The role of landscape descriptions in Turgenev’s prose. Landscape in the works of I

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Landscape in the works of I.S. Turgenev

Introduction

Conclusion

Bibliography

Introduction

The beginning of the 21st century is a time of testing for man and humanity. We are prisoners of modern civilization. Our lives take place in shaky cities, among concrete buildings, asphalt and smoke. We fall asleep and wake up to the roar of cars. A modern child looks at a bird with surprise, but only sees flowers standing in a festive vase. We do not know what nature was like in the last century. But we can imagine it thanks to the captivating landscapes of Russian literature. They form in our minds love and respect for our native Russian nature. Through the landscape they express their point of view on events, as well as their attitude towards nature and the heroes of the work. The author’s landscape descriptions, first of all, are inextricably linked with the motives of life and death, generational change, captivity and freedom.

Ivan Sergeevich Turgenev is rightfully considered one of the best landscape painters in world literature.

The purpose of the essay is to analyze the role of landscape in the works of I.S. Turgenev.

1. I.S. Turgenev - master of landscape

From the very beginning of his work, with “Notes of a Hunter,” Turgenev became famous as a master of landscape. Critics unanimously noted that Turgenev’s landscape is always detailed and true; he looks at nature not just with the gaze of an observer, but with a knowledgeable person. At the same time, Turgenev’s landscapes are not only naturalistically true and detailed, but they are also always psychological and carry a certain emotional load.

Very often, the inner world of the heroes is recreated by him not directly, but through an appeal to nature, which a person perceives at the moment. And the point here is not only that the landscape itself is capable of influencing the hero’s mood in a certain way, but also that the hero is very often in a state of harmony with nature and the state of nature becomes his mood. This technique allows Turgenev to reproduce subtle, difficult to reproduce, but at the same time the most interesting character traits of the hero.

The author describes nature not as a dispassionate observer; he clearly and clearly expresses his attitude towards her. In describing nature, Turgenev strives to convey the finest marks. It is not without reason that in Turgenev’s landscapes Prosper Merimee found “Jewelry art of description.” And it was achieved mainly with the help of complex definitions: “pale clear azure”, “pale golden spots of light”, “pale emerald sky”, “noisy dry grass”. The author conveyed nature with simple and precise strokes, but how bright and rich these colors were. Following the traditions of the oral poetic creativity of the people, the writer draws most of the metaphors and comparisons from nature surrounding man: “the yard boys ran after the doltur like little dogs,” “people are like trees in the forest,” “the son is a cut-off piece,” “pride has risen to rearing.” He wrote: “There is nothing clever or sophisticated in nature itself; it never flaunts anything, never flirts;? She is good-natured even to her whims.” All poets with true and strong talents did not “stand” in the face of nature... they conveyed their beauty and greatness with great and simple words. Turgenev's landscape gained worldwide fame. The nature of central Russia in the works of Turgenev will captivate us with its beauty. The reader not only sees endless expanses of fields, dense forests, copses cut by ravines, but as if he hears the rustle of birch leaves, the sonorous polyphony of the feathered inhabitants of the forest, inhales the aroma of flowering meadows and the honey smell of buckwheat. The writer reflects philosophically either on harmony in nature or on indifference towards man. And his heroes feel nature very subtly, are able to understand its prophetic language, and it becomes, as it were, an accomplice in their experiences.

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

Nature in Turgenev's works is always poeticized. It is colored with a feeling of deep lyricism. Ivan Sergeevich inherited this trait from Pushkin, this amazing ability to extract poetry from any prosaic phenomenon and fact; everything that at first glance may seem gray and banal, under Turgenev’s pen acquires a lyrical coloring and picturesqueness.

2. Landscape in the novel “Fathers and Sons”

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

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

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

Using extremely spare but expressive artistic means, Turgenev paints the image of a modern Russian peasant village. This collective image is created in the reader through a number of details scattered throughout the novel. In the villages during the transition period of 1859 - 1860, on the eve of the abolition of serfdom, poverty, destitution, and lack of culture struck, as a terrible legacy of their centuries-old slavery. On the way of Bazarov and Arkady to Maryino, the places could not be called picturesque. “The fields, all the fields, stretched right up to the sky, then rising slightly, then falling again; Here and there small forests could be seen, and ravines, dotted with small and low bushes, twisted, reminding the eye of their own image on the ancient plans of Catherine’s time. There were rivers with dug-out banks, and tiny ponds with thin dams, and villages with low huts under dark, often half-swept roofs, and crooked threshing sheds with walls woven from brushwood and yawning gates near an empty church, sometimes brick with a crumbling one in some places. plaster, then wooden ones with bowed crosses and devastated cemeteries. Arkady's heart gradually sank. As if on purpose, the peasants were all worn out, on bad nags; like beggars in rags, roadside willows with stripped bark and broken branches stood; emaciated, rough, as if gnawed, cows greedily nibbled grass in the ditches. It seemed that they had just escaped from someone’s menacing, deadly claws - and, caused by the pitiful appearance of the exhausted animals, in the midst of the red spring day there arose the white ghost of a bleak, endless winter with its blizzards, frosts and snows...” “No,” thought Arkady, “This is a poor region, it does not amaze you with its contentment or hard work, it cannot remain like this, transformations are necessary... but how to carry them out?” Even the confrontation of the “white ghost” itself is already a predetermination of the conflict, a clash of two views, a clash of “fathers” and “children,” a change of generations.

However, then there is a picture of the spring awakening of nature to renew the Fatherland, its Motherland; “Everything around was golden green, everything waved widely and softly and lay down under the quiet breath of a warm breeze, all the trees, bushes and grass; Everywhere the larks sang with endless ringing strings; the lapwings either screamed, hovering over the low-lying meadows, or silently ran across the hummocks; the rooks walked beautifully black in the tender greenery of the still low spring crops; they disappeared into the rye, which had already turned slightly white, only occasionally did their heads appear in its smoky waves.” But even in this joyful landscape, the meaning of this spring in the lives of heroes of different generations is shown differently. If Arkady is happy about the “wonderful today,” then Nikolai Petrovich only remembers the poems of Alexander Sergeevich Pushkin, which, although interrupted on the pages of the novel by Evgeniy Bazarov, reveal his state of mind and mood:

How sad your appearance is to me,

Spring, spring, time for love!

Which… "

(“Eugene Onegin”, chapter VII)

Nikolai Petrovich Kirsanov is a romantic in his mental make-up. Through nature, he joins the harmonious unity with the universal world. At night in the garden, when the stars “swarmed and mixed” in the sky, he loved to give himself up to “the sad and joyful play of lonely thoughts.” It was at these moments that his state of mind had its own charm of quiet elegiac sadness, a bright elation above the ordinary, everyday flow: “He walked a lot, almost to the point of fatigue, and the anxiety in him, some kind of searching, vague, sad anxiety, still did not subside he, a forty-four-year-old man, an agronomist and owner, was welling up with tears, causeless tears.” All his thoughts are directed to the past, so the only road for Nikolai Petrovich, who has lost his “historical vision,” becomes the road of memories. In general, the image of the road runs through the entire narrative. The landscape conveys a feeling of spaciousness, not enclosed space. It is no coincidence that the hero travels so much. Much more often we see them in the garden, alley, road... - in the lap of nature, rather than in the limited space of the house. And this leads to the wide-ranging scope of the problems in the novel; Such a holistic and versatile image of Russia, shown in “landscape sketches,” more fully reveals the universal humanity in the heroes.

Nikolai Petrovich's estate is like his double. “When Nikolai Petrovich separated himself from his peasants, he had to allocate four tithes of completely flat and bare fields for a new estate. He built a house, a service and a farm, laid out a garden, dug a pond and two wells; but the young trees were poorly received, very little water accumulated in the pond, and the wells turned out to have a salty taste. The arbor alone, made of lilacs and acacias, has grown considerably; Sometimes they drank tea and had lunch there.” Nikolai Petrovich fails to implement good ideas. His failure as an estate owner contrasts with his humanity. Turgenev sympathizes with him, and the gazebo, “overgrown” and fragrant, is a symbol of his pure soul.

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

Let us turn to one Bazarov text, which life also forces him to abandon. At first, for Bazarov, “people are like trees in the forest; not a single botanist will study each individual birch tree.” To begin with, we note that in Turgenev there is a significant difference between the trees. Just like birds, trees reflect the hierarchy of characters in the novel. The tree motif in Russian literature is generally endowed with very diverse functions. The hierarchical characterization of trees and characters in Turgenev’s novel is based not on mythological symbolism, but on direct associativity. It seems that Bazarov's favorite tree is aspen. Arriving at the Kirsanovs’ estate, Bazarov goes “to a small swamp, near which there is an aspen grove, to look for frogs.” Aspen is the prototype, the double of his life. Lonely, proud, embittered, he is surprisingly similar to this tree. “However, the poor vegetation of Maryino reflects the down-to-earth nature of the owner of the estate, Nikolai Kirsanov, as well as the shared doom of the “living dead”, the lonely owner of the Bobylye farm, Pavel Petrovich, with Bazarov.”
All the characters in the novel are tested by their relationship to nature. Bazarov denies nature as a source of aesthetic pleasure. Perceiving it materialistically (“nature is not a temple, but a workshop, and man is a worker in it”), he denies the relationship between nature and man. And the word “heaven,” written by Turgenev in quotation marks and implying a higher principle, a bitter world, God, does not exist for Bazarov, which is why the great esthete Turgenev cannot accept it. An active, masterful attitude towards nature turns into blatant one-sidedness, when the laws operating at lower natural levels are absolutized and turned into a kind of master key, with the help of which Bazarov can easily deal with all the mysteries of existence. There is no love, but there is only physiological attraction, there is no beauty in nature, but there is only the eternal cycle of chemical processes of a single substance. Denying the romantic attitude towards nature as a Temple, Bazarov falls into slavery to the lower elemental forces of the natural “workshop”. He envies the ant, which, as an insect, has the right “not to recognize the feeling of compassion, not like our self-destructive brother.” In a bitter moment of life, Bazarov is inclined to consider even a feeling of compassion as a weakness, denied by the natural laws of nature.

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

In Chapter XI, Turgenev seems to question the expediency of Bazarov’s denial of nature: “Nikolai Petrovich lowered his head and ran his hand over his face.” “But to reject poetry? - he thought again, “not to sympathize with art, nature...?” And he looked around, as if wanting to understand how one could not sympathize with nature.” All these thoughts of Nikolai Petrovich were inspired by a previous conversation with Bazarov. As soon as Nikolai Petrovich had only to resurrect Bazarov’s denial of nature in his memory, Turgenev immediately, with all the skill of which he was capable, presented the reader with a wonderful, poetic picture of nature: “It was already getting dark; the sun disappeared behind a small aspen grove that lay half a mile from the garden: its shadow stretched endlessly across the motionless fields. A little man was trotting on a white horse along a dark narrow path along the grove; he was clearly visible, all the way down to the patch on his shoulder, even though he was riding in the shadows; The horse's legs flashed pleasantly and clearly. The sun's rays climbed into the grove and, making their way through the thicket, bathed the trunks of the aspens with such a warm light that they became like the trunks of pine trees, and their foliage almost turned blue and a pale blue sky, slightly blushed by the dawn, rose above it. The swallows were flying high; the wind completely stopped; belated bees buzzed lazily and sleepily in the lilac flowers; midges crowded in a column over a lonely, far-stretched branch.”
After such a highly artistic, emotional description of nature, full of poetry and life, you involuntarily think about whether Bazarov is right in his denial of nature or wrong? And when Nikolai Petrovich thought: “How good, my God!... and his favorite poems came to his lips...”, the reader’s sympathy is with him, and not with Bazarov. We have cited one of them, which in this case performs a certain polemical function: if nature is so beautiful, then what is the point in Bazarov denying it? This easy and subtle test of the expediency of Bazarov’s denial seems to us to be a kind of poetic exploration of the writer, a definite hint of the future trials that await the hero in the main intrigue of the novel.

How do other heroes of the novel relate to nature? Odintsova, like Bazarov, is indifferent to nature. Her walks in the garden are just part of her lifestyle, it is something familiar, but not very important in her life.
A number of reminiscent details are found in the description of Odintsova’s estate: “The estate stood on a gentle open hill, not far from a yellow stone church with a green roof, former columns and a painting with a fresco above the main entrance, representing the “Resurrection of Christ” in “Italian taste.” Particularly remarkable for its rounded contours was the dark-skinned warrior in the teddy bear stretched out in the foreground. Behind the church stretched in two rows a long village with here and there chimneys flickering on the thatched roofs. The master's house was built in the style that is known among us under the name of Alexandrovsky; This house was also painted yellow and had a green roof, white columns, and a pediment with a coat of arms. The dark trees of an ancient garden adjoined the house on both sides; an alley of trimmed fir trees led to the entrance.” Thus, Odintsova’s garden was an alley of trimmed Christmas trees and flower greenhouses that create the impression of artificial life. Indeed, this woman’s whole life “rolls like on rails,” measuredly and monotonously. The image of “inanimate nature” echoes the external and spiritual appearance of Anna Sergeevna. In general, the place of residence, according to Turgenev, always leaves an imprint on the hero’s life. Odintsov in the novel is more likely compared to a spruce; this cold and unchanging tree was a symbol of “arrogance” and “royal virtues.” Monotony and tranquility are the motto of Odintsova and her garden. For Nikolai Petrovich, nature is a source of inspiration, the most important thing in life. It is harmonious, because it is one with “nature”. That is why all events associated with it take place in the lap of nature. Pavel Petrovich does not understand nature; his soul, “dry and passionate,” can only reflect, but not at all interact with it. He, like Bazarov, does not see “the sky,” while Katya and Arkady are childishly in love with nature, although Arkady tries to hide it.

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

Closely connecting nature with the mental state of the heroes, Turgenev defines one of the main functions of the landscape as psychological. Fenechka's favorite place in the garden is a gazebo made of acacias and lilacs. According to Bazarov, “acacia and lilac are good guys and don’t require any care.” And again, we are unlikely to be mistaken if we see in these words an indirect description of the simple, laid-back Fenechka. Acacia and raspberries are friends of Vasily Ivanovich and Arina Vlasevna. Only at a distance from their house, a birch grove “seemed to stretch out,” which for some reason was mentioned in a conversation with Bazarov’s father. It is possible that Turgenev’s hero here unconsciously anticipates longing for Odintsova: he talks to her about a “separate birch tree,” and the folklore motif of the birch tree is traditionally associated with woman and love. In a birch grove, only the Kirsanovs, a duel between Bazarov and Pavel Petrovich takes place. The explanation of Arkady and Katya takes place under an ash tree, a delicate and light tree, fanned by a “weak wind”, protecting the lovers from the bright sun and too strong fire of passion. “In Nikolskoye, in the garden, in the shade of a tall ash tree, Katya and Arkady were sitting on a turf bench; Fifi sat on the ground next to them, giving her long body that graceful turn that is known among hunters as a “brown’s bed.” Both Arkady and Katya were silent; he was holding a half-open book in his hands. And she picked out the remaining crumbs of white bread from the basket and threw them to a small family of sparrows, who, with their characteristic cowardly insolence, jumped and chirped at her very feet. A weak wind, stirring in the ash leaves, quietly moved back and forth, both along the dark path and along Fifi’s yellow back; pale golden spots of light; an even shadow poured over Arkady and Katya; only occasionally did a bright stripe light up in her hair.” “Then what about Fenechka’s complaints about the lack of shade around the Kirsanovs’ house?” The “big marquise” “on the north side” does not save the residents of the house either. No, it seems that fiery passion does not overwhelm any of the inhabitants of Maryino. And yet, the motive of heat and drought is connected with the “wrong” family of Nikolai Petrovich. “Those who enter into marital relations without being married are considered the culprits of drought” among some Slavic peoples. Rain and drought are also associated with different attitudes of people towards the frog. In India, it was believed that the frog helps to bring rain, as it can turn to the thunder god Parjanya, “like a son to his father.” Finally. The frog “can symbolize false wisdom as the destroyer of knowledge,” which may be important for the problems of the novel as a whole.
Not only lilacs and lace are associated with the image of Fenechka. Roses, a bouquet of which she knits in her gazebo, are an attribute of the Virgin Mary. In addition, the rose is a symbol of love. Bazarov asks Fenechka for a “red, and not too big” rose (love). There is also a “natural” cross in the novel, hidden in the image of a maple leaf, shaped like a cross. And it is significant that a maple leaf suddenly falling from a tree not at the time of leaf fall, but at the height of summer, resembles a butterfly. “A butterfly is a metaphor for the soul, fluttering out of the body at the moment of death, and Bazarov’s untimely death is predicted by this leaf sadly circling in the air.” Nature in the novel divides everything into living and non-living, natural for humans. Therefore, the description of the “glorious, fresh morning” before the duel indicates how vanity everything is before the greatness and beauty of nature. “The morning was nice and fresh; small motley clouds stood like lambs on the pale clear azure; fine dew fell on the leaves and grasses, glittered like silver on the cobwebs; the damp, dark one seemed to still retain the ruddy trace of dawn; the songs of larks rained down from all over the sky.” The duel itself seems, in comparison with this morning, “such stupidity.” And the forest, which in Bazarov’s dream refers to Pavel Petrovich, is a symbol in itself. The forest, nature - everything that Bazarov refused is life itself. That is why his death is inevitable. The last landscape is a “requiem” for Bazarov. “There is a small rural cemetery in one of the remote corners of Russia. Like almost all of our cemeteries, it has a sad appearance: the ditches surrounding it have long been overgrown; gray wooden crosses are drooping and rotting under their once painted covers; the stone slabs are all shifted, as if someone is pushing them from below; two or three plucked trees barely provide scant shade; sheep wander ugly through the graves... But between them there is one, which is not touched by man, which is not trampled by animals: only birds sit on it and sing at dawn. An iron fence surrounds it; two young fir trees are planted at both ends; Evgeny Bazarov is buried in this grave." The entire description of the rural cemetery where Bazarov is buried is filled with lyrical sadness and mournful thoughts. Our research shows that this landscape is of a philosophical nature.

Let's summarize. Images of the quiet life of people, flowers, bushes, birds and beetles are contrasted in Turgenev's novel with images of high flight. Only two characters, equal in scale of personality and their tragic loneliness, are reflected in hidden analogies with royal phenomena and proud birds. These are Bazarov and Pavel Petrovich. Why didn’t they find a place for themselves in the hierarchy of trees on the pages of the work? Which tree would correspond to a lion or an eagle? Oak? Oak means glory, fortitude, protection for the weak, unbrokenness and resistance to storms; this is the tree of Perun, a symbol of the “world tree” and, finally, Christ. All this is suitable as a metaphor for the soul, for example, of Tolstoy’s Prince Andrei, but is not suitable for Turgenev’s heroes. Among the small forests mentioned in the symbolic landscape in the third chapter of "Fathers and Sons" is "our forest." “This year they will bring it together,” notes Nikolai Petrovich. The doom of the forest emphasizes the motive of death in the landscape and, as it were, predicts the death of Bazarov. It is interesting that the poet Koltsov, close in his work to folklore traditions, named his poem dedicated to the memory of Pushkin “Forest”. In this poem, the forest is an untimely dying hero. Turgenev brings the fate of Bazarov and “our forest” closer together in Bazarov’s words before his death: “There is a forest...” Among the “small forests” and “shrubs” Bazarov is alone, and his only relative “forest” is his duel opponent Pavel Petrovich ( Thus, Bazarov’s dream also reveals the deep inner kinship of these heroes). The tragic gap between the maximalist hero and the masses, nature, who “will be brought together,” who “is here,” but is “not needed” by Russia. How can this tragedy of existence, felt most strongly by the complex and proud hero, be overcome? Turgenev raises this question not only in Fathers and Sons. But, I think, in this novel there are words about man and the universe, in which the author revealed to us, the readers, his sense of the Universe. It consists of “barely conscious stalking of a broad wave of life, continuously rolling both around us and in ourselves.”

The author thinks about eternal nature, which gives peace and allows Bazarov to come to terms with life. Turgenev’s nature is humane, it helps to debunk Bazarov’s theory, it expresses the “higher will”, so man must become its continuation and the keeper of “eternal” laws. The landscape in the novel is not only a background, but a philosophical symbol, an example of correct life.

Turgenev's skill as a landscape painter is expressed with particular force in his poetic masterpiece “Bezhin Meadow”; “Fathers and Sons” are also not devoid of beautiful descriptions of nature; “Evening; the sun disappeared behind a small aspen grove; lying half a mile from the garden: its shadow stretched endlessly across the motionless fields. A peasant was trotting on a white horse along a dark narrow path right along the grove; he was all clearly visible, all the way down to the patch on his shoulder, the road that he rode in the shadows; It was pleasant - the horse’s legs flashed clearly. The sun's rays, for their part, climbed into the grove and, making their way through the thicket, bathed the trunks of the pine trees, and their foliage almost turned blue, and above it rose a pale blue sky, slightly crushed by the dawn. The swallows were flying high; the wind completely stopped; belated bees buzzed lazily and sleepily in the lilac flowers; midges crowded in a column over a lonely outstretched branch.

The landscape can be included in the content of the work as part of the national and social reality that the writer depicts. In some novels, nature is closely associated with folk life, in others with the world of Christianity or the life of quality. Without these pictures of nature there would be no complete reproduction of reality. The attitude of the author and his heroes to the landscape is determined by the characteristics of their psychological makeup, their ideological and aesthetic views.

The dry soul of Pavel Petrovich Kirsanov does not allow him to see and feel the beauty of nature. Anna Sergeevna Odintsova doesn’t notice her either; she is too cold and reasonable for this. For Bazarov, “nature is not a temple, but a workshop,” that is, he does not recognize an aesthetic attitude towards it. Nature is the highest wisdom, the personification of moral ideals, the measure of true values. Man learns from nature, he does not recognize it. Nature organically enters the lives of the “have” heroes, intertwines with their thoughts, sometimes helps to reconsider their lives and even radically change it.

3. Description of the landscape in the novel “The Noble Nest”

Landscape in the works of I.S. Turgenev’s work is often in tune with the moods of his characters, emphasizes the depth of their experiences, and sometimes serves as a background to the characters’ reflections. Thus, in the novel “The Noble Nest,” a sad chronicle about the fate of noble families in Russia, Fyodor Ivanovich Lavretsky, who returned to Russia from abroad, admires the landscape. “...Lavretsky looked at the paddocks of fields running like a fan, at the slowly flashing willow trees... he looked... and this fresh, rich steppe wilderness and wilderness, this greenery, these long hills, ravines with squat oak bushes, gray villages, liquid birches - all this Russian picture, which he had not seen for a long time, brought sweet and at the same time almost mournful feelings to his soul, pressed his chest with some kind of pleasant pressure. Against the backdrop of this landscape, in the slow fermentation of thoughts, the hero remembers his childhood and hopes for the future. Looking around his neglected estate and the garden, overgrown with weeds, Lavretsky is imbued with a sad mood, thinking about his deceased aunt Glafira Petrovna, the former owner of the estate. The author offers readers a philosophical understanding of the landscape when he expresses thoughts about life and death, about the eternity of the natural world and the short duration of human life, about the influence of the surrounding nature on a person’s worldview. Listening to the silence, Lavretsky realizes how “quiet and unhurried life is here,” to which one must only calmly submit, “...silence embraces him from all sides, the sun rolls quietly across the calm blue sky, and clouds quietly float across it; they seem to know where and why they are sailing.” This life here “flowed silently, like water through marsh grass; and until the very evening Lavretsky could not tear himself away from the contemplation of this passing, flowing life; sorrow for the past melted in his soul like spring snow, and - strange thing! “The feeling of homeland has never been so deep and strong in him.” If this episode reveals the origins of patriotism in the soul of Fyodor Ivanovich (and, apparently, the author), then the description of a beautiful summer night during a date in the garden between Lavretsky and Lisa sets the mood for a romantic mood, evokes sublime and at the same time sad feelings in the reader’s soul . Indeed, the love of the heroes did not work out: Lisa went to a monastery, devoting herself to God, Lavretsky remains unhappy for a long time. But eight years later he returns to places dear to his heart. And although the owners of the Kalitin house died long ago, the younger generation of the family has grown up: Lisa’s brother, her sister Lenochka, their relatives and friends. And the landscape that Lavretsky saw - that same old garden - could not help but evoke in his soul a feeling of “living sadness about the disappeared youth, about the happiness that he once possessed.” Old linden alleys and a green meadow surrounded by lilac thickets not only convey a feeling of nostalgia, but also have a symbolic meaning. The theme of memory, of what is dear to a person’s soul, is touched upon here by the author. The fact that the house did not fall into the wrong hands, “the nest did not go bankrupt,” has the same symbolic meaning. Youth and fun reign in the house, ringing voices, laughter, jokes, music are heard. Sitting on a familiar bench, the hero reflects on how everything around him and life in the Kalitin house have changed; and Lavretsky sincerely wishes the new generation goodness and happiness. Thus, we see that, as in many other works of I.S. Turgenev, the landscape in the novel “The Noble Nest” is an important part of the author’s artistic world, revealing the characters’ philosophical understanding of what is happening.

Conclusion

Completing work on the abstract, we can come to the conclusion that one of the best landscape painters in world literature is I.S. Turgenev. He captured the world of Russian nature in his stories, novels and novels. His landscapes are distinguished by their unartificial beauty, vitality, and amaze with their amazing poetic vigilance and observation. Turgenev's landscape is dynamic, it is correlated with the subjective states of the author and his hero. It is almost always refracted in their mood.

I.S. Turgenev has earned wide fame not only as a writer with anti-serfdom views, a man of liberal Westernist convictions, not only as an artist who subtly conveys the emotional experiences of his heroes, but also as a sensitive lyricist, a master who managed to reflect the beauty of his native nature, to find it even in the most modest, inconspicuous landscape of the middle zone.

Thus, in Turgenev’s works, landscape is not only a device that allows one to create a certain emotional mood, but also one of the most important, indisputable values in life, by the attitude to which a person is tested.

Bibliography

1. Golubkov V.V. Turgenev's artistic mastery. - M., 1960

2. Kuprina I.L. Literature at school. - M.: Education, 1999.

3. Lebedev Yu.V.. Russian literature of the 19th century. second half. - M.: Education, 1990.

4. Troitsky V.Yu. A book of generations about Turgenev’s novel “Fathers and Sons.” - M., 1979

5. Shcheblykin I.P. History of Russian literature XI - XIX centuries. - M.: Higher School, 1985.

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

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

October 1861

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

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

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

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

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

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

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

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

In describing nature, Turgenev strives to convey the finest marks. It is not without reason that in Turgenev’s landscapes Prosper Merinet found “The Jewelry Art of Descriptions.” And it was achieved mainly with the help of complex definitions: “pale clear azure”, “pale golden spots of light”, “pale emerald sky”, “noisy dry grass”. Listen to these lines! The author conveyed nature with simple and precise strokes, but how bright and rich these colors were. Following the traditions of the oral poetic creativity of the people, the writer, drawing most of the metaphors and comparisons from nature surrounding man: “the yard boys ran after the doltur like little dogs,” “people are like trees in the forest,” “the son is a cut-off piece,” “pride has risen on its hind legs.” He wrote: “There is nothing clever or sophisticated in nature itself; it never flaunts anything, never flirts;? She is good-natured even to her whims.” All poets with true and strong talents did not “stand” in the face of nature... they conveyed their beauty and greatness with great and simple words. Turgenev's landscape gained worldwide fame. The nature of central Russia in the works of Turgenev will captivate us with its beauty. The reader not only sees endless expanses of fields, dense forests, copses cut by ravines, but as if he hears the rustle of birch leaves, the sonorous polyphony of the feathered inhabitants of the forest, inhales the aroma of flowering meadows and the honey smell of buckwheat. The writer reflects philosophically either on harmony in nature or on indifference towards man. And his heroes feel nature very subtly, are able to understand its prophetic language, and it becomes, as it were, an accomplice in their experiences.

Turgenev's landscape is dynamic, it is correlated with the subjective states of the author and his hero. It is almost always refracted in their mood. Compared to other novels, “Fathers and Sons” is much poorer in landscapes and lyrical digressions. Why is the artist subtle, possessing the gift of extraordinary observation, able to notice “the hasty movements of the damp foot of a duck, with which she scratches the back of her head at the edge of a puddle,” distinguish all the shades of the firmament, the variety of bird voices, almost, almost not use his fimegraine art in the novel “Fathers” and children?" The only exceptions are the evening landscape in the eleventh chapter, the functions of which are clearly polemical, and the picture of an abandoned rural cemetery in the epilogue of the novel.

Using extremely spare but expressive artistic means, Turgenev paints the image of a modern Russian peasant village. This collective image is created in the reader through a number of details scattered throughout the novel. In the villages during the transition period of 1859 - 1860, on the eve of the abolition of serfdom, poverty, destitution, and lack of culture struck, as a terrible legacy of their centuries-old slavery. On the way of Bazarov and Arkady to Maryino, the places could not be called picturesque. “The fields, all the fields, stretched right up to the sky, then rising slightly, then falling again; Here and there small forests could be seen, and, dotted with small and low bushes, ravines wound, reminding the eye of their own image on the ancient plans of Catherine’s time. There were also rivers with dug-out banks, and tiny ponds with thin dams, and villages with low huts under dark, often half-swept roofs, and crooked threshing sheds with walls woven from brushwood and yawning gates near an empty church, sometimes brick with a crumbling one here and there. plaster, then wooden ones with bowed crosses and devastated cemeteries. Arkady's heart gradually sank. As if on purpose, the peasants were all worn out, on bad nags; like beggars in rags, roadside willows with stripped bark and broken branches stood; emaciated, rough, as if gnawed, cows greedily nibbled grass in the ditches. It seemed that they had just escaped from someone’s menacing, deadly claws - and, caused by the pitiful appearance of the exhausted animals, in the midst of the red spring day there arose the white ghost of a bleak, endless winter with its blizzards, frosts and snows...” “No,” thought Arkady, “This is a poor region, it does not amaze you with its contentment or hard work, it cannot remain like this, transformations are necessary... but how to carry them out?” Even the confrontation of the “white ghost” itself is already a predetermination of the conflict, a clash of two views, a clash of “fathers” and “children,” a change of generations.

“How sad your appearance is to me,

Spring, spring, time for love!

Which… "

(“Eugene Onegin”, chapter VII)

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

But besides the truth of physiological laws, there is the truth of human, spiritualized nature. And if a person wants to be a “worker”, he must reckon with the fact that nature at the highest levels is a “Temple”, and not just a “workshop”. And Nikolai Petrovich’s tendency to daydream is not rotten or nonsense. Dreams are not simple fun, but a natural need of a person, one of the powerful manifestations of the creative power of his spirit.

“In Chapter XI, Turgenev seems to question the expediency of Bazarov’s denial of nature: “Nikolai Petrovich lowered his head and ran his hand over his face.” “But to reject poetry? - he thought again, “not to sympathize with art, nature...?” And he looked around, as if wanting to understand how one could not sympathize with nature.” All these thoughts of Nikolai Petrovich were inspired by a previous conversation with Bazarov. As soon as Nikolai Petrovich had only to resurrect Bazarov’s denial of nature in his memory, Turgenev immediately, with all the skill of which he was capable, presented the reader with a wonderful, poetic picture of nature: “It was already getting dark; the sun disappeared behind a small aspen grove that lay half a mile from the garden: its shadow stretched endlessly across the motionless fields. A little man was trotting on a white horse along a dark narrow path along the grove; he was clearly visible, all the way down to the patch on his shoulder, even though he was riding in the shadows; The horse's legs flashed pleasantly and clearly. The sun's rays climbed into the grove and, making their way through the thicket, bathed the trunks of the aspens with such a warm light that they became like the trunks of pine trees, and their foliage almost turned blue and a pale blue sky, slightly blushed by the dawn, rose above it. The swallows were flying high; the wind completely stopped; belated bees buzzed lazily and sleepily in the lilac flowers; midges crowded in a column over a lonely, far-stretched branch.”

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

A number of reminiscent details are found in the description of Odintsova’s estate: “The estate stood on a gentle open hill, not far from a yellow stone church with a green roof, former columns and a painting with a fresco above the main entrance, representing the “Resurrection of Christ” in “Italian taste.” Particularly remarkable for its rounded contours was the dark-skinned warrior in the teddy bear stretched out in the foreground. Behind the church stretched in two rows a long village with here and there chimneys flickering on the thatched roofs. The master's house was built in the style that is known among us under the name of Alexandrovsky; This house was also painted yellow and had a green roof, white columns, and a pediment with a coat of arms. The dark trees of an ancient garden adjoined the house on both sides; an alley of trimmed fir trees led to the entrance.” Thus, Odintsova’s garden was an alley of trimmed Christmas trees and flower greenhouses that create the impression of artificial life. Indeed, this woman’s whole life “rolls like on rails,” measuredly and monotonously. The image of “inanimate nature” echoes the external and spiritual appearance of Anna Sergeevna. In general, the place of residence, according to Turgenev, always leaves an imprint on the hero’s life. Odintsov in the novel is more likely compared to a spruce; this cold and unchanging tree was a symbol of “arrogance” and “royal virtues.” Monotony and tranquility are the motto of Odintsova and her garden. For Nikolai Petrovich, nature is a source of inspiration, the most important thing in life. It is harmonious, because it is one with “nature”. That is why all events associated with it take place in the lap of nature. Pavel Petrovich does not understand nature; his soul, “dry and passionate,” can only reflect, but not at all interact with it. He, like Bazarov, does not see “the sky,” while Katya and Arkady are childishly in love with nature, although Arkady tries to hide it.

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

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

Nature in the novel divides everything into living and non-living, natural for humans. Therefore, the description of the “glorious, fresh morning” before the duel indicates how vanity everything is before the greatness and beauty of nature. “The morning was nice and fresh; small motley clouds stood like lambs on the pale clear azure; fine dew fell on the leaves and grasses, glittered like silver on the cobwebs; the damp, dark one seemed to still retain the ruddy trace of dawn; the songs of larks rained down from all over the sky.” The duel itself seems, in comparison with this morning, “such stupidity.” And the forest, which in Bazarov’s dream refers to Pavel Petrovich, is a symbol in itself. The forest, nature - everything that Bazarov refused is life itself. That is why his death is inevitable. The last landscape is a “requiem” for Bazarov. “There is a small rural cemetery in one of the remote corners of Russia. Like almost all of our cemeteries, it has a sad appearance: the ditches surrounding it have long been overgrown; gray wooden crosses are drooping and rotting under their once painted covers; the stone slabs are all shifted, as if someone is pushing them from below; two or three plucked trees barely provide scant shade; sheep wander ugly through the graves... But between them there is one, which is not touched by man, which is not trampled by animals: only birds sit on it and sing at dawn. An iron fence surrounds it; two young fir trees are planted at both ends; Evgeny Bazarov is buried in this grave." The entire description of the rural cemetery where Bazarov is buried is filled with lyrical sadness and mournful thoughts. Our research shows that this landscape is of a philosophical nature.

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

Pisarev noted that the “artistic finishing” of the novel “Fathers and Sons” is “immaculately good.” Chekhov spoke of Turgenev’s novel this way: “What a luxury Fathers and Sons is! Just at least shout guard. Bazarov's illness was so severe that I became drowsy, and it felt as if I had been born from him. And the end of Bazarov? What about the old people? God knows how it was done. Simply brilliant" .

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

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

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

Nature organically enters the lives of the “have” heroes, intertwines with their thoughts, sometimes helps to reconsider their lives and even radically change it.

The beauty of nature, its greatness, vastness develops a person’s ideological, moral, patriotic and civic beliefs, feelings of pride, love for his native land, aesthetic concepts, artistic taste, enriches sensations, emotional perception, ideas, thinking and language. Nature makes everyone nobler, better, cleaner, lighter, more merciful. And fiction, recreating nature in words, instills in a person a sense of caring attitude towards it.

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

Bibliography.

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

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

I. L. Kuprina. Literature at school 6 99. “Enlightenment”., M., 1999.

V. V. Golubkov. Turgenev's artistic mastery. Moscow, 1960

V. Yu. Troitsky. A book of generations about Turgenev’s novel “Fathers and Sons.” Moscow, 1979

I. P. Shcheblykin. History of Russian literature 11 - 19 centuries. "Higher School", Moscow, 1985.

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

"The fields are spacious, silent
They shine, drenched in dew...
The tall forest is silent and dim,
The green, dark forest is silent"

The mystery of majestic nature

The famous Russian writer Ivan Sergeevich Turgenev became famous as a master of landscape. In his work, the description of the picture of nature is inseparable from the life of the characters, their mood and inner experiences. The author’s landscapes are not only filled with colorful, realistic and detailed descriptions, but also carry a psychological and emotional load. With the help of a description of nature, the author reveals the inner essence of his hero. Thus, in the novel “Fathers and Sons,” Turgenev, using the natural landscape, shows how the mood of the hero Arkady himself changes, the author very accurately conveys his inner world. Nature in Turgenev’s description is very colorful, the author presents it in such detail that the picture literally comes to life. The words that the writer chooses very accurately convey the landscape presented: “golden and green, ... shiny under the quiet breath of a warm breeze.”

The nature presented in Turgenev's works is very diverse. In the story “Bezhin Meadow”, the July landscape is vividly presented: “the color of the sky, light, pale lilac”, “in the dry and clean air there is the smell of wormwood, compressed rye, buckwheat”, at night “the steel reflections of water, occasionally and vaguely flickering, denoted it current." The writer is imbued with the description of nature so much that his landscapes become so real, as if they come to life. The colorfulness of his paintings can be compared to the work of an artist’s brush. But with only one difference - Turgenev’s landscapes are dynamic, they are in constant motion. The author very colorfully conveys the beginning of the rain in the story “Biryuk” from the series “Notes of a Hunter”: “A strong wind suddenly began to roar in the heights, the trees began to storm, large drops of rain sharply knocked, splashed on the leaves, lightning flashed, and a thunderstorm broke out. The rain poured down in streams."

Turgenev understood nature, admired its majesty and the rigor of the laws it established. He noted man's powerlessness before the power of nature and admired, even with some fear, its power. Nature appears as something eternal, unshakable, in contrast to human mortal existence. The writer tries to see the common connection between nature and man, but stumbles over its serene silence. The author has repeatedly noted the independence of the laws of nature from human aspirations, plans, ambitions and human life in general. Nature in Turgenev's works is simple and open in its reality, but complex and mysterious in the manifestations of forces often hostile to man.

He was even frightened by the indifference of nature, embodied in the inviolability of laws over which man had no influence. Everything is in her power, regardless of human desire or consent. The author demonstrates this manifestation especially clearly in the poetic prose “Nature”. Here Turgenev turns to Mother Nature with the question: “What are you thinking about? Isn’t it about the future destinies of humanity ... ”However, the answer surprised him very much; it turns out that at this time she is caring about improving the life of the flea. “Reason is not my law,” she answered in an iron, cold voice.

The endless mysteries of nature and the universe bother the author and disturb his imagination. The image of nature in Turgenev's works is shown very colorfully and professionally, using rich Russian speech, giving the landscape an indescribable beauty, filled with colors and smells.

The landscape in the novel serves to reveal characters and expresses the moral ideals of the author. The action itself begins with a landscape sketch: “It was a quiet summer morning...”. Nature helps to understand the internal state of heroes. If you look closely, Turgenev takes his brief, amazingly accurate comparative characteristics from the field of natural phenomena. What could be more accurate than the remark that the insinuating Pandalevsky steps “carefully, like a cat”! We learn enough about the old, silent French governess Natalya Lasunskaya, accustomed to living among strangers, from her look - like that of “old, very smart cop dogs.” The arrogant Daria Mikhailovna, having learned about her daughter’s dates, instantly changes her attitude towards Rudin - “like water suddenly turns into solid ice.” Volyntsev, sensing Natalya’s cooling towards him, “looked like a sad hare.” Sometimes characters define themselves precisely. “I’m not a factory horse - I’m not used to the brood,” Lezhnev declares after Lasunskaya’s visit. The greatest number of comparisons, of course, relates to the central character, who “floats...among...misunderstandings and confusion, like a swallow over a pond,” and is accustomed to “pin down every movement of life, both his own and that of others, with a word, like a butterfly with a pin.”

Often such comparisons flow into extended metaphors. The author conveys Natalya’s feelings after the collapse of her first love through a metaphorical comparison with the evening twilight: “Natalya remembered her childhood, when, while walking in the evening, she always tried to walk towards the bright edge of the sky, where the dawn was burning, and not towards the dark one. Life now stood before her in darkness, and she turned her back to the light...”

The landscape is in harmony with the state of mind of the characters. When Natalya worries, nature cries with her: “Large, sparkling drops fell quickly<...>"like diamonds." In the famous scene of confession in the gazebo, the surrounding natural world confirms the girl’s hopes, her expectation of happiness: “The sky had almost cleared when Natalya went into the garden. It smelled of freshness and silence, that gentle and happy silence to which a person’s heart responds with the sweet languor of secret sympathy and vague desires...” On the contrary, the ominous silence around the Avdyukhin pond foreshadows that this meeting will not be happy: “The rare skeletons of huge trees towered like - like sad ghosts above the low bushes. It was terrible to look at them<…>. It was a sad morning."

As an artist, Turgenev is completely independent in these two landscape sketches (of a happy and dramatic date). And at the same time, the impetus for the creation of these two landscapes is a reminiscence of one Pushkin passage, the famous passage of “Eugene Onegin”, beginning with the words: “All ages are submissive to love...” And then the poet talks about the difference in the experience of feeling. Young people like Natalya,

In the rain of passions they become fresh,

And they renew themselves and mature...

This is how Turgenev’s heroine “matures” morally in the summer garden, after a light thunderstorm. The landscape of Avdyukhin’s pond, given through the eyes of Rudin, coincides with Pushkin’s judgment about love interest “at a late and barren age”:

….At the turn of our years,

Sad is the passion of the dead trail:

So the storms of autumn are cold

A meadow is turned into a swamp

And they expose the forest around.

The sad outcome of their relationship is due, among other things, to the age gap. Rudin, who has seen a lot, is not able to feel so freshly. However, he himself feels it. Turgenev's heroes often speak in the language of Pushkin's quotes. In his farewell letter to Natalya Rudin, trying to explain their relationship, cites Pushkin’s lines: “Blessed is he who was young from a young age...” And then, suddenly realizing: “... These tips apply much more to me...” The eighth words cited by Rudin The chapters of the novel continue the author’s brilliant speech in defense of the “superfluous man”:

But it's sad to think that it's in vain

We were given youth

That they cheated on her all the time,

That she deceived us;

What are our best wishes?

What are our fresh dreams

They decayed quickly in succession...

Rudin, indeed, involuntarily let it slip. He can be proud that he did not betray his “best desires” and “fresh dreams” during his life. Turgenev’s hero deliberately did not enter the number of lucky ones, “who at twenty was a dandy or smart, / And at thirty he was advantageously married... / Who achieved fame, money and ranks / quietly achieved a place in line...”. Perhaps this is another reason, not yet realized by him, for refusing the hand of Natalya - a profitable bride - at the age of a secular marriage (Rudin, as we remember, is “thirty-five years old”).

That same evening, in her bedroom, the girl habitually makes “wishes” from Pushkin’s book. In turn, Natalya hears the lines of the first chapter of “Onegin”: “Whoever felt, is disturbed by / The ghost of irrevocable days: / There are no charms for that, / That snake of memories, / That repentance gnaws...” This passage reveals as fully as possible the state of mind of the disillusioned both in life and in the people of the heroine. At the same time, the hidden words are part of the author’s characterization of the same Onegin:

I liked his features

Involuntary devotion to dreams,

Inimitable strangeness

And a sharp, chilled mind...

This is an exhaustive and complete description of what attracted Natalya Rudin and the best that she found in him... Again, perhaps unconsciously. The poet warns Natalya that people like Rudin

...anger awaited

Blind Fortune and People

In the very morning of our days.

Let us remember the expulsion of Rudin from the Lasunsky house, his death... The writer suggests looking at his hero, the “superfluous man,” through the prism of his literary predecessor, Onegin. The misadventures and death of Rudin in this case can be regarded as a historical pattern. In addition, the poetic voice is intended to soften the anger of both Natalya and the reader after the scene at Avdyukhin’s pond. The authority of Pushkin's lines confirms Turgenev's cherished conviction about the impossibility of a direct and exhaustive characterization of a person. Deciphering their hidden meaning shows the multiplicity of reasons for Rudin’s actions. It justifies the impossibility of a categorically negative assessment. In addition to weak character, there was also the difference in age and a hidden fear of changing one’s destiny...

Turgenev did not italicize Pushkin’s quotes, like Goncharov. But, as for Goncharov, Pushkin’s lines had an almost magical sacred power for him. They are used to tell fortunes, they are used to explain things, and with their help the future fate of a character is predicted.

The “hidden” nature of psychologism does not mean that in Turgenev we will not find lyrical digressions in their pure form. But they are not based, like Goncharov’s, on everyday observations. He is attracted by the eternal mysteries of nature and the human soul, as in the works of Hegel. It is not for nothing that Turgenev studied at German universities with the followers of the great philosopher. He strives to give the inner world of his heroes in the light of philosophical generalizations. This is a description of Natalya’s feelings after the final separation from Rudin. It flows into a whole philosophical study about the nature of tears, about the characteristics of the first disappointment, about youth and all life: “Tears welled up in Natalya’s eyes... They are joyful and healing when, having boiled in the chest for a long time, they finally flow... But there are cold tears, sparingly flowing tears: they are squeezed out drop by drop from the heart<…>grief; they are bleak and do not bring relief. Need cries such tears, and he has never been unhappy who has not shed them. Natalya recognized them that day.” Comprehension of the laws of the human soul allows the author to confidently predict the further movement of Natalya’s feelings: “Many difficult days and sleepless nights lay ahead of her, she was young - life was just beginning for her, and life would sooner or later take its toll. Natalya suffered painfully, she suffered for the first time... But the first suffering, like first love, is not repeated - and thank God!” It is easy to notice the generalizing nature of Turgenev's characteristics. Only a few casually thrown touches highlight the individual appearance of this particular person. About the noble Volyntsev, who is experiencing the collapse of his hopes for marriage with Natalya, it is said: “However, there was probably no person in the world who, at least once in his life, did not look even worse than that. The first disappointment is hard for everyone; but for a sincere soul that did not want to deceive itself, alien to frivolity and exaggeration, it is almost unbearable.”

Unlike Goncharov, Turgenev’s narrator does not hide his own feelings from the reader. And his voice begins to sound in full force when one of his characters needs sympathy. Having painted a sad picture of an autumn night in the epilogue: “And the wind rose in the yard and howled with an ominous howl, heavily and angrily striking the jingling glass,” the narrator excitedly exclaims: “It’s good for those who sit under the roof of the house on such nights, who have a warm corner... And may the Lord help all homeless wanderers!”

Russian landscape in Turgenev's prose.

Karelina Yu.L.

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

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

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

The picture of the world is not a simple set of “photographs” of objects, processes, properties, etc., because it includes not only reflected objects, but also the position of the reflecting subject, his attitude towards these objects, and the position of the subject is the same reality as and the objects themselves. Moreover, since a person’s reflection of the world is not passive, but active, the attitude towards objects is not only generated by these objects, but is also capable of changing them (through activity), it follows naturally that the system of socially typical positions, relationships and assessments finds a sign reflection in the national language system and takes part in the construction of the linguistic picture of the world. Thus,the linguistic picture of the world as a whole and most importantly coincides with the logical reflection of the world in the minds of people.

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

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

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

The cross-cutting image of the story “Bezhin Meadow”, and many other stories of Turgenev, should be considered the image of light. In semantic composition it is contrasted with “gloom” and “darkness”. It is the night landscape that plays a special role in creating the figurative and symbolic plan of his works.

It is necessary to note the richest color scheme of Turgenev's morning landscape (light, green, stained, blue, scarlet, red, gold - these are its main colors) and the technique of negative parallelism (not fiery, not incandescent, not dull crimson, but light and welcomingly radiant Sun). Very often, morning sketches describe the morning fog (lilac and thinning, through which the river turns blue) - as a necessary accessory of nature, one of its colors, a symbol of freshness. For Turgenev, morning is associated with freshness, with purification and is the most frequently depicted time of day, found in most works. Sometimes the writer does not name the exact time of day, but conveys its “attributes”, by which it becomes clear that it is morning (the edge of the sky is turning red; jackdaws are waking up in the birches, jackdaws are awkwardly flying; the dawn is flaring up, a mighty luminary is rising; everything is moving, waking up, singing, began to rustle, began to speak; the early breeze had already begun to wander, fluttering over the earth; the pre-dawn wind blew; large drops of dew began to glow everywhere like fragrant diamonds).

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

Almost every story describes the sky, its attributes - clouds, clouds, stars (the sky darkens at the edges; the first stars timidly appear in the blue sky; golden clouds spread across the sky smaller and smaller; a huge purple cloud slowly rose, barely high and sparse clouds were barely rushing; in the evening these clouds disappear, the last of them, blackish and vague, like smoke, lie down in pink puffs; the upper, thin edge of the stretched cloud sparkles with snakes; around noon, a lot of round high clouds, golden-gray, with gentle white edges; from the very early morning the sky is clear; the color of the sky is light, pale lilac; golden stripes stretch across the sky; the edge of the sky turns red; in the dark gray sky, stars twinkle here and there; the sky darkens at the edges; the motionless sky turns white peacefully; the edge of the sky becomes cloudy; now it turns pale, the sky turns blue; through the joyfully rustling foliage the bright blue sky appears and seems to sparkle; the sky is then all covered with loose white clouds, then suddenly clears in places; The May sky turns meekly blue; the dark clear sky stood solemnly and high above us).

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

Nature in I.S. Turgenev is full of sounds (a fish splashes with sudden sonority; the titmouse’s voice rang like a steel bell; the smallest rain began to sow furtively and whisper through the forest, raindrops began to sharply knock and splash on the leaves; larks sing loudly; sparrows chirp; clean and clear<...>the sound of a bell came; vague whisper of the night), smells (in the dry and clean air there is the smell of wormwood, compressed rye, buckwheat; a special, languid and fresh smell - the smell of a Russian summer night; the whole air is filled with the fresh bitterness of wormwood, buckwheat honey, “porridge”; strong, fresh the smell pleasantly chokes the breath; the forest smell intensifies; there is a slight whiff of warm dampness; you

it will be filled with the accumulated warm smell of the night; smells of warm earth; in the soft air there is an autumn smell, similar to the smell of wine), colors, a variety of shades of color (azure, pale gray, dark gray, bright blue, scarlet, crimson, dull crimson, lilac, pale lilac, gold, golden- grey, reddish, green, greenish, yellow-white, bluish, dark blue, pink). She is endlessly rich and changeable.

The depicted natural world in Turgenev's prose is dynamic. Its changes are recorded using verbs with the meaning of color and light characteristics or verbs with the meaning of change. In the concept under study, these verbs darken, turn blue, turn red, turn yellow, turn white, shine (the May sky is meekly blue; the forests are darkening; the ruddy sky is turning blue; the edge of the sky is turning red; the strawberries are turning red; the interior of the forest is gradually darkening; nowhere is getting dark, the thunderstorm is not thickening; here it turns pale, the sky turns blue; the sky darkens at the edges; the ripening rye turns yellow; the bushes heat up and seem to turn yellow in the sun; villages turn yellow; young willow leaves glisten as if washed; everything around glitters and collapses; the low sun no longer warms, but shines brighter summer; young grass sparkles with a cheerful emerald shine; churches turn white; frost still whitens at the bottom of the valley).

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

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

The figurativeness of Turgenev’s landscapes is not a simple adherence to the traditions of Russian literature. This is a special world of the finest details, details, shades. The description of nature in Turgenev's stories allows us to see the extraordinary specificity of landscape descriptions and man's dependence on nature itself, their unity.

A huge role is played by the mood that the author conveys to us when describing this or that landscape, time of year, natural phenomenon. For example, in the story “Forest and Steppe,” Turgenev, drawing this or that time of year, tries to convey as brightly and figuratively as possible the mood and emotions that overwhelmed the author: “Do you know, for example, what a pleasure it is to go out in the spring before dawn? You go out onto the porch... In the dark gray sky, stars are blinking here and there; a damp breeze occasionally comes in a light wave; the restrained, indistinct whisper of the night is heard; the trees make a faint noise, bathed in shadow... The pond barely begins to smoke... The edge of the sky turns red... The air brightens, the road becomes clearer, the sky becomes clearer, the clouds turn white, the fields turn green... And meanwhile the dawn flares up; now golden stripes stretch across the sky; steam swirls in the ravines; The larks sing loudly, the pre-dawn wind blows - and the crimson sun quietly rises. The light will just flow in like a stream; your heart will flutter like a bird. Fresh, fun, loving! The sun is rising quickly, the sky is clear. The weather will be glorious... You've climbed the mountain... What a view! The river meanders for ten miles, dimly blue through the fog; behind the meadows there are gentle hills,<...>, the distance appears clearly... How freely the chest breathes, how vigorously the limbs move, how the whole person grows stronger, embraced by the fresh breath of spring!” . Or a description of a summer landscape, a thunderstorm: “And a summer, July morning! Who, besides the hunter, has experienced how pleasant it is to wander through the bushes at dawn? the trace of your feet lies like a green line across the dewy, whitened grass. If you part the wet bush, you will be bombarded with the accumulated warm smell of the night; the air is all filled with the fresh bitterness of wormwood, buckwheat honey and “porridge”; in the distance there is an oak forest and shines and turns red in the sun; It’s still fresh, but you can already feel the heat coming. The head is languidly spinning from the excess of fragrances. There is no end to the bush... Here and there, in the distance, ripening rye turns yellow, buckwheat turns red in narrow stripes... The sun is getting higher and higher. The grass dries quickly. It has already become hot... You are in the shade, you are breathing odorous dampness; you feel good, but opposite you the bushes heat up and seem to turn yellow in the sun. But what is it? The wind suddenly came and rushed by; the air trembled all around: was it thunder?.. what was that leaden stripe in the sky?

Turgenev's description of nature is bright, rich, imaginative, thanks to the visual and expressive means that the author uses when describing the landscape, animal and plant world, and natural phenomena. First of all, this is a technique of personification, comparison, contrasts, a number of epithets and metaphors (low hills ran down in gentle wave-like rolls; the sun was still beating from the blue, darkened sky; the sun flared up in the sky, as if fierce; a strong wind began to roar in the heights, the trees raged; stealthily, slyly, the smallest rain began to fall and whisper through the forest; stars flickered and began to stir; long shadows ran from the dried haystacks; clouds, flat and oblong, like lowered sails; a star, like a carefully carried candle; the river meanders extremely whimsically, crawls like a snake; clear and gentle azure, like a beautiful eye; hazy waves of evening fog; gloomy darkness).

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

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