The theme of nature in the works of Russian writers. "Native nature in the works of Russian writers" - Document
Musaadaeva Diana
Reflections on how writers, artists and composers describe nature in their works.
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Nature theme in given time very relevant. In the last decade, ecology has experienced an unprecedented flourishing, it is becoming more and more meaningful science, closely interacting with biology, natural history, geography. Now the word "ecology" is found in all the media. And for more than a decade, the problems of interaction between nature and human society have been of concern not only to scientists, but also to writers, artists, and composers.
The unique beauty of native nature at all times encouraged people of art to new creative searches. In their works, they not only admire, but also make you think, warn about what an unreasonable consumer attitude towards nature can lead to.
Nature in the works of composers is a reflection of its real sound, the expression of specific images. At the same time, the sounds of nature themselves create a certain sound and influence in one way or another. The study of musical works from different eras will allow us to trace how the consciousness of man, his attitude to the eternal world of nature has changed. In our age of industrialization and urbanization, the issues of preserving the environment, the interaction between man and nature are especially acute. A person, in my opinion, cannot determine his place in the world in any way: who is he - the king of nature or just a small part of a great whole?
The legacy of Russian literature is great. The works of the classics reflect the characteristic features of the interaction between nature and man, inherent in the past era. It is difficult to imagine the poetry of Pushkin, Lermontov, Nekrasov, the novels and stories of Turgenev, Gogol, Tolstoy, Chekhov without describing the pictures of Russian nature. The works of these and other authors reveal the diversity of nature native land, help to find in it the beautiful sides human soul.
So, in the work of Ivan Sergeevich Turgenev himself, nature is the soul of Russia. In the works of this writer, the unity of man and the natural world is traced, whether it be an animal, forest, river or steppe.
Tyutchev's nature is diverse, many-sided, full of sounds, colors, smells. Tyutchev's lyrics are imbued with delight before the grandeur and beauty of nature:
I love the storm in early May,
When spring, the first thunder,
As if frolicking and playing,
Rumbles in the blue sky.
The young peals are thundering,
Here the rain splashed, the dust flies,
Rain pearls hung.
And the sun gilds the threads.
Every Russian person knows the name of the poet Sergei Alexandrovich Yesenin. All his life, Yesenin worships the nature of his native land. "My lyrics are alive alone big love, love for the motherland. The feeling of the motherland is the main thing in my work, "Yesenin said. All people, animals and plants in Yesenin are children of one mother - nature. Man is part of nature, but nature is endowed with human features. An example is the poem "Green hairstyle ...". In it, a person is likened to a birch, and she is like a person. This is so interpenetrating that the reader will never know who this poem is about - about a tree or about a girl.
No wonder Mikhail Prishvin is called the "singer of nature." This master of the artistic word was a fine connoisseur of nature, perfectly understood and highly appreciated its beauty and wealth. In his works, he teaches to love and understand nature, to be responsible to it for its use, and not always reasonable. With different sides the problem of the relationship between man and nature is highlighted.
It is impossible to tell in one essay about all the works that touch on the issue of the relationship between man and nature. Nature for writers is not just a habitat, it is a source of kindness and beauty. In their ideas, nature is associated with true humanity (which is inseparable from the consciousness of its connection with nature). Stop scientific and technical progress impossible, but it is very important to reflect on the values of humanity.
All writers, as convinced connoisseurs of true beauty, prove that the influence of man on nature should not be destructive. For them, every encounter with nature is a meeting with beauty, a touch of mystery. To love nature means not only to enjoy it, but also to take good care of it.
Images of animals and people made in the era of primitive society on the walls of caves have survived to our times. Since then, many millennia have passed, but painting has always remained an invariable companion of the spiritual life of man. In recent centuries, it is undoubtedly the most popular of all types of fine art.
Russian nature has always had a great influence on Russian artists. One can even say that it is the nature of our country, its landscape, climatic conditions, paints, shaped the national character, and, consequently, gave rise to all the features of Russian national culture, including painting.
However, landscape painting itself in Russia began to develop only in the 18th century. along with the development of secular painting. When they began to build magnificent palaces, lay out luxurious gardens, when, as if by magic, new cities began to grow, there was a need to perpetuate all this. Under Peter I, the first views of St. Petersburg, made by Russian artists, appeared.
The first Russian landscape painters drew inspiration from abroad. Fedor Matveev is a prominent representative of classicism in Russian landscape painting. “View in the environs of Bern” is an image of the city contemporary to the artist, but the real landscape is presented by the artist as ideally sublime.
Italian nature is reflected on Shchedrin's canvases. In his paintings, nature was revealed in all its natural beauty. He showed not only the external appearance of nature, but her breath, movement, life. However, already in the works of Venetsianov we see an appeal to the pictures of native nature. Benois wrote about the work of Venetsianov: “Who in the whole of Russian painting managed to convey such a truly summer mood as the one that is embedded in his painting “Summer”! The same amazing thing is the picture "Spring" paired with her, where "all the quiet, modest charm of the Russian spring is expressed in the landscape."
Contemporaries believed that Shishkin's work resonates with photographicity, and this is precisely the merit of the master.
In 1871, Savrasov's famous painting "The Rooks Have Arrived" appeared at the exhibition. This work was a revelation, so unexpected and strange that then, despite the success, not a single imitator was found for her.
Speaking of Russian landscape painters, one cannot fail to mention V.D. Polenov, his touching landscapes "Grandmother's Garden", "First Snow", "Moscow Yard".
Savrasov was a teacher, and Polenov was a friend of the famous Russian landscape painter Levitan. Levitan's paintings are a new word in Russian landscape painting. These are not views of localities, not reference documents, but Russian nature itself with its inexplicably subtle charm. Levitan is called the discoverer of the beauties of our Russian land, those beauties that lie next to us and are available to our perception every day and hour. His paintings give not only pleasure to the eye, they help to understand and study our Earth, its nature.
In Russian painting of the last century, two sides of the landscape as a type of painting are revealed: the objective, that is, the image, the view of certain areas and cities, and the subjective, the expression in the images of the nature of human feelings and experiences. The landscape is a reflection of the reality that is outside of a person and is transformed by him. On the other hand, it also reflects the growth of personal and social self-awareness.
Nature is surprisingly diverse in colors and shapes. Beetles, butterflies, dragonflies, flowers, leaves, dew drops, snowflakes - what a variety of beauty! Even on islands of nature in the city - in yards, parks, lawns! And how much beauty is in the forest, in the meadow, in the middle of the field, by the river, by the lake! And how many sounds in nature - whole polyphonic choirs of insects, birds, frogs and other animals!
Nature is a real temple of beauty, and it is no coincidence that all poets, artists, musicians drew their ideas by observing them in a natural environment.
Music and poetry are the beautiful things without which a person cannot live. The writer Paustovsky said wonderful words: "... and if I sometimes want to live up to a hundred and twenty years, it is only because one life is not enough to experience to the end all the charm and all the healing power of our Russian nature." Love for one's native nature is one of the surest signs of love for one's country.
Composers have composed many songs about the beauty of nature. Can a song bring joy to our heart? And the verses? What about nature? It has a soul, it has a language, only, unfortunately, not everyone can hear this language, understand it. But many talented people, such as the poet S.A. Yesenin, composer P.I. Tchaikovsky, G.V. Sviridov managed to understand the language of nature and love it with all his heart, therefore, they created many beautiful works.
The sounds of nature served as the basis for the creation of many musical works. Nature is powerful in music. Music was already with ancient people. Primitive people sought to study the sounds of the world around them, they helped them navigate, learn about danger, and hunt. Observing the objects and phenomena of nature, they created the first musical instruments - a drum, a harp, a flute. Musicians have always learned from nature. Even the sounds of the bell, which are heard on church holidays, sound due to the fact that the bell was created in the likeness of a bell flower.
In 1500, a copper flower was made in Italy, it was accidentally hit, and a melodious ringing sounded, the servants of the religious cult became interested in the bell, and now it sounds, delighting the parishioners with its ringing.
Great musicians also learned from nature: Tchaikovsky did not leave the forest when he wrote children's songs about nature and the cycle “The Seasons”. The forest suggested to him the mood and motives of the piece of music.
There is no more brilliant artist in the world than nature itself. Everything she creates is a true masterpiece. Artists are attracted by these images of corners of untouched nature. The paintings of many Russian artists depict steppe landscapes with their virgin beauty not yet disturbed.
“Steppe, dear! A bitter wind settling on the manes of mowing queens and stallions. On dry horse snores, it is salty from the wind, and the horse, inhaling the bitter-salty smell, chews with silky lips and neighs, feeling the taste of wind and sun on them. Native steppe under the low Don sky!.. Feather-grass expanse with a baited nesting trail of a horse's hoof, mounds in wise silence, protecting the buried Cossack glory. So describes Don writer M. A. Sholokhov is our Fatherland. In these words, one feels all the beauty and breadth of such landscapes familiar to us since childhood.
The beauty of the Don nature in the boundless steppes. The more you peer into the discreet beauty of native landscapes, the more you absorb the feeling of unprecedented spaciousness and breadth. Both colors and colors in nature are somehow special here. The Don flows widely in the expanse of green steppes. Like a mirror ribbon of brilliant silver, it meanders among the fields along the wide expanse of the steppe. And slowly and smoothly its course. Don seems to be asleep. No wonder they called him the Quiet One.
The Don River was the epicenter of Cossack experiences. This is a very complex, dynamic folklore image. In the early tradition, the Don acted as a mythical progenitor, and in the later tradition, as a path-road that pushes the boundaries. Don - a kind of "land-water" Cossack. It was the river that entered the songs of the Don Cossacks as an image of the Motherland. The sing-along of many songs began with words dedicated to Don. For example, “Oh, yes, you are the breadwinner, Don, our father. Orthodox quiet Don Ivanovich ... ". The Cossacks have an ambivalent attitude towards the steppe. On the one hand, the steppe is the personification of expanse, latitude, and on the other hand, the steppe is a source of constant danger. The opposition of the river-steppe is expressed in folklore through the opposition "one's own - someone else's". The “own” territory was the river, and the “foreign” was the steppe, as evidenced by the traditional names of the banks of the Don River by the name of the enemies - the Nogai side and the Crimean side.
Along with painting, architecture, the art of creating buildings and their complexes that form the environment of human life, was born in ancient times. In these structures one can see the desire of a person to create according to the laws of nature, using symmetry, lines peeped from nature. People sought to decorate their life, their everyday life, make her more beautiful, more elegant. Take a closer look at the things that surround you, and you will see that an artist took part in their creation.
Consider wallpaper, postcards, toys, dishes, mother's scarf, rug in the house and you will make sure that there is no object in the house that the artist's hand has not touched. Here is a scarf, mothers and grandmothers tie it. What it is decorated with - red roses, scarlet poppies - a round dance of flowers, all this makes it elegant, festive, improves mood. And the dishes: cups, teapots, what is depicted on them? Again, flowers, leaves, fruits, our favorite animals, birds. What dishes do you like more, metal, without a pattern? Or one that is decorated with drawings of natural inhabitants or landscapes. The beauty of nature has excited man at all times.
I believe that it is very important that we learn to love and appreciate nature. And life will become richer and more interesting for us. We will not be indifferent and heartless: whoever loves nature will not spoil a tree, will not pick a flower, will not kill a bird. I would very much like us to learn to hear not only with our ears, but also with our hearts, and the rustle of leaves, and the rustle of grass, and the murmur of a brook, and the singing of birds; so that we learn to love and pity all living things in the forest and the forest itself is an extraordinary miracle of nature.
The concept of “native” and “Motherland” is formed in childhood. From birth, the surrounding landscape, animals and birds remain in the soul - the characters of children's fairy tales. Paustovsky writes: “Almost every one of us has remembered from childhood forest glades covered with foliage, lush and sad corners of the homeland that shine under the cool sun in the blue, in the silence of windless waters, in the cries of nomadic birds.”
Communication with nature gives birth in the soul, open to the knowledge of goodness, high moral feelings. Get closer to nature, turn to face it.
It has long been noted that getting up early in the morning, you must definitely go to the window and say hello to the rising sun, sky, earth, trees, birds. This is the source of our health and good mood. Finishing our small imaginary journey into the world of beauty, into the world of nature, into the world of colors, shapes, sounds - I would like to say that this journey has just begun. The book of nature is an inexhaustible source of knowledge for man, we will have to open its pages all our lives. Once upon a time, the great artist Leonardo da Vinci said: "I took Nature, the teacher of all teachers, as my mentor." Therefore, observe, make your travels and walks in nature, memorize its colors, sounds, write poetry, draw your own pictures, create your own crafts.
Probably, of all Russian poets, it is Bunin who stands out for his love of nature and its detailed description and chanting in verse. The poet intertwines melancholy and joy, truth, life in verse. Bunin subtly feels the world around him, and it was nature that became the main theme of his work. It is nature that influences his mood, so he tries to find all the details, describe in as much detail as possible, and not miss anything.
His early work critics described it as "autumn sadness", and the author himself was called "quiet, peaceful." However, one could find many examples when Bunin rebelled and showed contradictions. On the one hand - a tender love for nature, harmony and peace, and on the other - the ugliness and injustice of life. Here you can see the social problems in his work. For example, in the story "On the Farm" a person became a particle of nature, felt a blood relationship with her, and not with people and the village.
In the novel "The Life of Arsenyev" Bunin the painter "paints" a picture of autumn withering, revealing to the reader all the richness of color. He immediately finds the main color, so that a magnificent view opens up before everyone: “yellow expanse”, “yellow wasps”, “yellowing withered grass”. And it is in this work that nature shows the inner state of the hero, reflects his slight sadness and fatigue.
In the story “Antonov apples”, Bunin managed, with the help of his love for central Russia, to turn this boring gray landscape into a curious sight. Images appear before the reader's eyes: “a yellow, thinned garden”, “the smell of apples, honey and freshness”, “happy thrushes on scarlet clusters of mountain ash in the depths of the garden”, and much more. Love for the Motherland helped Bunin create such a sensual landscape.
Bunin's description of nature reveals to us his philosophy - the desire for universal harmony. The functions of describing nature are different - to show the inner state of the hero, to see the contrast between harmonious and ugly, to fill the works with emotions. bright and expressive description nature in strength cannot be compared with any of the poets.
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- Is it possible to consider the hero of the story I.A. Bunin's "The Gentleman from San Francisco" as a typical hero of the early 20th century? - -
- Is it possible to name the story “The Gentleman from San Francisco” by I.A. Bunin a work of symbolism? - -
- Why does the protagonist of I. Bunin's story "The Gentleman from San Francisco" have no name? - -
- Why is the love of heroes in the story of I.A. Bunin's "Clean Monday" is called "strange"? - -
- Why is love in the image of I.A. Bunina tragic? - -
- Why in the works of A.S. Pushkin one of the main characters is the elements? - -
- The image of the world of nature and the world of the human soul in the poem by F.I. Tyutchev "There is in the autumn of the original ..." - -
Works about nature are an element without which it is difficult to imagine music and literature. From time immemorial, the unique beauties of the planet served as a source of inspiration for outstanding writers and composers, and were sung by them in immortal creations. There are stories, poems, musical compositions that allow you to recharge with 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 about nature
Russian literature is rich in stories, novels, poems, which are an ode to the native land. Mikhail Prishvin can be called a striking example of a person who is especially successful in works about nature. Not surprisingly, he earned a reputation as 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 about 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 is. The descriptions are so good that the reader seems to see groaning trees, a gloomy swamp, ripe cranberries with his own eyes.
Creativity Tyutchev
Tyutchev is a great Russian poet, in whose work a huge place is given to the beauties of the surrounding world. His works about nature emphasize its diversity, dynamism, and diversity. By describing various phenomena, the author conveys the process of the flow 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 the night - the time when the world is plunged into darkness. An example is the poem "A veil has descended on the daytime world." The poet in his works can call the night a saint or emphasize its chaotic character - it depends on the mood. The description of the sunbeam, which "perched on the bed," in his creation "Yesterday" is also excellent.
Pushkin's lyrics
Enumerating works about the nature of Russian writers, one cannot fail to mention the work of the great Pushkin, for whom she remained a source of inspiration throughout her life. Suffice it to recall his poem " Winter morning to conjure up the features of this season. The author, apparently in an excellent mood, talks about how beautiful the dawn is at this time of the year.
A completely different mood conveys it " Winter evening”, included in the compulsory school curriculum. In it, Pushkin describes a snowstorm in a slightly gloomy and frightening way, comparing it to a furious beast, and the oppressive sensations that it causes in him.
Many works about the nature of Russian writers are devoted to autumn. Pushkin, who values this time 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, immediately refuting this characteristic with the phrase “glamor of the eyes”.
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 even as a child the writer learned to appreciate the charms of nature. His creation “Leaf fall” is considered one of the best. The author allows readers to smell the trees (pine, oak), see the “painted tower” painted with bright colors, and hear the sounds of foliage. Bunin perfectly shows the characteristic autumn nostalgia for the past summer.
Bunin's works about Russian nature 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, feel the atmosphere of August with its warm rains, breathe in the morning freshness. Many of his other creations are also permeated with love for Russian nature: “River”, “Evening”, “Sunset”. And in almost every one of them there is a call to readers to appreciate what they have.
Introduction
The image of nature, the landscape in the work
1.1 Images of nature in the literature of the XVIII-XIX centuries
2 Images of nature in the lyrics of the XX centuries
3 Images of nature in the prose of the XX century
Natural Philosophical Prose of the Second Half of the 20th Century
1 Belov V.
2 Rasputin V.
3 Pulatov T.
2.4 Prishvin M.M.
2.5 Bunin I.A.
2.6Paustovsky K.G.
2.7 Vasiliev B.
2.8 Astafiev V.P.
3. Masculine and feminine principles in natural-philosophical prose
Conclusion
Literature
INTRODUCTION
The 20th century brought great changes to human life. The creations of human hands were out of his control. Civilization began to develop at such a crazy pace that people were seriously scared. Now he is threatened with death from his own offspring. Yes, and nature began to show "who is the boss in the house," - all kinds of natural disasters and disasters have become more frequent. In this regard, a close study began not only of nature as a separate system with its own laws, but also theories appeared that considered the entire Universe as a single organism. This harmonious system cannot exist without the coordinated interaction of all its parts, which include each person individually and human society as a whole. Thus, for the existence of the Universe, harmony is necessary, both in the natural and in the human world. And this means that people on the entire planet should live in peace not only with their own kind, with plants and animals, but, above all, with their thoughts and desires.
Mankind naively thinks that it is the king of nature.
Meanwhile, in the film "War of the Worlds", based on the book H. G. Wells, the Martians were defeated not by the power of human weapons or reason, but by bacteria. The same bacteria that we do not notice, that create their little life without our knowledge and are not at all going to ask if we want this or that.
Perhaps, never before has the problem of the relationship between man and nature been as acute as in our time. And this is no coincidence. “We are no strangers to losses,” wrote S. Zalygin, “but only until the moment comes to lose nature, after that there will be nothing to lose.”
What is Motherland? Most of us will begin answering this question by describing birches, snowdrifts, and lakes. Nature influences our life and mood. She inspires, pleases and sometimes gives us signs. Therefore, in order for nature to be our friend, we must love and protect it. After all, there are many people, and nature is one for all.
“Happiness is to be with nature, to see it, to talk with it,” Leo Tolstoy wrote more than a hundred years ago. That's just nature in the time of Tolstoy and even much later, when our grandparents were children, surrounded people completely different than the one among which we live now. The rivers then calmly carried their clear water to the seas and oceans, the forests were so dense that fairy tales were entangled in their branches, and in the blue sky nothing but bird songs broke the silence. And quite recently, we realized that all this clean rivers and lakes, wild forests, unplowed steppes, animals and birds are becoming less and less. The crazy 20th century brought to mankind, along with a stream of discoveries, many problems. Among them, very, very important is environmental protection.
It was sometimes difficult for individual people busy with their work to notice how poor nature was, how difficult it was once to guess that the Earth is round. But those who are constantly connected with nature, people who observe and study it, scientists, writers, nature reserve workers, and many others have discovered that the nature of our planet is rapidly depleting. And they began to talk, write, make films about it, so that all people on Earth would think and worry. A variety of books, on any topic, for a wide range of readers can now be found at bookshelves shop.
But almost everyone is interested in books on moral theme, which contain answers to the eternal questions of mankind, which can push a person to resolve them and give him accurate and comprehensive answers to these questions.
The first to come down to us greatest monuments ancient Russian literature "The Tale of Igor's Campaign"contains amazing episodes that testify to the tradition of depicting a person in unity with the whole world around. The unknown ancient author of the Lay says that nature takes an active part in human affairs. How many warnings of the inevitable tragic ending She makes the campaign of Prince Igor: and the foxes bark, and the ominous unprecedented thunderstorm is irritated, and the sunrise and sunset were bloody.
This tradition was brought to us by many masters of the artistic word. It would not be an exaggeration to say that many classical works, be it "Eugene Onegin" A.S. Pushkinor "Dead Souls" N.V. Gogol, "War and Peace" L.N. Tolstoyor "Hunter's Notes" I.S. Turgenevare absolutely inconceivable without wonderful descriptions of nature. Nature in them participates in the actions of people, helps to form the worldview of the characters.
Thus, we can state the fact that, speaking of Russian literature of the previous centuries, including the 19th century, we primarily had in mind this or that degree of unity, the relationship between man and nature.
Speaking about the literature of the Soviet period, one should talk mainly about environmental issues ah, originated on our planet.
It is noteworthy that A.P. Chekhov, reflecting on the causes of unhappiness, "non-hotness" of a person, believed that with the current relationship between man and nature, a person is doomed to be unhappy in any social system, any level of material well-being. Chekhov wrote: “A person needs not three arshins of land, not a manor, but the whole Earth, all nature, where in the open space he could manifest all the properties and features of his free spirit.
1. The image of nature, the landscape in the work
The forms of the presence of nature in literature are diverse. These are mythological embodiments of her powers, and poetic personifications, and emotionally colored judgments (be it separate exclamations or whole monologues). And descriptions of animals, plants, their portraits, so to speak. And, finally, landscapes proper (fr. pays - country, locality) - descriptions of wide spaces.
In folklore and in the early stages of the existence of literature, non-landscape images of nature prevailed: its forces were mythologized, personified, personified, and as such often participated in people's lives. Comparisons were widely used human world with objects and natural phenomena: the hero - with an eagle, falcon, lion; troops - with a cloud; the brilliance of weapons - with lightning, etc. As well as names in combination with epithets, as a rule, constant: “high oak forests”, “clear fields”, “wonderful animals”. The most striking example is "The Legend of the Mamaev Battle", where for the first time in ancient Russian literature one sees a contemplative and at the same time deeply interested look at nature.
Nature has a very strong influence on a person: it gives him strength, reveals secrets, answers many questions. Creative people draw inspiration from looking at simple, and at the same time, ideal pictures of nature. Writers and poets almost always turn to the problem of man and nature, because they feel a connection with it. Nature is an invariable part of almost every prose creation.
And it is not surprising that many writers have paid so much attention to the theme of nature. Prose writers include P. Bazhov, M. Prishvin, V. Bianchi, K. Paustovsky, G. Skrebitsky, I. Sokolov-Mikitov, G. Troepolsky, V. Astafiev, V. Belov, Ch. Aitmatov, S. Zalygin, V. Rasputin, V. Shukshin, V. Soloukhin and others.
Many poets wrote about the beauty of their native land, about caring for mother nature. This is N. Zabolotsky, D. Kedrin, S. Yesenin, A. Yashin, V. Lugovskoy, A.T. Tvardovsky, N. Rubtsov, S. Evtushenkoand other poets.
Nature was and should remain man's teacher and nurse, and not vice versa, as people imagined. Nothing can replace our living, changeable nature, which means it's time to wake up, in a new way, much more carefully, more carefully than before, to treat it. After all, we ourselves are also part of it, despite the fact that we fenced ourselves off from it with the stone walls of cities. And if nature becomes bad, it will certainly be bad for us.
.1 Images of nature in the literature of the XVIII-XIX centuries
This kind of imagery is also present in the literature of the epochs close to us. Recall Pushkin's "The Tale of dead princess and about the seven heroes”, where the prince Elisha, in search of a bride, turns to the sun, the moon, the wind, and they answer him; or Lermontov's poem "Heavenly Clouds", where the poet not only describes nature, but talks with the clouds.
Landscapes before the 18th century rare in the literature. These were more exceptions than the "rule" of recreating nature. Writers, drawing nature, still to a large extent remained subject to stereotypes, clichés, commonplaces characteristic of a particular genre, whether it be a journey, an elegy or a descriptive poem.
The nature of the landscape changed markedly in the first decades of the 19th century. In Russia - starting from A.S. Pushkin. From now on, the images of nature are no longer subject to the predetermined laws of genre and style, to certain rules: each time they are born anew, appearing unexpected and bold.
The era of individual-author's vision and recreation of nature has come. Every major writer of the XIX-XX centuries. - a special, specific natural world, presented mainly in the form of landscapes. In the works of I.S. Turgenev and L.N. Tolstoy, F.M. Dostoevsky and N.A. Nekrasov, F.I. Tyutchev and A.A. Feta, I.A. Bunin and A.A. Blok, M.M. Prishvin and B.L. Pasternak 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 uniquely individual manifestations: about what is visible, heard, felt right here and now - about that in nature that responds to a given spiritual movement and state of a person or gives rise to it. . At the same time, nature often appears as inescapably changeable, unequal to itself, existing in a variety of states.
Here are a few phrases from the essay by I.S. Turgenev “Forest and Steppe”: “The edge of the sky turns red; in birch trees they wake up, jackdaws awkwardly fly; sparrows chirp near the dark stacks. The air is brighter, the road is more visible, the sky is clearer, the clouds are turning white, the fields are turning green. Splinters burn with red fire in the huts, sleepy voices are heard outside the gates. And meanwhile the dawn flares up; golden streaks have already stretched across the sky, vapors swirl in the ravines; the larks sing loudly, the pre-dawn wind blew - and the crimson sun quietly rises. The light will flood in.”
It is also appropriate to recall the oak tree in "War and Peace" by L.N. Tolstoy, dramatically changed in a few spring days. Nature is endlessly mobile in M.M. Prishvin. “I look,” we read in his diary, “and I see everything different; yes, winter comes in different ways, and spring, and summer, and autumn; and the stars and the moon always rise in different ways, and when everything is the same, then everything will end.
Over the past two centuries, literature has repeatedly spoken of people as transformers and conquerors of nature. In a tragic light, this topic is presented in the finale of the second part of "Faust" by J. W. Goethe and in " The Bronze Horseman» A.S. Pushkin (dressed in granite Neva rebels against the will of the autocrat - the builder of St. Petersburg).
The same theme, but in different tones, joyfully euphoric, formed the basis of many works of Soviet literature:
The man said to the Dnieper:
I will block you with a wall
To fall from the top
defeated water
Moving cars fast
And pushing trains.
.2 Images of nature in the lyrics of the 20th century
In the literature of the 20th century, especially in lyric poetry, the subjective vision of nature often takes precedence over its objectivity, so concrete landscapes and the certainty of space are leveled, or even disappear altogether. Such are many poems BUT. Blok, where landscape specifics seem to dissolve in fog and twilight.
Something (in a different, "major" key) is palpable in B. Pasternak1910-1930s. Thus, in the poem "Waves" from "The Second Birth" a cascade of vivid and heterogeneous impressions of nature is given, which are not formed as spatial pictures (actually landscapes). In such cases, the emotionally intense perception of nature triumphs over its spatial-specific, “landscape” side. Subjectively significant situations of the moment are brought to the fore here, and the actual filling of the landscape begins to play, as it were, a secondary role. Based on the now familiar vocabulary, such images of nature can rightfully be called “post-landscape”.
For the first post-revolutionary years, the poem V.V. Mayakovsky“A third of the cigarette case went into grass” (1920), where the products of human labor are given a status incommensurably higher than that of natural reality. Here, “ants” and “grass” admire the pattern and polished silver, and the cigarette case says contemptuously: “Oh, you are nature!” Ants and grass, the poet notes, were not worth "with their seas and mountains / before the cause of man / nothing exactly."
Every Russian person knows the name of the poet Sergei Alexandrovich Yesenin. All his life, Yesenin worships the nature of his native land. “My lyrics are alive with one great love, love for the motherland. The feeling of the motherland is the main thing in my work,” Yesenin said. All people, animals and plants in Yesenin are children of one mother - nature. Man is a part of nature, but nature is also endowed with human traits. An example is the poem "Green Hair". In it, a person is likened to a birch, and she is like a person. This is so interpenetrating that the reader will never know who this poem is about - about a tree or about a girl.
The same blurring of boundaries between nature and man in the poem "Songs, songs, what are you shouting about?":
Good willow on the road
Watch over dormant Russia...
And in the poem "Golden foliage spun":
It would be nice, like willow branches,
To tip over into the pink waters..."
But in Yesenin's poetry there are also works that speak of disharmony between man and nature. An example of a person's destruction of the happiness of another living being is the Song of the Dog. This is one of Yesenin's most tragic poems. The cruelty of a person in an everyday situation (a dog's puppies were drowned) violates the harmony of the world. The same theme sounds in another Yesenin poem - "The Cow".
Another famous Russian writer Bunin Ivan Andreevichentered literature as a poet. He wrote about the harmony of nature. Genuine admiration for nature sounds in his works. The poet wants to be reunited with her. At 16 he writes:
You open me, nature, hugs,
So that I merge with your beauty!
Bunin's best poetic work - the poem "Falling Leaves" takes pride of place in the world landscape lyrics.
Images of nature (both landscape and all others) have a deep and completely unique content significance. In the centuries-old culture of mankind, the idea of the goodness and urgency of the unity of man with nature, of their deep and indissoluble connection, is rooted. This idea was artistically embodied in different ways. The motive of the garden - nature cultivated and decorated by man - is present in the literature of almost all countries and eras. The image of the garden symbolizes the natural world as a whole. “Garden,” remarks D.S. Likhachev - always expresses a certain philosophy, an idea of the world, a person's attitude to nature, this is a microcosm in its ideal expression.
.3 Images of nature in the prose of the XX century
Writers of the 20th century continued best traditions their predecessors. In their works, they show what should be the relationship of man in the turbulent age of the scientific and technological revolution to nature. The needs of mankind for natural resources are increasing, and the issues of caring for nature are especially acute, because. an environmentally illiterate person in combination with heavy-duty equipment causes faulty damage environment.
The unique beauty of native nature at all times encouraged to take up the pen. Nature for writers is not just a habitat, it is a source of kindness and beauty. In their ideas, nature is associated with true humanity (which is inseparable from the consciousness of its connection with nature). It is impossible to stop scientific and technological progress, but it is very important to think about the values of humanity.
All writers, as convinced connoisseurs of true beauty, prove that the influence of man on nature should not be detrimental to her, because every meeting with nature is a meeting with beauty, a touch of mystery. To love nature means not only to enjoy it, but also to take good care of it.
The natural world becomes a source of inspiration and artistic ideas for the writer. Once seen, felt, and then transformed by the author's imagination, the pictures of nature organically fit into the fabric of his works, serve as the basis for many plots, participate in the disclosure of the characters' characters, bring life authenticity to his prose and give the works a special, uniquely artistic and emotional flavor.
For the artist, the words nature and its elemental forces become the embodiment of Beauty, and beauty “divine” and “earthly” sometimes act as identical concepts.
In the second half of the 20th century, humanity was faced with the need to reconsider the established relationship with nature. The romanticization of the confrontation between man and nature is replaced by the realization of the need for unity and the search for ways of unity.
The work of many writers of the 20th century is saturated with the philosophy of cosmic harmony: a person is merged with nature, every event of his life - birth, death, love - is somehow connected with nature. In the troubles of everyday bustle, a person is not always aware of his unity with the natural world. And only approaching the so-called boundary situations makes him take a fresh look at the world, come closer to comprehending the universal secrets, understand the meaning of merging with nature into a single whole and physically feel like a part of the great cosmic unity.
During this period, the moral and philosophical aspect in the disclosure of the theme of nature, which brought to the fore in creativity Prishvin and Leonova. In this regard, L. Leonov's novel "Russian Forest" (1953) was a landmark work, which became the "reference point" in the transformation of the theme "man and nature" in Russian literature of the middle of the 20th century.
Moral-philosophical and ecological problems are updated in fiction, especially in “village” prose, which is quite understandable, since while the peasants, occupying the traditional cells of society, were its center of gravity (its magnet), society was tumbler and had no environmental problems.
The works of the 60-70s, in which the "philosophy of nature" became the semantic dominant, are grouped into three main areas: philosophy of nature - mythology of nature - poetics.
They are enrolled in different "departments": village prose- with a thematic approach in its comprehension, philosophical and ethical prosewhen the specifics of the problem were taken into account.
The study of the "natural" foundations of life in the literature, according to critics, testified not to "going into nature", but to the solution of the question of the organic development of society and man.
In the sixties, works appeared V. Astafieva, V. Belova, S. Zalygina, E. Nosova, V. Chivilikhin, V. Bocharnikova, Yu. Sbitnevain which there is a need to “restore” nature in its rights, to remind a person of his primary source.
The concept of "natural-philosophical poetry and prose" is firmly included in literary criticism. The designation "natural-philosophical prose" in relation to the literary process of the second half of the 20th century was one of the first to be used by the critic F. Kuznetsov in his review of "Tsar-fish" V. Astafieva.
2. Natural philosophical prose of the second half of the twentieth century
The problem of the relationship between man and nature received coverage in world literature, but it began to play a dominant role in the structure and content of the artistic whole only within the framework of such a direction as natural-philosophical prose of the second half of the 20th century.
In fiction, a hero appears who is not concerned with the social side of people's relationships, but with their desire for the harmony of nature, finding natural way development. A personality living not according to social ideals, but according to the laws of bioethics, acquires its own specific features.
The essence of natural-philosophical prose is a reflection of the world through the prism of the life-giving being of all that exists.Everything is subject to the thought of the inexhaustible and boundless power of physis (nature), the product and particle of which is homo sapiens. The question of how a person interacts with natura (nature) and the degree of their relationship becomes the leading one for this literary trend. Naturphilosophical prose depicts a person as "a creation of nature, her child", which she "teaches" to gain unity with being.
The feeling of universal belonging, participation in the intelligent cosmos, which brings vitality to the Earth, equates the individual in ethical and biological rights with the kingdom of animals and plants. A similar perception of reality is also characteristic of the hero of others. literary trends. This makes natural philosophical prose related to philosophical prose. However, they differ from each other in their focus. Philosophical prose considers the existence of a person from the standpoint of anthropocentrism, natural philosophical prose, on the contrary, from the standpoint of nature-centrism. Man becomes one of the manifestations of the life-giving foundation of all that exists.
Bioethical ideals are most fully reflected in a number of works S.P. Zalygin(“Paths of Altai”, “Commissioner”, “After the Storm” and others), whose work can also be considered within the framework of historical and rural prose. At Ch.T. Aitmatovanatural-philosophical motives are inseparable from the national image of the world. In works A.G. Bitovathe urban beginning determined the originality of his creative assimilation of ideas about physis. The artistic heritage of these authors represents the core of prose about the life-giving existence of all things. Separate natural-philosophical features manifested themselves in the work of L.M. Leonova("Russian Forest", "Pyramid"); V.P. Astafieva(stories for children and "Tsar-fish") and V .G. Rasputin(stories of the 80-90s) associated with the rural trend in the art of the word; Yu.P. Kazakova, whose stories are analyzed by literary critics within the framework of meditative and lyrical prose; B.L. Vasiliev("Don't shoot the white swans")
Close to the natural philosophical direction and creativity IN AND. Belova. The images created by the writer are distinguished by apperceptive behavior, tribal consciousness, fusion with nature and high spirituality.
Russian prose about the countryside of the 1960s and 1970s presented the reader with a peasant, inscribed in the natural world order, who inherited centuries-old folk morality. She created a type of hero, with whom it was time to part, as well as with the whole peasant world, with whom they nostalgically said goodbye V. Belovin "Ordinary Business" V. Rasputinin "Farewell to Mother" V. Astafievin "The Last Bow".
Turning to the basics of human existence, this prose could not help but reflect on the "eternal" questions: about life and death, about the meaning of human existence, about “who, why invented all this” (V. Belov), and about what awaits beyond the last limit. On the pages of prose about the village, an image of Nature as Cosmos, holistic in its unity, with its origins in deep antiquity, was created.
The "natural" attitude of such writers as V. Belov and V. Rasputin is expressed in the fact that the most important, including tragic, events coincide with the natural annual cycle: awakening (spring), flowering (summer) and withering (autumn ) nature. Human life is inscribed in this cycle in its most important manifestations.
2.1 Belov V.
“... Rhythm explains harmony, a harmonious world order ...” (V. Belov). Rhythmically - in accordance with the natural "order" - the life of the heroes of the story by V. Belov is organized "The Usual Business"(1966). This order is not established by man, and it is not for him to change it. The protagonist of the story, Ivan Afrikanovich, reflects, watching the sunrise: “It rises - it rises every day, so all the time. No one can stop, do not overpower ... ". And he is surprised, thinking about the imminent awakening of nature, about black grouse, that "in a week they will disperse, roam ... That's how nature works." And the sky in its immensity and height is incomprehensible to him: "Ivan Afrikanovich always stopped himself when he thought about this depth ...". The hero of V. Belov himself is a part and continuation of the natural world. This ontogenetic property, which forms the basis of the folk character, is a typological feature that unites the heroes of "village" prose.
In the story E. Nosova“And the ships sail away, and the shores remain,” a similar type of hero is recreated. Savonya "did not know how to separate himself from the existence of earth and water, rains and forests, fogs and the sun, he placed himself near and did not exalt himself above, but lived in a simple, natural and inseparable merger with this world."
The feeling of “dissolution” in the environment brings happiness to Ivan Afrikanovich, allows him to feel the world around and himself in it eternal (“time stopped for him”, and “there was no end or beginning”). Criticism was ironic about the fact that Ivan Afrikanovich in his worldview is close to the newborn son and the cow Rogula, not seeing that he has not lost the ability to “identify” himself with nature, of which he feels himself an organic part.
For Ivan Afrikanovich, the sparrow warmed by him is a brother, and a stranger, after the grief experienced - the death of Katerina, is also a brother (“Misha is a brother”). Through nature, with which a person feels a "kinship" connection, one can also feel one's brotherhood with other people.
This idea is also close V. Astafievand finds a detailed incarnation in him (“Tsar-fish”), the Forest is familiar to Ivan Afrikanovich as a “village street” (this is a habitable, native space). “For the life of every tree, every tree has been re-knocked out, every stump has been stoned, any undercut has been trampled.” This is also a property that characterizes a person inscribed in the natural world order.
The heroine of the story E. Nosova“Meadow fescue makes noise” perceives its mowing as a native home, examining it as “a room in which it has not been for a long time.”
With the death of his “hotly” beloved wife Katerina, having lost his life orientation, “indifferent to himself and the whole world,” Ivan Afrikanovich reflects on life and death: “We must go. You have to go, but where would you go, why go now? It seems that there is nowhere else to go, everything has been passed, everything has been lived, and there is nowhere for him to go without her, and not just ... Everything is left, she is not alone, and there is nothing without her ... ". And the answer to the question of whether it is worth living on comes to him precisely in the forest, when he himself looked into the face of death. The mysterious forest acts as a kind of higher power that leads Ivan Afrikanovich in his wandering and "brings" him out. The night forest also symbolizes a natural mystery, eternal and mysterious, into which a person is not allowed to penetrate. “... A minute later, a vague, confused emptiness is suddenly felt in the distance again. Slowly, for a long time, a dull anxiety is born, it gradually turns into an all-worldly and still ghostly noise, but then the noise grows, spreads, then rolls closer, and drowns everything in the world a dark flood, and you want to shout, stop it, and now it will swallow the whole world ... ".
From this moment, Ivan Afrikanovich's struggle for life begins. The only star that shines "through the darkness from the dark peaks", which then became "a detail of his dream", left a mark in the subconscious, like Katerina's soul, reminds him of life and salvation. not afraid before death, Ivan Afrikanovich is afraid of her, for the first time he thinks about her. “... No, there is probably nothing there ... And who, for what purpose, invented all this? Live this one ... How did it start, how will it end, why is all this?
The hero of V. Belov rises to a philosophical understanding of life, realizing that, just as he was not before birth, he will also not be after death, that “there is no end-edge either here or there”, turning out to be consonant in his thoughts with the narrator in “Other Shores” V. Nabokov: «… Common sense tells us that life is but a crack of faint light between two perfectly black eternities. There is no difference in their blackness, but we tend to peer into the pre-life abyss with less confusion than into the one to which we fly at the speed of four thousand five hundred heartbeats per hour.
The thought of the eternity of life helps Ivan Afrikanovich find the answer to the question: “Why was it born? ... It turns out, after all, that it was better to be born than not be born.” The idea of the cycle of life, the cyclicity of the processes taking place in it, is expressed in a variety of ways in the story. The life of the Drynov family is inscribed in the circle of nature: the birth of the last, ninth, child, named after his father Ivan, and the death of Katerina, the life and death of the breadwinner of the Roguly cow family. H.L. Leiderman notes that in the life of Ivan Afrikanovich’s family “the same general law of movement and continuity operates”: the ninth child is named Ivan, after her mother Katya makes her first fetus, and for Katerina this swath was the last. The world of the Drynovs is integral, continuous and immortal.
In the context of the endless cycle of life depicted in the story, its title “The Usual Business” is filled with philosophical sense.
2.2 Rasputin V.
V. Rasputin's favorite heroes, like Nikolai Ustinov, "feel their kinship with nature from birth to death."
The artistic space of the story is closed: Matera is separated from the rest of the world by the borders of the island, the waters of the Angara. It has its own way of life, its own memory, its own flow of time, which is constantly emphasized by the author both in the rhythmically repeating signs of those changes that occur from the moment of awakening of nature and until its natural withering (he - by the will of man - is not allowed to materialize on Matera), so and in the perception of time by the characters. Pavel, arriving in the village, “every time was amazed at how readily time closed after him,” as if there was no new settlement and he never left Matera.
“Opposition” of Matera to another land is also revealed in the fact that she lives according to her own moral laws, the keeper and guardian of which is the main character of the story, the wise Daria. She constantly, slowly and concentratedly reflects on where the conscience has gone, why a person lives to old age, “to uselessness”, “where does a person go if the place speaks for him”, “who knows the truth about a person, why he lives”, “what should a person feel for whom whole generations have lived”?
Daria has her own philosophy that helps her live, her own ideas about the world order: the underground, earthly and heavenly levels, about the connection of times, she has her own view on the meaning of human existence. She finds answers to many questions, although she suffers from the fact that she does not understand what is happening: “... I don’t understand anything: where, why?” Daria is Matera's conscience. "Daria is an absolutely complete type of consciousness, where the word and deed are equal to conscience."
She took upon herself the whole burden of the farewell ceremony with the land, with the house in which her family lived for more than three hundred years. And having grown old, she follows the "tyatka" order: not to take on a lot, but to take the very first thing: "to have a conscience and endure from conscience." Daria blames herself for what is happening on Matera, tormented by the fact that it is she - the eldest of the family - who must prevent the flooding of her parents' graves.
To understand the image of Daria, the words from the story are important that in everyone there is a “true person”, who “appears almost only in moments of goodbye and suffering.” Such a moment has come for Matera and Daria, throughout the story the heroine is revealed as a true person.
"Farewell to Matera» - a socio-philosophical story. It was the philosophy of the heroine, consonant with the author's thoughts and supplemented by them, that formed the basis of the artistic concept of the work, which is a slow-motion chronicle of farewell to Matera on the eve of her death: spring, three summer months and half of September. On the eve of the disappearance of Matera, everything takes on a special meaning: the exact chronology of events, the attitude of the villagers towards Matera, the last haymaking, the last harvest of potatoes.
The story begins with a solemn prologue: “And spring has come again, its own in its endless series, but the last for Matera, for the island and the village, bearing the same name. Again, with a roar and passion, the ice swept through, piling up hummocks on the banks ... Again on upper cape the water roared briskly, rolling down the river in two directions, greenery again blazed over the ground and trees, the first rains fell, swifts and swallows flew in, and the awakened frogs croaked lovingly to life in the evenings in the swamp.
This picture of the awakening of nature with repeated “again” is intended, on the one hand, to emphasize the eternity of the processes taking place in it, on the other hand, to set off in contrast the unnaturalness of the fact that this spring is the last for Matera. In connection with the impending flooding of the island, a discord was introduced into human existence: “... The village withered, it is clear that it withered like a cut tree, rooted, left the usual course. Everything is in place, but not everything is so ... ".
In the story "Fire", Rasputin's voice sounds angrily and accusingly against people who do not remember their kinship, their roots, the source of life. Fire as retribution, denunciation, as a burning fire, destroying hastily built housing: Forestry warehouses are burning in the village of Sosnovka . The story, as conceived by the writer, created as a continuation Farewell to Matera , speaks of the fate of those who betrayed their land, nature, the very human essence.
Nature is merciless, it needs our protection. But how sometimes it’s a shame for a person who turns away, forgets about her, about all the good and bright that is only in her depths, and seeks her happiness in a false and empty one. How often we do not listen, do not want to hear the signals that she tirelessly sends us.
The tone of the theme of man and nature in literature changes dramatically: from the problem of spiritual impoverishment, it turns into the problem of the physical destruction of nature and man.
Russian natural philosophical prose lyrics
2.3 Pulatov T.
Among the works of natural-philosophical prose, the story of T. Pulatov "Possessions"(1974) takes special place. Small in volume, it gives a holistic picture of the life of nature, which appears as something unified and ordered in its relationship. S. Semenova, characterizing it, emphasized the author’s mastery precisely in creating the image of nature as a Whole: “Days in the desert, the mobile existence of material forces, the play of the elements, the microcycle of the life of a whole pyramid of creatures - and to us with the firm hand of an amazing master, some kind of all-seeing, all-hearing , the all-sensing mediator of natural life, its order of being is outlined, ringed by the law of Fate, the destiny of every creature - equally surprising and equivalent - to the natural Whole.
Space and time in the story are clearly delineated, space is limited by the boundaries of the possessions of “our kite”, time is closed in the circle of the day: a full moon night with an “unnaturally red” moon and a day when the kite once a month circles its territory “to the very dry lake with a lonely tree on the shore."
The night of the full moon in the story is a kind of temporary sign, a "reference point", fixing the beginning of a new microcycle. In the light of the full moon, the changes that have taken place in the desert during the month are distinct. The full moon is also a “signal” for the kite, obeying the natural “call” (“the unspoken law of birds”): “Instinct commands the kite to fly on this very day ...”. The natural clock, which has counted the month, on the night of the full moon “notifies” this, it is not for nothing that it is not like other nights. Life in the desert freezes, “no growth and gains, but many losses” on this night, summing up the natural microcycle. The full moon for the kite is the night before the test of his strength, endurance, the right to own the territory. He cannot break this "unspoken law of birds" and flies around his possessions on the day set for this. Life on the territory of the kite, as well as in the entire desert, is subject to a certain order, which cannot be changed or violated even by the kite, the owner of the possessions. He himself is "inscribed" in this order and obeys it.
So, the natural world in the image of T. Pulatov is ordered, cyclical and harmonious. Everything in it is interconnected and interdependent, is in motion. This movement is the basis of life, thanks to it changes occur in the biosphere, and time is the measure that allows not only to fix the transformation of space, but also to identify the regularity, the natural expediency of this movement. Interconnected are not only the living creatures of the desert, not only its plant and animal worlds, but the cosmic and earth processes. If "wormwood is a link between people and beasts" (the human world is only "supposed" in the story, it has no place in the kite's domain), then "dew, clean and transparent" smells of "the heights of the universe, where star dust flies." The light brings the smell of wormwood. T. Pulatov poetic form captures a picture of the water cycle in nature (irreproachable from a scientific point of view) to once again emphasize the relationship of the earthly and the cosmic. “In spring, and often in summer, at such a time as now, it pours a short but heavy rain, instantly fills the lakes, is quickly absorbed into the sand, penetrating into holes and driving the animals out of their homes. And then the rain passes just as quickly, the water evaporates, rising in a heavy cloud over the desert, not a dense cloud, but from layers between which the air shines through in the rays of the sun; layers of clouds descend to each other, the heated air bursts between them - the sound is deaf and fearless - the clouds break and throw a few large drops on the ground, no longer rain, but water, but this water, before reaching the sand, evaporates.
The general "movement" in nature is carried out by common efforts. At the heart of the movement is transformation, "transformation". The story contains a description of the onset of morning in the desert, which captures this movement and the "coherence" of efforts. T. Pulatov creates a complete picture of the processes taking place in the Earth's biosphere, based on the interaction of natural phenomena, on the relationship of the earthly and the cosmic, which manifests itself, in particular, in the geological transformation of the face of the Earth. IN AND. Vernadskyemphasized this relationship: "The face of the Earth ... is not only a reflection of our planet, a manifestation of its substance and its energy - it is also the creation of external forces of the cosmos."
A.L. Chizhevskyin his well-known work “Earth Echo of Solar Storms” (1936) he wrote that life “to a much greater extent” than is commonly thought, “is a cosmic phenomenon than a living one. It was created by the impact of the creative dynamics of the cosmos on the inert material of the Earth. She lives by the dynamics of these forces, and each beat of the organic pulse is coordinated with the beat of the cosmic heart - this grandiose collection of nebulae, stars, the Sun and planets.
The story of T. Pulatov reveals the relationship between the captured moment from the life of the desert (one day) and the entire previous course of time, which cannot be measured and absorbs evolutionary process living substance. Noteworthy is the description of some natural phenomena in the story. So, it is said about moss: “In it, perhaps, in an equal proportion from stones, from plants and from animals, for moss is the basis of what exists in the desert. From it, and then developed, separated, three branches - sand, grass and shrubs, as well as birds and animals.
2.4 Prishvin M.M.
The work of Mikhail Mikhailovich Prishvin from beginning to end is full of deep love for his native nature. Prishvin was one of the first to talk about the need to maintain a balance of power in nature, about what a wasteful attitude to natural resources can lead to.
No wonder Mikhail Prishvin is called the "singer of nature." This master of the artistic word was a fine connoisseur of nature, perfectly understood and highly appreciated its beauty and wealth. In his works, he teaches to love and understand nature, to be responsible to it for its use, and not always reasonable. The problem of relations between man and nature is covered from different angles.
Even in the first work "In the land of fearless birds"Prishvin is worried about man's attitude to forests "... You only hear the word "forest", but with an adjective: sawn, drill, fire, wood, etc." But this is half the trouble. The best trees are cut down, only equal parts of the trunk are used, and the rest "... rushes into the forest and rots. The whole dry-leaved or fallen forest also rots for nothing ..."
The same problem is discussed in the book of essays "Northern Forest"and in " Ship more often". Thoughtless deforestation along the banks of the rivers leads to disturbances in the entire large organism of the river: the banks are washed away, the plants that served as food for the fish disappear.
AT "Forest drops"Prishvin writes about bird cherry, which during flowering is so unreasonably broken by the townspeople, carrying away armfuls of white fragrant flowers. Bird cherry branches in houses will stand for a day or two and go to garbage cans, and bird cherry died and will no longer please future generations with its flowering.
And sometimes, in a seemingly harmless way, an ignorant hunter can lead a tree to death. Such an example is given by Prishvin: “Here is a hunter, wanting to excite a squirrel, knocks on the trunk with an ax and, having taken the animal, leaves. And the mighty spruce is destroyed by these blows, and rot begins along the heart.”
Many of Prishvin's books are devoted to the animal world. This is a collection of essays Dear animals", telling about predators, fur-bearing animals, birds and fish. The writer wants to tell the reader in detail about wildlife in order to show the close connection of all the links that make it up, and warn that the disappearance of at least one of these links will result in irreversible undesirable changes in the entire biosphere.
In the story "Ginseng"the writer tells about a hunter's meeting with a rare animal - a spotted deer. This meeting gave birth in the hunter's soul to the struggle of two opposing feelings. “As a hunter, I was well known to myself, but I never thought, I didn’t know ... that beauty, or whatever else, could tie me, the hunter, myself, like a deer, hand and foot. Two people fought in me One said: "You will miss the moment, it will never return to you, and you will forever yearn for it. Hurry, grab it, hold it, and you will have a female of the most beautiful animal in the world. " Another voice said: "Sit still! A wonderful moment can be saved only without touching it with your hands. "The beauty of the animal prompted a hunter in man ...
In the story " undressed spring"Prishvin talks about people saving animals during the spring flood. And then he gives an amazing example of mutual assistance among animals: hunting ducks have become islands of land for insects that have fallen into the water due to a stormy flood. Prishvin has many such examples of animals helping each other. Through in them he teaches the reader to be attentive and notice the complex relationships in the natural world.Understanding nature, the sense of beauty is inextricably linked with the correct approach of mankind to the use of the generous gifts of nature.
Throughout his literary activity, M.M. Prishvin promoted the idea of preserving flora and fauna. In any work of the writer, a high love for nature sounds: "I write - it means I love," said Prishvin.
2.5 Bunin I.A.
Bunin achieved wide fame thanks to his prose. Story "Antonov apples"is a hymn to nature, filled with irrepressible joy. In the story" Epitaph"Bunin bitterly writes about the deserted village. The steppe lying around ceased to live, all nature froze.
In the story" new road"two forces collided: nature and a train rattling along the rails. Nature retreats before the invention of mankind: "Go, go, we make way for you," the eternal trees say. nature?" Anxious thoughts about what the conquest of nature can lead to torment Bunin, and he pronounces them on behalf of nature. Silent trees have gained the opportunity to speak with humanity on the pages of the works of I.A. Bunin.
In the story " Sukhodol" Bunin spoke about the process of the emergence of ravines. From the descriptions of the paintings of the 18th century, when dense forests stood around the Kamenka River, the writer proceeds to what was observed after deforestation: "stony ravines appeared behind the huts with white pebbles and rubble on their bottoms", for a long time the river Kamenka dried up, and "the Sukhodolsk men dug ponds in a rocky bed." This story gives an excellent example of the fact that everything is interconnected in the natural world. It was worth depriving the soil of the protective layer of forests, and conditions were created for the emergence of ravines, which are much more difficult to deal with than To cut down forest.
2.6 Paustovsky K.G.
One of the followers of the Prishvinian traditions in literature was Konstantin Georgievich Paustovsky. Paustovsky's story Telegram"begins like this: “October was extremely cold, insatiable. The boarded roofs turned black. The tangled grass in the garden fell. loose clouds. From them the rain was importunately pouring. It was no longer possible to pass or drive along the roads, and the shepherds stopped driving the herd into the meadows. "
The sunflower in this episode symbolizes the loneliness of Katerina Petrovna. All her peers died, and she, like a small sunflower by the fence, outlived them all. With the last of her strength, Katerina Petrovna writes a letter to her beloved daughter: “My beloved! I won’t survive this winter. A parallel runs through the whole story - a man and native nature, Katerina Petrovna "stopped at an old tree, took a cold wet branch with her hand and found out: it was a maple tree. She planted it a long time ago ... and now it has become flying around, chilled, he has nowhere was to get away from this impartial windy night.
Another story by Paustovsky rainy dawn"is full of pride, admiration for the beauty of his native land, attention to people who are in love with this beauty, subtly and strongly feeling its charm.
Paustovsky knew nature very well, his landscapes are always deeply lyrical. A feature of the writer is his manner of not telling, underdrawing, he allows the reader to complete this or that picture in his imagination. Paustovsky was fluent in the word, being a true connoisseur of the Russian language. He considered nature one of the sources of this knowledge: “I am sure that in order to fully master the Russian language, in order not to lose the feeling of this language, one needs not only constant communication with ordinary Russian people, but also communication with pastures and forests, waters, old willows, with the whistling of birds and with every flower that nods from under the hazel bush.
Paustovsky talks about the hidden charms of nature to people who have not yet understood that "native land is the most magnificent thing that has been given to us for life. We must cultivate it, protect and protect it with all the forces of our being."
Now, when the problem of nature conservation is in the center of attention of all mankind, the thoughts and images of Paustovsky are of particular value and significance.
2.7 Vasiliev B.
It is impossible not to note the work of Boris Vasiliev " Don't shoot white swans"in which every page, every line is imbued with great love for native nature. The protagonist Yegor Polushkin, a forester, found his vocation by becoming a guardian of nature. Being a simple, unpretentious person, he shows all the beauty and richness of his soul in his work. Love for his work helps Polushkin open up, take the initiative, show his individuality. So, for example, Yegor and his son Kolya wrote the rules of conduct for tourists in verse:
Stop tourist, you entered the forest,
Do not joke in the forest with fire,
The forest is our home
If there is trouble in him,
Where will we live then?
How much this man could have done for his land, if not for his tragic death. Yegor defends nature to the last breath in an unequal battle with poachers.
Shortly before his death, Polushkin says wonderful words: “Nature, she endures everything for the time being. She dies silently before flying. mother's coffin."
2.8 Astafiev V.P.
Victor Astafiev, whose thought is constantly focused on " pain points"time, turned to the problem of the relationship between man and nature already at an early stage of his creative activity, long before the creation of the "King-fish", which is, in fact, natural-philosophical manifesto of the writer, summing up his reflections on the place of man in nature. Astafyev's favorite heroes live in the world of nature, close and understandable to them. This is their cradle and home, a source of joy, inspiration and happiness. In line with the classical tradition, the writer develops his views on the harmonious unity of man and nature, on its healing and renewing influence. His heroes are not outside of nature, but "inside" the processes taking place in it, being its natural particle and continuation. Astafiev continues the humanistic traditions of Russian classics with a cycle of stories " Horse with pink mane.
Story " Why did I kill the corncrake? autobiographical. This is a confession of an adult in a long-standing childhood misconduct: stupid and cruel boyish fun - hunting for a living thing with a stick, slingshot, whip. This game must be passed on to boys with the blood of distant ancestors, whose countless generations obtained food by hunting animals and birds. The instinct, once saving for the human race, has now lost its meaning, has become an enemy of nature and of man himself. Having obeyed him, the hero of the story once, in childhood, caught up and swept to death a wounded, badly running bird, which is not even customary to eat. But his heart was enough to understand all the senseless cruelty of his act, albeit belatedly, to be horrified by himself, recklessly beating a rawhide whip on a defenseless tiny living calf. This belated horror haunts him all later life agonizing question in the title of the story. In the mouth of a man who went through the whole great war, many times was on the verge of death and fired at enemies, this question sounds especially exacting. Because morality is precisely in the answer to the question: why a violent death?
A real hunter will never raise his hand to a capercaillie female if she feeds and warms her fledgling chicks and her stomach is plucked naked, because, incubating eggs, she must give them more heat, and feathers interfere with this (“ Kapalukha"). Not against the extraction of marten fur, but against the stupid indifference to nature, the story is also addressed " Belogrudka- how the children killed the brood of the white-breasted marten, and she, distraught with grief, takes revenge on the whole world around her, destroying poultry in two neighboring villages, until she herself dies from a gun charge.
« Haircut Creak"- in form, in genre - a naturalistic fairy tale. But, reading how mischievous boys killed the father of a haircut with a slingshot, we involuntarily recall that place from the story “The Horse with a Pink Mane”, which says how Sanka and Vitka knocked out a swift with a stone and he, choking with blood, died in their arms.
3. Masculine and feminine principles in natural-philosophical prose
Nature, from a natural-philosophical point of view, endowed individuals of different sexes with specific forms of perception and motivation for actions. With a certain similarity in the features of comprehension of the cosmos and existence in the bios, the male and female principles differ in the models of behavior inherent in their physis.
The masculine principle in the natural-philosophical prose of the second half of the 20th century is represented by several main images (hunter, wanderer, sage, artist, righteous man and God-seeker) . Each of them is endowed with specific personality traits and a penchant for a certain type of activity.
hunter mandistinguishes somewhat, at first glance, a hostile attitude towards nature. He chooses for himself the role of its conqueror, but such domination of natura turns out to be a way of creating vital energy in the world. A man-hunter in the natural-philosophical prose of the second half of the 20th century chooses for himself the role of a breadwinner and breadwinner. Such, for example, are the heroes of the story Ch.T. Aitmatova"Spotted dog running along the edge of the sea." Hunting for them is not an act of conquering nature with the aim of destroying it, but a way to overcome death, a kind of transition to eternity, an opportunity to realize oneself as Sfires.
Another embodiment of the masculine principle in the natural-philosophical prose of the second half of the 20th century is wanderer. The hero spends his life in constant closeness to nature. However, he does not conquer her, but merges with her in his movement. This happens, for example, with the hero of the story Yu.P. Kazakova"Wanderer". His path, sometimes forced, not voluntary, runs to infinity. Not knowing the final point of his arrival, the male wanderer learns on the way to a subtle feeling of nature, acquires the meaning of life. At the same time, he sometimes gets stuck in some intermediate form of existence of a multidimensional personality (the heroes of Yu.P. Kazakov), not reaching the form of Sfiros.
Forced wandering (heroes A.A. Kima, L.M. Leonovaand other authors-natural philosophers), on the contrary, helps a person in acquiring this status.
The comprehension of the being of everything that exists through the prism of reason is realized in the natural-philosophical prose of the second half of the 20th century in the archetype sage. If for the hunter it is important to conquer nature, albeit in its creative basis, and for the wanderer to merge with physis in motion on the way to infinity, then for the thinker; the main way to achieve the form of Sfiros is the knowledge of the world of flora and fauna. The unity and diversity of all that exists is revealed to him in the course of intense reflection. A similar quality (dominating over other personal properties) is different the protagonist story A.G. Bitova"Birds, or new information about man". In the mind of the natural-philosophical sage lies all the rationality of the world, which guarantees the preservation of vitality. Cognizing reality, the atomic personality of the thinker is endowed with all-permeability. In other words, he comprehends the essence of phenomena and the course of things at the level of a biologized mind. Consequently, the image of a natural-philosophical thinker recreates the archetype of the sage K.G. Jung, with a predominance in the ontological aspect of being of the organic category of comprehension of the world.
For, male artistthe aesthetic transformation (more precisely, display) of reality becomes dominant. The cult of reason yields its primacy to creativity. In this case, the multidimensionality of a person is already created by art. The act of creativity attaches the personality to cosmic life. This is indicated, for example, by the hero of the novel B.L. Vasiliev"Don't shoot white swans" Yegor Polushkin. Art through admiration and knowledge of the beauty of nature leads a person to comprehend the idea of eternity and infinity of the Universe. The act of creative transformation of reality turns the natural-philosophical artist into Sfiros.
The religious aspect of being in prose, reflecting the structure of the world according to the laws of logos, is embodied in the guise of a man righteous and/or god-seeker. In this case, the way of interacting with nature is based on the fact of the ethical improvement of the personality itself, but not through reason, creativity, dynamics, domination, but in the spiritualization of the nature of being of everything that exists. The righteous and God-seeker sees, or rather, feels the moral foundations in the organization of the world. He understands the source of life as the divine principle, manifested to man in nature. From the blissful contemplation of the world, the heroes turn to the deepest facets of their personality, while transforming spiritually.
In the process of gaining the status of Sfiros, they go through trials (tempted), make a choice between Good and Evil, and, finally, are initiated into sacred knowledge. All these steps are overcome, for example, by the hunchback Alyosha, the hero of the novel L.M. Leonova"Pyramid". In other words, in natural-philosophical prose, a person who seeks piety and observes the highest spiritual precepts of being (nature - God), makes a choice between the absolute truth and chaos social life, as a result of which it is transformed by the bios into Sfiros. Heroes find themselves in situations where it is necessary to go either to the side of spirituality, or to the side of a society that destroys vitality. The dominant feature of a multidimensional personality in such an incarnation becomes ethical selflessness through natural influence.
The feminine principle in the natural-philosophical prose of the second half of the 20th century incorporates images endowed not only with a sense of kinship with nature, but also with a desire for further perfection of the world. . In any of their incarnations (foremother Eve, the Savior, the “unreal-real” Beautiful Lady), they are distinguished by their endless desire to merge with world harmony, the cosmos - only the ways of their interaction with the bios are differentiated. At the same time, all the heroines of the natural-philosophical prose of the second half of the 20th century have already been marked with signs of the world soul, the Universe. They are not only a particle of nature, but a good and perfect manifestation of it. In other words, in these images of natural-philosophical prose, the ideal of the “eternally feminine” is recreated on organic grounds.
Mother Evebecomes the embodiment of the source of being. The image of a woman-nature is the creative essence. Its naturalness, pristineness, the ability to feel reality is taken as the basis. Next to such a woman, a man realizes his destiny, therefore, the image of Eve is a designation of the fullness of being, its unity and infinity. Nina Vsevolodovna, the heroine of the novel, has a similar omnipresence. S.P. Zalygin"After the storm". The woman Eve bestows immortality on mankind, from a natural-philosophical point of view. In this desire to create life one can guess an attempt to resolve the contradiction between society and the bios. Thus, the progenitor Eve takes on the role of conciliator. In her striving for vitality one can guess the natural-philosophical recognition of the value of the bios (the moral criterion for the development of man-Sfiros).
Already in this incarnation feminine prose about physis manifests the cult of feeling. A certain rationalism prevailed in the images of men. Hence the greatest proximity of women to nature, the rationality of which lends itself to a logical explanation from the standpoint of the value of the bios. Expediency in natura is not the result of a long evolution, but the source of being, therefore, a mystery.
A natural embodiment of the "unreal-real" beautiful lady, in the image of which the admiration for the perfection of physis, the aesthetic value of being a man-Sfiros, is expressed. The harmony of an inspiring woman stems not so much from ethics as from the laws of the device. organic world. The heroine has secret knowledge, but it is incomprehensible due to her inaccessibility. You can only admire her in such a beautiful bodily form, like a shaman from a story in stories V.P. Astafieva"King fish". Having once arisen in the imagination of a man, the “unreal-real” Beautiful Lady teaches him the feeling of nature, introduces him with her perfection to the spiritualized understanding of the phenomena of being of everything that exists, inspires him to search for a good beginning in organic matter, directs him to worship him.
Role saviorsof this world are taken over by other heroines of natural-philosophical prose of the second half of the 20th century. They appear in two incarnations of the feminine, depending on the way they interact with nature. Righteouscomes to the salvation of the world through his holiness. The blessing contained in the laws of the preservation of vitality helps the Eternal Virgin to find God in the affirmation of life. The preservation and continuation of being brings it closer to the maternal essence of nature. This is the heroine of the novel Ch.T. Aitmatova"AND over a century the day lasts” Altun.
Unlike the righteous wise womangives the world salvation through reason. However, from the Eternal Virgin she inherits boundless sacrifice. Like the good beginning of the world for a righteous woman, so its rationality for a wise woman stems from the bios. Only here to the preservation of life the second leads to a deep understanding of it. Starting from love, like a righteous woman, a wise woman affirms her spirituality in it, but only then she realizes the role of the Savior, gaining unity with the world.
The preservation of the being of all that exists stems from the ethical-biological feeling (holiness) and awareness of reality (wisdom) by the heroines of the natural-philosophical prose of the second half. XX century-righteous and wise woman. In these two incarnations, the role of the Savior is revealed.
Conclusion
In the last century, all our classics wrote and spoke about the fact that man and nature are connected by inseparable threads, and the philosophers of the late 19th and early 20th centuries even established a connection between the national character and the way of life of a Russian person, the nature among which he lives.
Evgeny Bazarov, through whose mouth Turgenev expressed the idea of a certain part of society that nature is not a temple, but a workshop, and man is a worker in it , and Dr. Astrov, one of Chekhov's heroes, planting and growing forests and thinking about how beautiful our land is - these are the two poles in posing and solving the problem Human and nature.
And in modernist and, especially, postmodernist literature, alienation from nature takes place, it takes on a 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 the ties of literature of the XX century. with “wildlife”, it is legitimate to explain not so much the “cult of language” in the writing environment, but rather the isolation of the current literary consciousness from the big human world, its isolation in a narrow circle of professional, corporate circles, 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 an ineradicable, eternally vital facet of literature and art, full of the deepest meaning.
The basis of the artistic reality of natural-philosophical prose is the unity and diversity of being of all that exists. The world of society as a product of artificial, unnatural and chaotic is alien to the environment that was formed naturally. Here everything is subject to the bios, organized logically; and harmoniously. Each of its elements, even in the smallest modification, carries the features of universal unity. All segments of reality, reflecting the structure of the universe, are aimed at the creation of being. The planetary scale of the bios is swallowed up by the techno-society, which destroys the generated ecosystem, bringing chaos to the life of flora and fauna, as well as man as its representative.
And sinister images appear in Russian literature Arkharovtsy , poachers , transistor tourists , which boundless expanses became subject . In the open spaces they frolic so much that behind them, as after Mamaev's troops, are burnt forests, a polluted shore, fish dead from explosives and poison. These people have lost touch with the land on which they were born and raised.
Having absorbed the endless metamorphoses of being, their rationality and expediency, reality, in the natural-philosophical prose of the second half of the 20th century, it began to be understood as natural. Creativity Ch.T. Aitmatova, V.P. Astafieva, A.G. Bitova, B.L. Vasilyeva, S.P. Zalygina, Yu.P. Kazakova, A.A. Kim, L.M. Leonova, V.G. Rasputin reflects the natural order: the coexistence of the Universe and the individual, where the latter is forced to obey the laws of the logos, otherwise it may die.
In their works, the authors-natural philosophers create the image of a multidimensional person, dating back to ancient sources. Taking as a basis the doctrine of the universal harmony of the Universe and the useful (unified) beauty of being of everything that exists, they depicted a person achieving perfect unity with nature.
Such a state of the ancient Greek philosopher Empedoclesin his work "On Nature" he defined it as Sfairos (Spheros). In turn, a person, as a particle of being, also acquired its features. Consequently, the apogee of the existence of the personality was the achievement of the form of Sfiros. The natural-philosophical understanding of reality determined the path of development natural man and endowed him with special features. Hence his biological intelligence, increased ability to reflect on the planetary level, a sense of kinship with the universal WE, a sense of the infinity of the cycle of things and events, through which immortality is comprehended. The spherical shape of Sfiros allows a person to feel nature and endows it with all-permeability, which helps to discover its atomic device - a particle of the cosmos - within its own corporeality.
Another distinguishing feature of a multidimensional man is his relationship with other representatives of flora and fauna. From admiring the perfection of everything living, a person comes to the realization of equal rights between the manifestations of being. Thus, a number of value aspects of reality are affirmed, in accordance with which a person stays. They concern the ontological, religious, moral and aesthetic essences of the reality of a multidimensional personality.
Man-Sfiros is trying to comprehend the mystery of nature and determine the expediency of his existence. Comprehending the natural development of the existence of all living things, he creates a personal concept of world outlook; for example, Vadim from the novel L.M. Leonova"Pyramid".
The cult of reason becomes for a multidimensional person driving force vitality. Natural thought acts as a constructive element in the mind of a natural-philosophical personality. It also sees the essence of human being, the result of his life. Far in their content from Hamlet's reflections of a homeomeric personality, they acquire an ontological value. This is directly stated in the works of natural philosophers, for example, in the story V.G. Rasputin"Live a century - love a century." The ontological value becomes one of the leading ones on the way to the realization by a person of his idea - the atom. The planetary scale of reflections allows a person to reach the level of Sfiros, realizing himself as a microcosm of the Universe.
The essence of being for the hero of natural-philosophical prose of the second half of the 20th century lies not only in an attempt to comprehend the mind of nature, but also in reverent admiration for it. It does not come down to fanatical admiration, but evokes in the individual a reverent attitude towards the imperishable. Eternity, which distinguishes the peculiarity of being of everything that exists, is understood by a multidimensional person as the divine principle of the world. Nature and the creative source of vitality are identified. Thus, a person acquires immortality not only in thought, but also in the being of everything that exists. This happens, for example, with the heroes of the novel A.A. Kim"Onliria".
Religion, the embodiment of goodness and faith in it, becomes a measure of the value of human life in relation to nature. The being of everything that exists in the guise of the Almighty contains in a multidimensional personality a certain good potential aimed at perfecting the immortal soul of the Universe, the diverse unity of WE.
Through the attitude to nature, the criteria of bioethics are also expressed in the understanding of the man-Sfiros. Ecological values affirm the connection between the moral aspects of a person's being and his attitude to the bios. Nature becomes defenseless against the manifestations of society. A technically armed man born in an artificial public consciousness destroys the existence of everything that exists.
Natural resources are perceived by people as material wealth, for example, in the work S.P. Zalygin"Environmental Novel". Such an attitude towards the bios leads to the death of the person himself, attracted by social reality.
The hero of the story in the stories "Tsar-fish" V.P. Astafievarealizes the vital orientation of the bios, the craft invented by society becomes alien to Akim in his biological nature. The protagonist of the work of the author-natural philosopher grows morally. Through the attitude to nature, the ecological values of the individual are expressed. The moral aspect of being - bioethics, designated as a dilemma between the bios and society, becomes another segment of reality that contributes to the achievement of the form of Sfiros by a person.
In the natural-philosophical prose of the second half of the 20th century, the antipode of the man-Sfiros appears. Their main opposite is the choice of life path. In one of his stories Yu.P. Kazakovdesignated such a hero as a person striving for " easy life". The image is distinguished by the adoption of such a model of behavior, which boils down to the simplicity of being, an ingenuous appeal to others. The hero is a natural product of society, allowing lightness in feelings and relationships. For example, Goga Gertsev ("Tsar-fish" V.P. Astafieva) changes the medal from Kiryaga-tree tree for his own benefit.
The natural-philosophical prose of the second half of the 20th century sets off such a simplicity of perception of reality with the indifferent and even consumerist attitude of the hero towards nature. The existence of everything that exists becomes for a person an “easy life” a way of gaining material wealth. Superficial perception of reality destroys nature. Consequently, the depth of feelings in relation to the biologized reality, of which the person himself is a particle, becomes another moral criterion that distinguishes the essence of Sfiros.
At the same time, natural-philosophical prose of the second half of the 20th century creates images of children whose moral development at an early age influenced the further growth of the homeomeric personality. The child-perfection, performing the functions of the Savior, appears in the works A.A. Kim, Yu.P. Kazakovaand other natural philosophers. The time of childhood is depicted as the period of the greatest proximity of man to nature. In the feeling of his kinship with her, the child learns the main moral guidelines existence not just in the world of people, but also in the universal unity of WE, as Arina does in the fairy tale novel of the same name A.A. Kim. The child in natural-philosophical prose draws moral purity from nature and with such baggage goes to adulthood. At the same time, it is important that the child-perfection has already reached the form of Sfiros.
knowledge, feeling, moral experience events in natural reality, admiration for its perfection turn for a multidimensional personality into an act of aesthetic admiration. Beauty in the bios becomes an integral part of a person's consciousness when he acquires the status of Sfiros. The beauty of the world is filled with deep meaning for the hero of natural-philosophical prose of the second half of the 20th century: it reflects the perfect arrangement of organic matter and the usefulness of everything that exists. It shows the unity of form and content, harmony, which is so lacking for a person in society.
Aestheticism in the vision of the real world is a necessary component in the improvement of the individual, from a natural-philosophical point of view. The mystery of nature is understood by a multidimensional personality as a mystery of beauty. Even the bodily attractiveness of a person becomes a manifestation of the perfection and harmony of the bios. Therefore, in aesthetic admiration, the path of comprehending the organic world is traced, a feeling of kinship is born, with it, as it happens with the main character of the story. A.A. Kim"Utopia of Turin". The universe is impossible without harmony and beauty. Consequently, in the formation of a man-Sfiros, a large role is given to aesthetic values.
The natural-philosophical prose of the second half of the 20th century creates a unique image of a multidimensional man who creates his being in nature. He is not only close to her, but also feels like her particle - an atom. The typological features of the model of human behavior - Sfiros allow us to attribute it to one or another characterological group, depending on its value essences, taking into account the manifestations of the male and female principles. Created in the works of the authors of the second half of the 20th century (Ch.T. Aitmatov, V.P. Astafiev, A.G. Bitov, B.L. Vasiliev, S.P. Zalygin, Yu.P. Kazakov, A.A. Kim, L. M. Leonova, V. G. Rasputin ) the concept of personality makes it possible to consider natural-philosophical prose as an independent trend in Russian literature, which distinguishes it, for example, from rural prose.
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The role of landscape sketches in the work is very different: usually the landscape has a compositional value, and is also a bright background against which events unfold, the landscape helps to understand and feel the experiences of the characters and their state of mind. With the help of the landscape, the writer expresses his views on the events taking place around him, depicted by him, and also emphasizes his attitude to nature, the heroes of the text.
Let's remember how the second book of "Virgin Soil Upturned" by M. Sholokhov begins. The writer draws a colorful picture of the coming summer: “The earth swelled from rain moisture, and when the wind parted the clouds, it thawed under the bright sun and smoked with bluish steam.” The first thing that cannot be overlooked in this passage is the emotionality and expressiveness of the author's speech. It is achieved in two ways. First of all, the use of artistic means of the language. These include: personification (the earth melted, the wind moved apart), epithets (bluish steam, turquoise haze), comparison (like a scattered fraction), metaphor (spill of wheat) and others.
Gogol and Turgenev, the great Russian writers, portrayed a summer morning in different ways. In Gogol's story "Taras Bulba" the picture of the steppe opens gradually. And the more attentively the reader peers into the expanse of the steppe, the brighter it blooms. Turgenev in the story "Bezhin Meadow" describes the steppe more calmly, but one can still feel how passionately and sincerely he loves Russian nature, showing a quiet, silent morning.
Drawing a rural landscape in the novel "Fathers and Sons", Turgenev speaks of peasant ruin, depicting peasant fields with squalid pastures and neglected reservoirs, as well as almost completely collapsed huts. At the sight of all this distress and ruin, even Arkady understands that the need for transformation is long overdue. “Spring has taken its toll. Everything around was golden green, everything was wide and softly agitated and glossy under the quiet breath of a warm breeze,” this picture of spring awakening inspires hope that the renewal of everything is ahead. " Sun rays, making their way through the thicket, doused the trunks of aspens with such light that they became like pine trunks, and their foliage almost turned blue, and a pale blue sky rose above it ”- what he saw sets Kirsanov in a dreamy mood, he admires the undying beauty of nature.
In a sad episode that tells about the strength of the grief of parents, when the old Bazarovs come to cry at the grave of their son in a rural cemetery, the landscape helps to understand the depth of these painful feelings and experiences: “... it is a sad sight; the ditches surrounding its appearance have long been overgrown ... ". In some cases, sketches about nature emphasize the mood and feelings of the characters. Thus, the picture of "a white winter with dense, creaky snow, pink frost on the trees and a pale emerald sky" on the pages last chapter Turgenev's novel "Fathers and Sons" is in harmony with the high spirits of Arkady and Katya, Nikolai Petrovich and Fenechka, who just a week ago united their destinies forever. All the heroes of the novel are tested not only by love, but also by their attitude to nature. Here Pavel Petrovich looks at the sky, and it is reflected in his soulless blue eyes only with a cold gleam. And Nikolai Petrovich sincerely admires the nature around him.
Many decades separate us from the events depicted in Mikhail Sholokhov's novel. His characters, their characters, way of life, everyday worries are not like our contemporaries. As we read Sholokhov's books, these people become close to us, their problems begin to worry us for real. Landscape sketches help the author to display everything that happens: the author's description of a thunderstorm over melons, when Natalya curses Grigory. The landscape of a hot sunny day becomes a kind of exposition for the central event. There seemed to be no sign of a storm. The whole world is saturated with dazzling light, the singing of a lark is heard. However, some details cause, although unclear, but tangible anxiety: clouds torn by the wind, a cloud suddenly running into the sky, from which it becomes cooler for a moment, and the suffocating smell of the earth.
Nature itself responds to the wrath of the heroine. The thunderstorm that broke out in the soul of the meek and patient Natalya echoes like a thunderstorm in nature, suddenly replacing the hot sunny day. The contrast of shining streams of light and black swirling thunderclouds gives the scene a truly tragic glow.
Sholokhov - a master of landscape painting, uses the technique of psychological parallelism. Everything that happens in the soul of the heroine reveals the landscape. Burning white lightning, wind howling across the steppe, thunder that struck with a dry crack - all these details help to understand the full depth and strength of her truly inhuman suffering. Ilyinichna turned out to be wise and courageous, that she let Natalya cry, and then, seized with fear, she orders her daughter-in-law to ask God for forgiveness so that he would not accept her prayers, since we are talking about her son and it’s not good to wish death to your loved ones - this is a grave sin . Natalya understands this truth, and nature agrees with her: “The steppe, washed by a downpour, turned wonderfully green.”
Peasant workers experience joy from communion with the land, from labor on it. The heroes of Leo Tolstoy's novel "War and Peace" experience a similar feeling from closeness with nature and with each other in the hunting scene, where the general mood allows you to feel the joyful squeal of Natasha Rostova. The relationship between the Cossacks and the land in Sholokhov's novel "Quiet Don", the feeling of its spirituality is emphasized by the metaphor "meadow sighed". Talking about the character of Grigory Melekhov, the author also notes his inherent sense of indissoluble connection with the outside world, especially in the episode of bathing the horse: “Grigory stood by the water for a long time. The shore breathed damp and insipid Prelu. Gregory has a light, sweet emptiness in his heart.
The landscape of a starry, moonlit night, traditional for Russian literature, is given here through the perception of the Don Cossack. Blood connected with his native nature, loving all living things - this is how we see Gregory at the beginning of the First World War, the central historical event of the first book of the novel. The military episodes are preceded by a landscape: “Dry smoldering summer ... an owl roared in the bell tower. Unsteady and terrible screams hung over the farm, and the owl flew from the bell tower to the cemetery, soiled by calves, groaned over the brown, haunted graves. Here we see many details that prepare readers for the depiction of a national disaster, and we recall solar eclipse, which became a formidable omen before the campaign of Prince Igor against the Polovtsy.
In Sholokhov, the world of people and nature is comprehended as a single life stream, in which all the described events in the life of people and nature are given in unity. To find out what Grigory Melekhov saw, what Grigory Melekhov experienced in the first months of the war, let us again turn to the landscape: “In the gardens, a leaf turned fat yellow, from a cutting it was filled with a dying crimson, and from a distance it looked like the trees were in torn wounds and bleed ore with tree blood” . Bright and expressive metaphors and personifications create the feeling that nature itself is involved in the war. War is a universal disaster. This landscape reveals the inner state of people caught in the war. The changes that take place in nature correspond to what takes place in the soul of each person.
Sholokhov in his works contrasts the life-giving power of nature with fratricidal war and mutual cruelty of people. At the end of the second book, there, near the grave, near the chapel, there is a nest in which nine smoky-blue spotted eggs are warmed by the heat of her body, the female little bustard. Nature and man in the "Quiet Don" act as independent, but equal forces. But this is not the only function of the landscape. Let us turn to another example: “All around, crosswise, slicked down by the winds, a white bare plain. As if the steppe is dead ... But the steppe still lives under the snow. There, where, like frozen waves, the ploughing, silver from the snow, hums ... lies the winter zhito tumbled down by frost. Silky green, all in tears of frozen dew…” The author finds such shades of colors to depict the hidden life of the steppe, in order to more accurately convey the movement hidden from the eyes. A diverse color palette amazes us, readers, with its multicolor - red-clay, silver, as well as various shades of black - blackening, charred black, black earth.
The author's perception of nature is conveyed with the help of emotionally colored epithets - prayerful, joyless, proud, transparently immovable, fabulously and indistinctly, amazing metaphors and comparisons: a month is a Cossack sun, a scattering of wheat stars. Landscape author's sketches provide us with the richest material for observing the writer's language. The origins of this diversity are in folk speech, Sholokhov uses a lot and dialect words and expressions, which gives the work a unique color and vivid metaphor. The life of nature and the life of people are closely connected. “People are like rivers,” L. Tolstoy claimed. We see the same thing in the work of Sholokhov. Man is not a grain of sand in the waters of the flooded Don. He must find his own way. But how to determine which path leads life to the truth?
Sholokhov's landscape has no analogues in world literature in its diversity, close connection with characters and events. In the writer's story "The Fate of a Man", the narrative begins with a picture of the first post-war spring, spring off-road, when, despite the warm winds, the irresistible breath of spring is already felt, winter still reminds of itself. The words - difficult, heavy, off-road, impassable - create a special mood of the landscape. Already on the first page - the image of a difficult road, symbolizing the difficult life path of Andrei Sokolov. The author depicts nature, with great difficulty waking up from hibernation, and we get to know the main character of this story at the moment when his heart, hardened by grief, begins to thaw.
After the story of the numerous losses of the hero, the writer again gives a landscape sketch: “In the flooded hollow water, a woodpecker tapped loudly. The warm wind was still lazily moving the dry earrings on the alder tree ... but the boundless world seemed to me different at these moments, preparing for the great accomplishments of spring, for the eternal affirmation of the living in life. The word “still the same” shows the immutability of the external world, but the author emphasizes the feeling of the invincibility of the forces of life in the fight against death.
If we compare the description of a thunderstorm by L.N. Tolstoy in the novel "Anna Karenina" and A.P. Chekhov in the story "Steppe" you can find a lot in common. Key words - thunderstorm, clouds, wind, raindrops and others. There are common epithets: black clouds, strong wind. The main features of the text-narrative here are perfective verbs, which denote actions that quickly replace each other in temporal space. So, in Tolstoy's "clouds ran across the sky with extraordinary speed", and in Chekhov's: the clouds "hurried somewhere back, the wind blew from a black cloud." These differences in the texts are due to the fact that the thunderstorm is illuminated different people: L.N. Tolstoy in the perception of an adult - Levin, and A.P. Chekhov in the perception of the child - Yegorushka, for whom natural phenomena are personified. Thunder rumbles angrily, black shaggy clouds look like paws. Both experience a feeling of fear, although the reasons for it are different: one is afraid for himself, he is scared, he wants to hide behind a matting, and the other feels not just fear, but horror for his wife and child, whom a thunderstorm caught in the field.
In their works, the masters of the artistic word address first of all to each of us. And all of us, of course, should always remember that man and nature are eternal and inseparable concepts from each other, complementary to each other.
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