Works of nature - an element without which it is difficult to imagine music and literature. From time immemorial, the unique beauties of the planet have served as a source of inspiration for outstanding writers and composers, and have been sung by them in immortal creations. There are stories, poems, musical compositions that allow you to recharge the energy of wildlife, literally without leaving your own home. Examples of the best of them are given in this article.
Prishvin and his works on nature
Russian literature is rich in stories, novels, poems, representing an ode to the native land. A striking example of a man who especially succeeds in writing about nature is Mikhail Prishvin. It is not surprising that he earned the reputation of her singer. The writer in his works encourages readers to establish a relationship with her and treat her with love.
An example of his work on nature is the “Pantry of the Sun” - a story that is one of the author’s best creations. The writer in it shows how deep the connection between people and the world that surrounds them. The descriptions are so good that the reader, as if with his own eyes, sees groaning trees, a gloomy swamp, ripe cranberries.
Tyutchev's creativity
Tyutchev is a great Russian poet, in whose work a huge place is given to the beauties of the world. His works on nature emphasize its diversity, dynamism, diversity. Using the description of various phenomena, the author conveys the process of the course of life. Of course, he also has a call to take responsibility for the planet, addressed to all readers.
Tyutchev is especially fond of the theme of night - the time when the world is plunged into darkness. An example is the poem "The veil has descended upon the world of the day." In his works, the poet may call the night a saint or emphasize its chaotic character - it depends on the mood. The description of the sunbeam “perched on a bed” in his work “Yesterday” is also wonderful.
Lyrics of Pushkin
Enumerating works on the nature of Russian writers, one cannot fail to mention the work of the great Pushkin, for whom she throughout her life remained a source of inspiration. It is enough to recall his poem “Winter Morning” to evoke the features of this time of year in your imagination. The author, apparently in an excellent mood, talks about how beautiful the dawn is at this time of year.
A completely different mood is conveyed by his Winter Evening, which is part of the compulsory school curriculum. In it, Pushkin describes a blizzard a bit gloomy and frightening, comparing it with a frantic beast, and the oppressive sensations that it causes him.
Many works on the nature of Russian writers are devoted to autumn. Pushkin, who appreciates this season of the year above all else, is no exception, despite the fact that in his famous work “Autumn” the poet calls it “a dull time”, however, he immediately refuted this characteristic with the phrase “eyes of charm”.
Bunin's works
The childhood of Ivan Bunin, as is known from his biography, passed in a small village located in the Oryol province. It is not surprising that as a child, the writer learned to appreciate the charms of nature. His creation, Listopad, is considered one of the best. The author allows readers to smell the trees (pine, oak), see the painted tower painted in bright colors, and hear the sounds of foliage. Bunin perfectly shows the characteristic autumnal nostalgia for the past summer.
The works on the Russian nature of Bunin are just a storehouse of colorful sketches. The most popular of them is Antonov apples. The reader will be able to feel the fruity aroma, to feel the atmosphere of August with its warm rains, to breathe in the morning freshness. Many other of his works are permeated with love for Russian nature: “River”, “Evening”, “Sunset”. And in almost every one of them there is a call for readers to value what they have.
Description of nature in literary works
- Since the end of September, our gardens and threshing floor have been empty, the weather, as usual, has changed dramatically. The wind tore the trees for days on end, raining them from morning to night. Sometimes in the evening, between the gloomy low clouds, the trembling golden light of the low sun broke through in the west, the air became clear and clear, and the sunlight dazzled between the foliage, between the branches that moved with a living net and were agitated by the wind. The liquid blue sky shone coldly and brightly in the north above the heavy lead clouds, and because of these clouds, ridges of snowy mountain clouds slowly surfaced ... The wind did not stop. He worried the garden, tore a stream of smoke continuously running from the chimney of a human, and again caught up with the sinister cosmas of ash clouds. They ran low and fast - and soon, like smoke, the sun was fogging. Its brilliance faded, a window closed in the blue sky, and in the garden it became deserted and dull, and again it started to rain ... first quietly, carefully, then everything was thicker and, finally, turned into a downpour with storm and darkness. A long, disturbing night came ...
- Everything around was golden green, everything was wide and softly worried and lay under the quiet breath of a warm breeze, all trees, bushes and grasses; larks were pouring everywhere with endless voices; the lapwing shouted, fluttering over low-lying meadows, then silently ran across bumps; blackening beautifully in the tender greenery of still low spring bread, rooks walked; they disappeared into the rye, already slightly whitened, only occasionally showed their heads in its smoky waves.
I. Turgenev "Fathers and Sons" - yowahua
- how do you like me girl I and here is the answer Two days seemed new to him
Secluded fields.
The coolness of the gloomy oak grove
The murmur of a quiet stream.
On the third grove, hill and field
He was not occupied by Bole;
Then they made a dream;
Then he saw clearly
As in the village, the same boredom. - Two days seemed new to him
Secluded fields.
The coolness of the gloomy oak grove
The murmur of a quiet stream.
On the third grove, hill and field
He was not occupied by Bole;
Then they made a dream;
Then he saw clearly
As in the village, the same boredom.it's from onegin!
- About two hundred years ago, the wind-sower brought two seeds to the Bludovo swamp: pine seed and spruce seed. Both seeds lay in one hole near a large flat stone ... Since then, maybe two hundred of these spruce and pine trees have been growing together. Their roots from childhood were intertwined, their trunks stretched up close to the light, trying to overtake each other ... Trees of different species fought among themselves with their roots for food, with branches - for air and light. Rising higher and thicker with trunks, they dug dry branches into living trunks and sometimes pierced each other through and through. An evil wind, having arranged such a miserable life for trees, flew here sometimes to shake them. And then the trees groaned and howled at the Fornication swamp, like living creatures, that the fox, returning to the ball on a moss bump, lifted its sharp muzzle up. Until that time, this groan and howling of pines and ate was close to living creatures, that the feral dog in the Fornication swamp, hearing it, howled from longing for a man, and the wolf howled from inescapable anger towards him.
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« Native nature in the works of Russian writers "
(for young and middle-aged children)
Logs, 2013
The nature of our country is rich and diverse. There are a lot of dense forests, wide steppes and high-water rivers.
Since ancient times, man and nature are closely interconnected. Man is a part of nature. But plants, animals are also parts of nature. Nature is our common home. In Greek, “house” is “ecos”, and science is “logos”. The science of nature, our common home, is called "ecology."
Today our natural home is in great danger. Scientists are anxiously talking about an impending environmental disaster on our planet.
The 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 forgot that man cannot exist outside of nature. After all, he lives on the earth, eats its fruits, breathes air, drinks water. And at the same time he cares so little about preserving his living environment! I would like to recall that in ancient times people were very careful about nature. We can judge this by the tales, myths and traditions that have reached us.
Bazhov, P. Malachite Box: Skazy.- M., 2005 .-- 224 p.
“Malachite Box” is a collection of tales about hard work in mining plants, about the joy of creativity, and about a careful attitude to 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, the Great Runner, the Fire-Poskakushka.
Bianchi, V. Forest newspaper. Tales and stories. - M., 2009.- 444 p.
The basis of all forest tales, stories and tales of Vitali Bianchi are his own scientific observations of the life of the forest and its inhabitants. One cannot help but fall in love with the cute furry and feathered heroes of Vitali Bianchi when he talks about their habits, dexterity, cunning, ability to save and hide. With excitement, we follow the adventures of the little traveler Peak from the story "Little Mouse Peak", get acquainted with a poor ant, who, by all means, needs to get home before sunset. We are waiting for the strong and agile Odinets to wade through the thicket silently emerge from the thicket.
And in the fairy tale “The Owl” by V. Bianchi it very simply and easily shows the dependence of one phenomenon in nature on another. In a simple chain of facts: owl - field mice - bumblebees - pollination of clover reveals to you the meaning of a complex relationship between organisms.
Mom-Sibiryak D.N. Gray neck. Tale and stories. - M., 2005 .-- 223 p.
It’s impossible not to love the heroes of the stories of Mom’s - Sibiryak: they are good-natured, hardworking, responsive to other people's suffering. The reader of the works of D.N. Mamin - Sibiryak reveals a picture of the majestic Ural nature, with its dense forests, winding rivers, quiet lakes and countless animals, birds, fish; reveals the great human soul of a simple worker, an ordinary Russian man, who managed to make animals and his friends and helpers with care and love.
Paustovsky K. hare legs: Stories and tales. - M., 2008 .-- 188s.
The imagery and magic of the Russian language are elusively associated with nature, with the mumble of springs, a crane flock, with fading sunsets; the distant song of the girls in the meadows and the haze of a bonfire hailing from afar.
He truly possesses an extraordinary gift to transmit sounds, colors and smells of nature, to paint a mysterious and captivating world.
Permyak E.A. Russian tales of nature. - M., 2006 .-- 62 p.
Fiction, bold fantasy in the tales of Yevgeny Permyak is real, practically justified, as close to life as possible. The heroes of fairy tales do not seek help from magical powers. Inquiring knowledge, labor wins. In his scientific and cognitive 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 man 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. Pantry of the sun. Stories about nature. - M., 2010.- 169 s .
Prishvin M.M. - hunter and traveler. He traveled a lot around the country, wandered a lot with a hunting rifle, then with a camera in Central Russian forests and fields.
Mikhail Mikhailovich Prishvin left enormous wealth in the form of short stories describing the native nature in prose in all its manifestations, in all its glory, left in the form of the most ordinary short notes about nature. Short stories of M. M. Prishvin about nature, rather more than miniatures of nature, small descriptions of those observations, those sensations and feelings from walks that were left in his heart by plants, trees and small inhabitants of the forest. Mikhail Mikhailovich recorded interesting events from the life of the forest in the form of small sketches. So he shared the feelings that nature shared with him.
Skrebitsky G.A. Forest echo.- M., 2005 .-- 150 p.
Skrebitsky G.A. Unknown trails. - M., 2002 .-- 140 s.
From the book “Unknown Trails”, young readers learn about how interesting the life of any, even the most ordinary animals is; it 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 drawn of how important it is to take care of natural resources from an early age.
Sladkov N.I. forest hiding places: stories and tales. M., 2007 .-- 397 p.
The remarkable Russian writer N.I.Sladkov devoted all his work to nature. In his stories and tales, Nikolai Ivanovich writes about how beautiful and unique the life of nature is, about the riddles that it makes to people about the endless diversity of the world around us. “Each clearing in the forest, he said, each lowland and tubercle is not just a clearing, lowland and tubercle, but a place of consent. In agreement, the plants and animals present live on them, favorably influencing each other. ”
Tolstoy L.N. Fairy tales. - M., 2002 .-- 99 s.
Tales created by Leo Tolstoy often have a scientific and educational character. The animation of objects, the magical and fairy-tale form help to master geographical concepts: “Shat Ivanovich did not listen to his father, lost his way and disappeared. And Don Ivanovich listened to his father and went to where his father ordered. But he went all over Russia and became famous ”(“ Chat and Don ”).
The Volga and Vazuza fairy tale is very interesting, which teaches us 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 economy: “There is a worm, it is yellow, it eats sheet. From that worm is silk. ” “A swarm sat on a bush. Uncle took it off, carried it to the hive. And he became a whole year white honey. " "Listen to me, my dog: do not let the thief bark at our house, and don’t scare the children and play with them." “The girl caught the dragonfly and wanted to tear her legs. Father said: these same dragonflies sing along the dawns. The girl remembered their songs and let go. "
Ushinsky K.D. Wicked cat. Stories and tales. - M., 2009.- 63 p.
In a wonderful, bright, figurative language, Konstantin Dmitrievich talks about the charms of nature. Reading his stories, you yourself become richer, and you yourself more clearly understand how much beauty is around you on earth.
K. Ushinsky owns a huge wealth of the Russian language, he knows its beauty, knows how to find the exact word, visible, tangible, "his word." Therefore, his prose sounds like a song.
Chaplina V.V. My pets. - M., 2008 .-- 188 p.
In the book “My Pets” by the remarkable writer Chaplina V.V. tells about the habits of animals and the friendship of man and beast. The stories “Funny teddy bear”, “Spoiled vacation”, “Puska”, “How good!” - are full of comic situations that sometimes happen to us with a closer acquaintance with “charming” animals. What the animals do in this case can easily infuriate even a very calm person, and Vera Chaplin is witty, but without ridicule, talks about it. It can be seen that the writer herself often fell into such situations, and that the people whom she shows bewildered and angry, in spite of everything, are able to maintain a good, human attitude to their little "tormentors". It seems that Vera Chaplin is not so much telling some stories, but just helping 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: a blooming bud, the rustle of rain, the radiance of the sun, the greenery of foliage, and how can this not be loved and not cherished? 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 is compiled using materials from the Federal State Standard of Basic General Education (FGOS: Basic General Education // FGOS.
Working programmStudied works russian folklore and folklore of other nations, Old Russian literature, 18th century literature, russians writers ... one of the most valuable qualities of man. Dear nature in russian poetry of the XX century A. Blok. "Summer ...
MM Dunaev Faith in the crucible of doubts Orthodoxy and Russian literature in the XVII xx centuries
LiteratureSelena, this meager nature - edge native patience, edge you russian of the people! But Tyutchev ... gradually fill the space of many, many works russians writers - with a sharp polarization in assessing revolutionary activity ...
Larisa salomatina nature has no bad weather
Document... ". And which works the writer did you read? Children call works. - Mama-Sibiryak was very fond of native nature. Listen ... figuratively and expressively, taking as a sample works russians writers-classics. But our task is with you ...
The poetics of nature in the works of I.S. Turgenev
In the last decade, ecology is experiencing an unprecedented flowering, becoming an increasingly important science, closely interacting with biology, natural history, geography. Now the word "ecology" is found in all media. And not one decade, the problems of the interaction of nature and human society concern not only scientists, but also writers.
The unique beauty of native nature at all times prompted to take up a pen. How many writers in verse and prose sang this beauty!
In their works, they not only admire, but also make you think, warn about what the unreasonable consumer attitude to nature can lead to.
Great legacy of 19th century literature. The writings of the classics reflect the characteristic features of the interaction of nature and man inherent in the past era. It is difficult to imagine the poetry of Pushkin, Lermontov, Nekrasov, the tales and stories of Turgenev, Gogol, Tolstoy, Chekhov without a description of paintings of Russian nature. The works of these and other authors reveal the diversity of the nature of the native land, help to find in it the beautiful sides of the human soul.
Realism, established in literature as a way of displaying reality, largely determined the methods of creating a landscape and the principles of introducing the image of nature in the text of a work. Turgenev introduces into nature's works descriptions of nature that are diverse in content and construction: these are general characteristics of nature, and types of localities, and landscapes proper. The author’s attention to the description of nature as an arena and an object of labor is becoming ever closer. In addition to detailed, generalized paintings, Turgenev also resorted to the so-called landscape touches, brief references to nature, forcing the reader to mentally finish the description conceived by the author. Creating landscapes, the artist displays nature in all the complexity of the processes that take place in it, and in diverse relationships 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 description with vivid emotions, as a result of which they acquired a lyrical coloring and subjective character.
When creating the landscape, I.S. Turgenev was guided by his own philosophical views on nature and man's attitude to it.
In the monograph "Nature and Man in Russian Literature of the 19th Century" V.A. Nikolsky rightly remarks: “... Turgenev declares ... the independence of nature from human history, the extrasocial nature of nature and its forces. Nature is eternal and unchanging. She is opposed by a person who is also seen outside the specific historical conditions of his existence. There is an antinomy: man and nature, requiring its permission. They connect with her 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 harmonious and disharmonious; questions that are inevitable for everyone who was looking for ways to get closer to the people ”V. Nikolsky Nature and man in Russian literature of the 19th century. - M. 1973, - S. 98 ..
The creative personality of the writer, the features of his poetic worldview are reflected with particular force in the image of nature.
The embodiment of nature in the creative heritage of I.S. Turgenev acts as a harmonic, independent and dominant force acting on a person. At the same time, the writer’s orientation towards the Pushkin and Gogol traditions is felt. Turgenev conveys through landscape sketches his love of nature, the desire to enter its world. In addition, many works of the writer are filled with emotional expression of landscape descriptions.
The landscape in the works of Turgenev 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 the artistic system of the author. Turgenev perceives nature as "indifferent", "imperious", "selfish", "overwhelming" Turgenev I.S. Full Sobr. Op. and letters. Letters, t. 1, 1961, - S. 481 .. Nature at Turgenev is simple, open in its reality and naturalness and infinitely difficult in the manifestation of mysterious, elemental, often hostile to man forces. However, in happy moments, it is for a person a source of joy, vivacity, spirit and consciousness.
Ivan Sergeyevich Turgenev in his work expressed his attitude to nature as the soul of Russia. In the writer's works, man and the natural world appear in unity, regardless of whether the steppes, animals, forests or rivers are depicted.
Turgenev noted the finest poetization of nature, which is expressed in his view of her as an artist. Turgenev is a master of halftones, a dynamic, soulful lyrical landscape. The main tonality of the Turgenev landscape, as in painting, is usually created by lighting. The writer captures the life of nature in the alternation of light and shadow, and in this movement notes the similarity with the variability of the 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 pond in “Rudin”, a thunderstorm in “On the Eve of " 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. He almost always refracts in their mood.
Nature in the works of Turgenev is always poeticized. She is painted with a feeling of deep lyricism. Ivan Sergeyevich inherited this trait from Pushkin, this amazing ability to extract poetry from any prosaic phenomenon and fact; all 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 Sergeyevich Turgenev himself, nature is the soul of Russia. In the works of this writer, the unity of man and the world of nature is traced, whether it be a beast, forest, river or steppe. This is well shown in the stories that make up the famous Hunter Notes.
In the story "Bezhin Meadow", a lost hunter not only experiences fear with a dog, but also feels his guilt before a tired animal. Turgenevsky hunter is very sensitive to the manifestations of mutual kinship and communication between man and animals.
The story "Bezhin Meadow" is dedicated to Russian nature. At the beginning of the story, the features of changing nature during one July day are depicted. Then we see the onset of evening, sunset. Tired hunters and a dog go astray, feel a sense of lostness. The life of night nature is mysterious, before which man is not omnipotent. But the Turgenev night is not only creepy and mysterious, it is also beautiful with a "dark and clear sky" that "stands solemnly and high" above people. The Turgenev night spiritually liberates a person, worries his imagination with the endless mysteries of the universe: "I looked around: the night was solemn and regal ... The countless golden stars seemed to flow quietly, flickering in the direction of the Milky Way, and, right, looking at them, you seemed vaguely to feel the swift, non-stop running of the earth yourself ... "
Night nature pushes children around the campfire to beautiful, fantastic stories of legends, offers one riddle after another, and she herself tells about their possible resolution. The story of the mermaid is preceded by the rustling of reeds and mysterious bursts on the river, the flight of a shooting star (according to the peasant beliefs of the human soul). The laughter and cry of the mermaid is reflected in Turgenev’s story of a nightly nature: “Everyone was silent. Suddenly, somewhere in the distance, there was a long, ringing, almost wailing sound ... It seemed that someone had shouted for a long, long time under the very horizon, someone the other seemed to respond to him in the forest with a thin, sharp laughter 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 imagination of the children switches to the fate of people, to the drowning boy Vasya, the unfortunate Akulina, etc. ... Nature worries the human thought with its riddles, makes it possible to feel the relativity of any discoveries, the unraveling of its secrets. She subdues the strength of a person, demanding recognition of her superiority.
This is how Turgenev's philosophy of nature is formed in “Notes of the Hunter”. Following short-term fears, a summer night brings people peaceful sleep and peace. Omnipotent in relation to man, night itself is only a moment. "A fresh stream ran through my face. I opened my eyes: the morning was beginning ...".
The forms of the presence of nature in the literature are diverse. These are mythological incarnations of her forces, and poetic personifications, and emotionally colored judgments (whether they are individual exclamations or entire monologues), and descriptions of animals, plants, their portraits, so to speak, and, finally, landscapes proper (French pays - country , terrain) - descriptions of wide spaces.
Representations of nature are deeply significant in the experience of mankind initially and invariably. A.N. Afanasyev, one of the largest researchers in mythology, wrote in the 1860s that "sympathetic contemplation of nature" accompanied man already "during the creation of the language", in the era of archaic myths.
Extra-landscape images of nature prevailed in folklore and in the early stages of the existence of literature: its forces were mythologized, personified, personified, and as such often participated in people's lives. A vivid example of this is “The Word about Igor's Regiment”. Comparisons of the human world with objects and natural phenomena were widespread: the hero with an eagle, a falcon, a lion; troops - with a cloud; the brilliance of weapons - with lightning, etc., as well as the names in combination with epithets, as a rule, permanent: “high oak forests”, “clean fields”, “wondrous animals” (recent examples taken from “Words on the Ruin of the Russian Land” )
A similar kind of imagery is also present in the literature of eras close to us. Let us recall Pushkin's “The Tale of the Dead Princess and the Seven Knights”, where Prince Elisha, in search of the bride, turns to the sun, month, wind, and they answer him; or Lermontov’s poem “Clouds of Heaven,” where the poet not only describes nature, but speaks with clouds.
The images of animals that are invariably involved in the human world or are similar to it are rooted in the centuries. From fairy tales (grown from myths) and fables, threads stretch to the "brother of the wolf" from the "Flowers" of Francis of Assisi and the bear from "The Life of St. Sergius of Radonezh", and then to such works as Tolstoy's "Holstomer", Leskovsky "The Beast", where offended by injustice, the bear is likened to King Lear, Chekhov's “Kashtanka”, a story by V.P. Astafyev "Trezor and Mukhtar", etc.
Actually, landscapes until the XVIII century. in literature are rare. These were more of an exception than a “rule" of recreation of nature. Let us call the description of the wonderful garden, which is also the zoo, a description that precedes the third day short stories in the “Decameron” by J. Boccaccio. Or "The Legend of the Battle of Mamaev," where for the first time in ancient Russian literature a contemplative and at the same time deeply interested view of nature is seen.
The time of the birth of the landscape as an essential link in verbal and artistic imagery is the 18th century. The so-called descriptive poetry (J. Thomson, A. Pope) widely captured the pictures of nature, which at that time (and even later!) Were mostly elegiac - in tones of regrets about the past. Such is the image of an abandoned monastery in the poem by J. Delil "Gardens".
Such is the famous “Elegy Written in a Rural Cemetery” by T. Gray, who influenced Russian poetry thanks to the famous translation by V.A. Zhukovsky (“Rural Cemetery”, 1802). Elegance tones are also present in the landscapes of “Confession” by J.J. Rousseau (where the narrator, admiring the village landscape, imagines the enchanting pictures of the past - “rural meals, frisky games in the meadows”, “charming fruits on the trees”), and (to an even greater extent) by N. Karamzin (recall the textbook well-known description of the pond in which poor Lisa drowned).
In the literature of the XVIII century. reflection entered as an accompaniment of the contemplation of nature. And this is precisely what caused the consolidation of the landscapes proper. However, writers, while painting nature, still to a large extent remained subject to stereotypes, cliches, and common places characteristic of a particular genre, whether it be a journey, an elegy, or a descriptive poem.
The nature of the landscape noticeably changed in the first decades of the 19th century, in Russia - starting with A.S. Pushkin. The images of nature are no longer subject to the predefined laws of the genre and style, certain rules: they are born again every time, appearing unexpected and bold.
The era of individual author’s vision and recreation of nature has come. Each major writer of the XIX-XX centuries. - A special, specific natural world, served mainly in the form of landscapes. In the works of I.S. Turgeneva and L.N. Tolstoy, F.M. Dostoevsky and N.A. Nekrasova, F.I. Tyutcheva and A.A. Feta I.A. Bunina and A.A. Blok, M.M. Prishvina and B.L. Parsnip nature is assimilated in its personal significance for the authors and their heroes.
This is not about the universal essence of nature and its phenomena, but about its unique individual manifestations: about what is visible, audible, felt right here and now - about nature that responds to a given mental movement and a person’s state or generates it . Moreover, nature often appears to be inescapably changeable, unequal to itself, abiding in various states.
Here are a few phrases from I.S. Turgenev's “Forest and Steppe”: “The edge of the sky grows red; waking up in birches, awkwardly flying jackdaws; sparrows chirping near dark ricks. The air is getting brighter, the road is more visible, the sky is becoming brighter, clouds are turning white, fields are turning green. In the huts, red lights burn with red fire, sleepy voices are heard behind the gates. Meanwhile, the dawn flares up; golden streaks have already stretched across the sky, fumes swirl in ravines; the larks are singing loudly, the predawn wind blew - and the crimson sun rises quietly. The light will flood with a stream; " To the place to remind and oak in "War and Peace" L.N. Tolstoy, dramatically changed in a few spring days. Infinitely mobile nature in the lighting of M.M. Prishvina. “I look,” we read in his diary, “and I see everything different; yes, winter and spring and summer and autumn come in different ways; and the stars and the moon always rise in different ways, and when everything is the same, everything will end. ”
In the literature of the XX century. (especially in lyric poetry) the subjective vision of nature often takes precedence over its objectivity, so specific landscapes and certainty of space are leveled, or even disappear altogether. These are many of Blok's poems, where landscape specifics seem to dissolve in fogs and twilight. Something (in a different, "major" tone) is noticeable in Pasternak's 1910-1930s.
So, in the poem “Waves” from “Second Birth”, a cascade of vivid and heterogeneous impressions of nature is given that are not made out as spatial paintings (landscapes proper). In such cases, the emotionally strained perception of nature triumphs over its spatial-species, "landscape" side. Subjectively significant situations of the moment here "are highlighted, and the objective filling of the landscape begins to play a secondary role, as it were." Based on the vocabulary that has now become familiar, such images of nature can rightfully be called "post-landscape".
The images of nature (both landscape and all others) have a deep and completely unique meaningful meaning. The centuries-old culture of mankind is rooted in the idea of \u200b\u200bthe goodness and urgency of the unity of man with nature, of their deep and indissoluble connection. This view was artistically embodied in different ways. The motive of the garden - nature cultivated and decorated with man - is present in the literature of almost all countries and eras.
The garden often symbolizes the world as a whole. “The garden,” says D.S. Likhachev always expresses a certain philosophy, an idea of \u200b\u200bthe world, a person’s attitude to nature, this is a microworld in its ideal expression. ” Let us recall the biblical Garden of Eden (Genesis 2:15; Ezek. 36:35), or the gardens of Alkinoi in the Homeric Odyssey, or the words about earth-dying “grapevines” (that is, monastery gardens) in the “Word of the Russian Perdition” land. " Without gardens and parks, I.S. Turgenev, works of A.P. Chekhov (in “The Cherry Orchard” the words: “All of Russia is our garden”), poetry and prose by I.A. Bunina, poems by A.A. Akhmatova with their Tsarskoye Selo theme, so close to the heart of the author.
The values \u200b\u200bof uncultivated, pristine nature became the property of cultural and artistic consciousness relatively late. The decisive role, apparently, was played by the era of romanticism (we mention Bernardin de Saint-Pierre and F.R. de Chateaubriand). After the appearance of the poems of Pushkin and Lermontov (mainly southern, Caucasian), pristine nature began to be widely imprinted by domestic literature and, more than ever, was updated as a value of the human world.
Human communication with the uncultivated nature and its elements appeared as a great blessing, as a unique source of spiritual enrichment of an individual. Recall Olenin (the story of Leo Tolstoy's "Cossacks"). The majestic nature of the Caucasus colors his life, determines the system of experiences: "Mountains, mountains were sensed in everything that he thought and felt." The day spent by Olenin in the forest (the 20th century is the center of bright, “very Tolstoyan” paintings of nature), when he clearly felt like a pheasant or mosquito, prompted him to search for spiritual unity with others, faith in the possibility of spiritual harmony.
The deepest comprehension of human relations with the natural world marked the work of M.M. Prishvin, a philosopher-writer, convinced that “culture without nature is quickly exhausted” and that in the depths of being where poetry originates, “there is no significant difference between man and beast,” who knows everything. The writer was clear that combines the animal and plant world with people as "primitive", who always interested him, and modern, civilized. Decisively in everything natural, Prishvin saw the beginning of an uniquely individual and close to the human soul: “Each leaf is not like the other”
Dramatically at odds with the Nietzsche concept of Dionysianism, the writer thought and experienced nature not as a blind element incompatible with humanity, but as akin to man with his spirituality: “Good and beauty is a gift of nature, natural strength.” After telling a dream he saw in his diary (trees bowed to him), Prishvin argues: “How many graceful caresses, greetings, comfort come from trees at the edge of the forest when a person enters the forest; and therefore a tree is certainly planted near the house; the trees at the edge of the forest are as if waiting for a guest. "
Considering people to be inseparably connected with nature, Prishvin at the same time was very far from all kinds of (in the spirit of Rousseau, and in the manner of Nietzsche) programs to return humanity back to the imaginary "golden age" of complete merging with nature: "Man gives the earth new, not continuing nature, but completely new human institutions: a new voice, a new, redeemed world, a new heaven, a new earth - this is not recognized by the prophets of the religion of "life" Prishvin MM Diaries 1914-1917. M., 1991.S. 153.
The writer’s thoughts about man and nature were embodied in his prose, most vividly in the novel “Ginseng” (1st ed. 1933), one of the masterpieces of Russian literature of the 20th century. The Prishvin concept of nature in its relation to man is related to the ideas of the famous historian L.N. Gumilyov, who spoke about the inextricably important and good connection of peoples (ethnic groups) and their cultures with those “landscapes” in which they formed and, as a rule, continue to live.
Literature of the 19th-20th centuries comprehended, however, not only situations of friendly and good unity of man and nature, but also their discord and opposition, which were covered in different ways. Since romanticism, the motive of the sad, painful, tragic separation of man from nature has persistently been heard. The palm belongs to F.I. Tyutchev. Here are the lines from the poem “There are buoyancy in the sea waves”, which are very characteristic of the poet:
The unflappable order in everything
Consonance is complete in nature,
Only in our ghostly freedom
We are aware of the discord.
Where did the discord come from?
And why in the general choir
The soul sings not like the sea,
And the thinking reed grumbles?
Over the past two centuries, literature has repeatedly talked about people as converters and conquerors of nature. In a tragic light, this topic was presented in the finale of the second part of Faust by I.V. Goethe and in The Bronze Horseman by A.S. Pushkin (dressed in granite Neva rebels against the will of the autocrat - builder of St. Petersburg). The same theme, but in different tones, joyfully euphoric, formed the basis of many works of Soviet literature. "A man said to the Dnieper: / I’ll lock you up with a wall, / So that, falling from the top, / The conquered water / Quickly move the cars / And push the trains." Such poems were memorized by schoolchildren of the 1930s.
Writers of the 19th-20th centuries repeatedly captured, and sometimes expressed on their behalf arrogantly cold attitude to nature. Let us recall the hero of Pushkin’s poem “A scene from“ Faust ”languishing with boredom on the seashore, or the words of Onegin (also always bored) about Olga:“ like this stupid moon in this stupid sky ”- words that remotely preceded one of the images of the deeply crisis second volumes of lyrics A.A. Blok: “And in the sky, accustomed to everything, / The disk makes no sense” (“The Stranger”).
For the first post-revolutionary years, a poem by V.V. Mayakovsky's “A cigarette case went into the grass by a third” (1920), where the products of human labor were given a status incommensurably higher than that of natural reality. Here the ants and the grass admire the pattern and polished silver, and the cigarette-case pronounces contemptuously: “Oh, you are nature!” The ants and the grass, the poet observes, did not stand "with their seas and mountains / in front of a human deed / nothing at all." It is to such an understanding of nature that the worldview of M.M. is internally polemic. Prishvina.
In modernist and, especially, postmodern literature, alienation from nature has apparently taken on an even more radical character: "nature is no longer nature, but" language ", a system of modeling categories that preserve only the external similarity of natural phenomena."
The weakening of relations of literature of the XX century. with “living nature”, in our opinion, it is justifiable to explain not so much the “cult of the language” in the writing environment as the isolation of the current literary consciousness from the big human world, its isolation in a narrow circle of professional, corporate-circle, purely urban. But this branch of the literary life of our time is far from exhausting what has been done and is being done by writers and poets of the second half of the 20th century: the images of nature are the unremovable, eternally pressing facet of literature and art, filled with the deepest meaning.
V.E. Halizev Theory of Literature. 1999 year