant aroma of the Russian summer night.

“The dark, clear sky solemnly and immensely stood high above us with all its mysterious splendor.My chest was sweetly embarrassed, inhaling that special, lingering and fresh smell - the smell of a Russian summer night. Almost no noise was heard around ... ".

Turgenev night we see, hear, smell. The author admires the majestic beauty of the Russian summer night, and his heroes are also fascinated by it.

4. Image of light.

The central image in the story is the image of light. To understand this, it is enough to trace how many words in the description of morning and afternoon contain the meaning (semantics) of light. The image of light appears gradually, at first we find its meaning in the words “clear, dawn, not flaming, bright”, then the light grows: “brilliance is like a brilliance ... silver, rays poured in”, and now the “luminary” appears. This is the Sun. But it is no coincidence that the author calls him a luminary. This is no longer just a heavenly body, it is already some kind of pagan deity that gives life to everything on Earth. It spreads light all around. It is majestic. At some point, it seems that it is unshakable. The color of the sky is the same throughout the day. Toward evening, the light becomes less. Here clouds, clouds appear, the color scheme of the day changes: “blackish and indefinite” clouds. There are fewer words with the meaning of light: “setting sun”, “scarlet radiance over the darkened earth”, and, finally, “carefully carried candle”, “evening star”.

The metaphor "carefully carried candle" very accurately reflects Turgenev's thought about the fragility of this world.

From that moment on, light begins to fight darkness. There is still light: “the sky is vaguely clear”, but the closer the night, the less it becomes, first “darkness poured”, then “gloomy darkness”, and now “a terrible abyss”. It seemed that it could be worse, the light disappeared completely.

All this struggle in nature takes place in the soul of the hero. The less the light becomes, the more panic seizes him. Man and nature are one. Light and darkness are eternal rivals for the human soul. It seems that the darkness has completely won, but suddenly the hunter sees the fire from the fire. It's light again. Throughout all the stories of the boys, the motif of the struggle between darkness and light will be present. And, finally, at the very end of the story, the final victory of light will take place: “scarlet streams ... hot light poured ... dew drops sparkled with diamonds everywhere.”

With the help of metaphors and personifications, emotional, expressive epithets, Turgenev conveys to us the idea that everything is harmonious in nature, no matter how hopeless the night world may seem, we must always remember that light will definitely win. Everything in nature is in balance.

III. The meaning of nature in the story "Bezhin Meadow".

So, in Turgenev's story "Bezhin Meadow" Russian nature is shown with great expressiveness. The landscape of Turgenev is lyrical, it is warmed by a deep feeling of love. Nature in Turgenev is given in the richness of its colors, sounds and smells, the image of the landscape is saturated with paths.

Showing the awakening of an early summer morning, the writer uses personifications, verbal metaphors and emotional epithets more. This is justified by the artist's goal - to show the very process of awakening and reviving nature.

The description of the paintings of a summer day is dominated by epithets combined with a metaphor, which helps to express one's impression and note the most striking signs of nature, the richness of colors on one of the summer days.

When depicting the night, the nature and meaning of visual means are already different, since the author wants to show not only pictures of nature, but also an increase in night mystery and a feeling of increasing anxiety, therefore, there is no need to use vivid pictorial epithets. Turgenev uses a whole range of linguistic means to convey anxious feelings: emotional epithets, comparisons, metaphors and personifications.

Thus, Turgenev's choice of visual means, as we have seen, is internally justified and plays a huge role in the description of nature.

Why, for what purpose did Turgenev introduce extensive descriptions of pictures of nature into his story? The life of peasant children, unlike city children, is always connected with nature, and in Turgenev's story, nature is shown, first of all, as a condition for the life of peasant boys, who early join agricultural labor. It would be false, and indeed impossible, while depicting children at night, not to show nature. But it is given not only as a background or condition for the life of peasant children.

Pictures of the coming night caused the artist a feeling of anxiety and anxiety, and pictures of a summer day - a feeling of joy in life. Thus, pictures of nature evoke certain moods of the author.

The story begins with a picture of a "beautiful summer day" and ends with a picture of a clear summer morning. The landscape serves as the beginning and ending of the work.

So, the function of the landscape in Turgenev is extremely diverse: it serves as a background for the life of the characters, determining the construction of the work, forming its beginning and ending; affects the imagination of the characters; sets off the state of mind of the hero, revealing the movement of the soul; has a social function; permeated with philosophical reflections on the eternal struggle between good and evil.

Thus, nature is shown by Turgenev as a force that affects both the narrator and the boys. Nature lives, changes, this is the character in the story. She interferes in a person's life. When the guys tell their stories, a splash of pike is heard, a star rolled; “a lingering, ringing, almost groaning sound” is heard, a white dove appears, which “flew right into this reflection, shyly turned around in one place, bathed in hot brilliance, and disappeared, ringing its wings.” And this is the originality of the perception of nature by I.S. Turgenev.

List of used sources in the literature

1. A.P. Valagin, I.S. Turgenev "Notes of a Hunter": An Experience of Analyzing Reading / A.P. Valagin // Literature at school. - 1992. - No. 3-4. - S. 28-36.

2. I.S. Turgenev Bezhin meadow - M .: Education, 2005.

3. N.A. Nikolina, Compositional and stylistic originality of the story
I. S. Turgenev "Bezhin Meadow" / N. A. Nikolina // Rus. lang. at school. - 1983.
- No. 4. - S. 53-59.

4. E.A. Kikina, Man between light and darkness: materials for lessons based on the story by I. S. Turgenev "Bezhin meadow" / E. A. Kikina // Literature: Supplement to the newspaper "First of September". - 2005. - No. 21. - P. 3-4.

5. S.P. Belokurova, Dictionary of literary terms, - St. Petersburg: Paritet, 2007.