(materials for a literature lesson in high school)

The story of I.S. Turgenev's "Asya" is dedicated to love. Love most fully reveals a person. A description of nature helps to show the inner state of a person.

Descriptions of nature occupy a very large place in the story. They not only set the reader on subtle empathy, but also accompany every mood, every movement of the soul of his characters.

The action of the story takes place in Germany, on the majestic and beautiful river Rhine. This is no coincidence. The author deliberately placed the characters in this place to create a romantic atmosphere.

In the first chapter, we meet the hero of the story NN, suffering from some kind of "insidious widow". But these sufferings are so insincere, so unnatural, that even the hero himself notices this.

“To be honest, the wound in my heart was not very deep…”

On the contrary, the description of the evening town is filled with sincerity, liveliness, which is opposed to the false love of the hero.

“I liked to wander around the city then; the moon seemed to be gazing at him from a clear sky; and the city felt this look and stood sensitively and peacefully ... "

In the second chapter, NN meets Asya. The description of Asya is adjacent to the description of the wonderful landscape of the Rhine. This, as it were, confirms everything said about Asa.

“The view was absolutely amazing. The Rhine lay before us all silver, between green banks; in one place it burned with the crimson gold of the sunset.

NN's conversation with Asya and Gagin, which lasted the whole evening, is also accompanied by a romantic landscape of the evening, at first early, then gradually turning into night.

“The day had long since died out, and the evening, at first all fiery, then clear and scarlet, then pale and vague, quietly melted and shimmered into the night.”

“I have not seen a creature more mobile. She didn't sit still for a single moment."

Turgenev says that Asya's changeable character is very close to nature.

Descriptions of mountains, valleys, powerful rivers help the author show the strong, unbridled love of the heroine.

By the fifth chapter, the hero fell in love with Asya. From that moment on, all his attention is switched to Asya, and he no longer notices nature. Therefore, there are no descriptions of nature, even when NN accompanies Gagin to sketch landscapes.

Only by the tenth chapter, when the hero parted with Asya, does the description of nature appear again. The hero swims along the "royal" Rhine, but there is no peace in his soul.

“I suddenly felt a secret anxiety in my heart… I raised my eyes to the sky – but there was no peace in the sky either…”.

This comparison portends a sad end to the story.

The role of the landscape in the story is to better understand the strength of the feelings of the characters, the state of their souls. So that we understand how complex and incomprehensible are the feelings of people, and we must learn to understand them in order to become happy.

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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 trials for man and humanity. We are prisoners of modern civilization. Our life takes place in shaky cities, among concrete houses, asphalt and smoke. We fall asleep and wake up to the roar of cars. A modern child looks at a bird with surprise, and sees flowers only standing in a festive vase. We do not know what kind of nature we saw 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 the native Russian nature. Through the landscape, they express their point of view on events, as well as their attitude to nature, the heroes of the work. With the author's landscape descriptions, first of all, the motives of life and death, generational change, bondage and freedom are inextricably linked.

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

The purpose of the abstract 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 the “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 eyes of an observer, but of a knowledgeable person. At the same time, Turgenev's landscapes are not only naturalistically accurate and detailed, but they are also always psychological and carry a certain emotional load.

Very often, the inner world of heroes is not recreated by them directly, but through an appeal to nature, which a person perceives at a given moment. And the point here is not only that the landscape itself is capable of influencing the mood of the hero 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 the subtle, difficult to reproduce, but at the same time the most interesting traits of the hero's character.

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. Not without reason Prosper Mérimée found in Turgenev's landscapes “Jewellery 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”. The author conveyed nature with simple and precise strokes, but how bright these colors were juicy. Following the traditions of the oral poetic creativity of the people, the writer draws most of the metaphors and comparisons from nature surrounding a person: “yard boys ran after doltur like little dogs”, “people are like trees in the forest”, “son is a cut piece”, “pride rose to rearing up." He wrote: “In nature itself there is nothing cunning tricky, she never flaunts anything, does not flirt;? She is good-natured even in her whims.” All poets with true and strong talents did not become “positive” in the face of nature ... great and in simple words they conveyed their beauty and majesty. Turgenev's landscape gained worldwide fame. The nature of central Russia in the works of Turgenev will captivate us with its beauty. The reader not only sees the endless expanses of fields, dense forests, copses cut by ravines, but as if he hears the rustle of birch leaves, the sonorous polyphony of the feathered inhabitants of the forest, inhales the aroma of flowering meadows and the honey smell of buckwheat. The writer philosophically reflects now on harmony in nature, now on indifference towards man. And his characters feel nature very subtly, they know how to understand its prophetic language, and it becomes, as it were, an accomplice to their experiences.

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

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

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, who has the gift of extraordinary observation, who can notice “the hasty movements of the wet foot of a duck, with which she scratches her head on the edge of a puddle”, to distinguish all shades of the sky, a variety of bird voices, almost, almost not to use his filigree art in the novel “Fathers and children?" The only exceptions are the evening landscape in the eleventh chapter, whose functions are clearly polemical, and the picture of an abandoned rural cemetery in the epilogue of the novel.

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

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

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

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

How sad is your appearance to me,

Spring, spring, time for love!

Which… "

(“Eugene Onegin”, ch.VII)

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

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

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

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

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

In Chapter XI, Turgenev, as it were, questions the expediency of Bazarov's denial of nature: "Nikolai Petrovich lowered his head and ran his hand over his face." “But reject poetry? - he thought again, - not to sympathize with art, nature ...? And he looked around, as if wanting to understand how one can not sympathize with nature. All these thoughts of Nikolai Petrovich were inspired by the previous conversation with Bazarov. As soon as Nikolai Petrovich had only resurrected Bazarov's denial of nature in his memory, Turgenev immediately, with all the skill he was capable of, presented the reader with a wonderful, poetic picture of nature: “It was getting dark; the sun hid behind a small aspen grove that lay half a verst from the garden: its shadow stretched endlessly across the motionless fields. The peasant was trotting on a white horse along a dark narrow path along the very grove; he was clearly visible all over, up to the patch on his shoulder, despite the fact that he was riding in the shade; the horse's legs flickered pleasantly distinctly. The sun's rays from their own climbed into the grove and, breaking through the thicket, doused the aspen trunks with such a warm light that they became like pine trunks, and their foliage almost turned blue and a pale blue sky rose above it, slightly reddened by the dawn. The swallows flew high; the wind stopped completely; belated bees buzzed lazily and drowsily in the lilac flowers; midges huddled in a column over a lonely, far-stretched branch.
After such a highly artistic, emotional description of nature, full of poetry and life, one involuntarily thinks about whether Bazarov is right in his denial of nature or not? And when Nikolai Petrovich thought: “How good, my God! ... and his favorite poems came to his lips ...”, the reader’s sympathy was with him, and not with Bazarov. We cited one of them, which in this case performs a certain polemical function: if nature is so beautiful, then what is the point in denying it to Bazarov? This light and subtle test of the expediency of Bazarov's denial seems to us to be a kind of poetic intelligence of the writer, a certain allusion to the future trials that await the hero in the main intrigue of the novel.

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

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

Closely linking nature with the mental state of the characters, Turgenev defines one of the main functions of the landscape as psychological. Fenechka's favorite place in the garden is an arbor of acacias and lilacs. According to Bazarov, "acacia and lilac - the guys are kind, they do not require care." And again, we are unlikely to be mistaken if we see in these words an indirect characterization of a simple, unconstrained Fenechka. Acacia and raspberries are friends of Vasily Ivanovich and Arina Vlasyevna. Only at a distance from their house, a birch grove “as if stretched out”, which for some reason is mentioned in a conversation with Bazarov’s father. It is possible that the hero of Turgenev here unconsciously anticipates a longing for Odintsova: he talks to her about a “separate birch”, and the folklore motif of a birch is traditionally associated with a woman and love. In a birch grove, only the Kirsanovs, there is a duel between Bazarov and Pavel Petrovich. Arkady and Katya's explanation takes place under an ash tree, a tender and light tree, fanned by a "weak wind", protecting lovers from the bright sun and too strong fire of passion. “In Nikolskoye, in the garden, in the shade of a tall ash tree, Katya and Arkady were sitting on a turf bench; on the ground near them Fifi fit, giving her long body that graceful turn that the hunters have a reputation for "hare couch". Both Arkady and Katya were silent; he held a half-opened book in his hands. And she picked out the remaining crumbs of white bread from the basket and threw them to a small family of sparrows, who, with their characteristic cowardly insolence, jumped and chirped at her very feet. A weak wind, moving in the leaves of the ash-tree, gently moved back and forth, both along the dark path and along Fifi's yellow back; pale golden patches of light; an even shadow washed over Arkady and Katya; only occasionally did a bright streak light up in her hair. “What about Fenechka’s complaints about the lack of a shadow around the Kirsanovs’ house?” Does not save the inhabitants of the house and the "large marquise" "on the north side." No, it seems that fiery passion does not overwhelm any of the inhabitants of Maryin. And yet, the motive of heat and drought is associated with the "wrong" family of Nikolai Petrovich. “Those who enter into marital relations unmarried are considered the culprits of the drought” among some Slavic peoples. Different attitudes of people towards the frog are also associated with rain and drought. In India, it was believed that the frog helps to bring rain, as it can turn to the thunder god Parjanya, "like a son to a father." Finally. The frog "can symbolize false wisdom as the destroyer of knowledge," which may be important for the problematic of the novel as a whole.
Not only lilac and "circle" are associated with the image of Baubles. Roses, a bouquet of which she knits in her gazebo, are an attribute of the Virgin. In addition, the rose is a symbol of love. "Red, and not too big" rose (love) asks Bazarov from Fenechka. There is also a “natural” cross in the novel, hidden in the form of a maple leaf, shaped like a cross. And it is significant that a maple leaf suddenly falling from a tree, not at the time of leaf fall, but at the height of summer, resembles a butterfly. “A butterfly is a metaphor for the soul that fluttered out of the body at the time of death, and Bazarov’s untimely death is predicted by this sadly circling leaf in the air.” Nature in the novel divides everything into living and non-living, natural for a person. Therefore, the description of the “glorious, fresh morning” before the duel indicates how vain everything is before the grandeur and beauty of nature. “The morning was glorious, fresh; small motley clouds stood like lambs on a pale-clear azure; fine dew poured out on leaves and grasses, glittered with silver on cobwebs; damp dark, it seemed, still kept a ruddy trace of dawn; songs of larks rained down from all over the sky. The duel itself seems, in comparison with this morning, "what nonsense." And the forest, under which Pavel Petrovich is meant in Bazarov’s dream, is a symbol in itself. Forest, nature - everything that Bazarov refused is life itself. Therefore, his death is inevitable. The last landscape is a "requiem" according to Bazarov. “There is a small rural cemetery in one of the remote corners of Russia. Like almost all our cemeteries, it shows a sad look: the ditches surrounding it have long been overgrown; the gray wooden crosses are drooping and rotting under their once-painted covers; the stone slabs are all shifted, as if someone is pushing them from below; two or three plucked trees barely give a meager shade; sheep roam ugly over the graves ... But among them there is one that a person does not touch, that an animal does not trample on: only birds sit on it and sing at dawn. An iron fence surrounds it; two young fir trees are planted at both ends; Yevgeny Bazarov is buried in this grave." The entire description of the rural cemetery where Bazarov is buried is filled with lyrical sadness and mournful thoughts. Our research shows that this landscape is philosophical in nature.

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

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

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

The landscape can be included in the content of the work as part of the national and social reality that the writer depicts. In some novels, nature is closely associated with folk life, in others with the world of Christianity or the life of quality. Without these pictures of nature, there would be no complete reproduction of reality. The attitude towards the landscape of the author and his heroes is determined by the peculiarities of their psychological make-up, 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 does not notice her either; she is too cold and sensible for that. For Bazarov, “nature is not a temple, but a workshop,” that is, he does not recognize an aesthetic attitude towards it. Nature is the highest wisdom, the personification of moral ideals, the measure of true values. Man learns from nature, he does not recognize it. Nature organically enters the life of the “haves” heroes, intertwines with their thoughts, sometimes helps to reconsider their lives and even change them drastically.

3. Description of the landscape in the novel "The Noble Nest"

Landscape in the works of I.S. Turgenev is often in tune with the moods of his heroes, emphasizes the depth of their experiences, and sometimes serves as a background for the thoughts of the characters. So, in the novel "The Nest of Nobles", 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 the fields running like a fan, at the slowly flashing willows ... he looked ... and this fresh, fat 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, evoked sweet and at the same time almost mournful feelings on his soul, crushed his chest with some kind of pleasant pressure. Against the background of this landscape, in a slow fermentation of thoughts, the hero recalls his childhood, 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 mistress of the estate. The author offers readers philosophical reflection 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 the worldview of a person. Listening to the silence, Lavretsky realizes how “quiet and unhurried life is here,” which you just need to calmly submit to, “... silence embraces him from all sides, the sun rolls quietly across a calm blue sky, and clouds quietly float across it; they seem to know where and why they are swimming.” This life here “flowed inaudibly, like water over swamp grasses; and until the very evening Lavretsky could not tear himself away from the contemplation of this departing, flowing life; sorrow for the past melted in his soul like spring snow, and - a strange thing! “There has never been such a deep and strong feeling of homeland 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 meeting in the garden of Lavretsky and Liza sets in a romantic mood, evokes lofty and at the same time sad feelings in the soul of the reader . Indeed, the love of the heroes did not work out: Liza went to the monastery, devoting herself to God, Lavretsky remains unhappy for a long time. But after eight years, he again comes to places dear to his heart. And although the owners of the Kalitins' house have long died, 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, a green meadow in lilac thickets not only convey a feeling of nostalgia, but also have a symbolic meaning. The theme of memory, what is dear to the human soul, is touched upon here by the author. The fact that the house did not fall into the wrong hands, “the nest was not ruined” has the same symbolic meaning. Youth and fun reign in the house, sonorous voices, laughter, jokes, music are heard. Sitting on a familiar bench, the hero reflects on how everything around and life in the Kalitins' house has changed; and sincerely wishes Lavretsky a new generation of good and happiness. Thus, we see that, as in many other works of I.S. Turgenev, the landscape in the novel "The Nest of Nobles" is an important part of the author's artistic world, revealing the characters' philosophical understanding of what is happening.

Conclusion

Completing the work on the abstract, one 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 notable for their artless beauty, vitality, amazing poetic vigilance and observation. Turgenev's landscape is dynamic, it is related to the subjective states of the author and his hero. It is almost always refracted in their mood.

I.S. Turgenev deserved the widest fame not only as a writer of anti-serfdom views, a man of liberal Western convictions, not only as an artist who subtly conveys the spiritual experiences of his heroes, but also as a sensitive lyricist, a master who managed to display the beauty of his native nature, to find it even in the most modest, discreet landscape of the middle lane.

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

Bibliography

1. Golubkov V.V. Artistic skill of Turgenev. - M., 1960

2. Kuprina I.L. literature at school. - M.: Enlightenment, 1999.

3. Lebedev Yu.V. Russian literature XIX v. second half. - M.: Enlightenment, 1990.

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

5. Shcheblykin I.P. History of Russian literature of the 11th - 19th centuries. - M.: graduate School, 1985

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Voronina Ekaterina Viktorovna
Position: literature teacher
Educational institution: MBOU "Pokrovo-Prigorodnaya secondary school"
Locality: v. Pokrovo-Prigorodnoye
Material name: presentation
Topic:"Landscape in the works of I.S. Turgenev, in music and in painting."
Publication date: 17.01.2016
Chapter: secondary education

Landscape in stories

I.S. Turgenev, in

paintings

and music.
The work was done by a student of the 9th grade of the MBOU “Pokrovo-Prigorodnaya secondary school” Lebedeva Natalia
Nature in the works of Turgenev is always poeticized. It is colored by a sense of deep lyricism. Ivan Sergeevich inherited this trait from Pushkin, this amazing ability to extract poetry from any prosaic phenomenon and fact; everything that at first glance may seem gray and banal, under the pen of Turgenev acquires a lyrical coloring and picturesqueness. All the landscape sketches of the author, in my opinion, are very bright, talented, once again show the extraordinary beauty of nature and reveal the broad soul of the Russian people.

Plan
 1. Landscape in the works of I.S. Turgenev  2. Rural landscape in the novel by I.S. Turgenev “Fathers and Sons”. Painting by Fyodor Vasiliev “Village”.  3. Landscape sketches by I.S. Turgenev in the story “Bezhin Meadow”, in the painting by I.I. Levitan “June Day” and in the music of P.I. Tchaikovsky “Barcarole”.  4. Night in the story "Biryuk" and in the painting by A.I. Kuindzhi "Night on the Dnieper".  5. Morning landscape in the story “Bezhin meadow”, Edvard Grieg “Morning”, painting by I.I. Shishkin “Foggy morning”.  6. "Night" in the story "Bezhin Meadow" and the picture  A.I. Kuindzhi "Night".  7. Romance "Misty morning", music by V. Abaza.  8. Conclusion.  9. List of used literature.
“Love for one’s native nature is one of the most important signs of love for one’s country…” K.G. Paustovsky

Objective
: to get an idea of ​​the writer Turgenev as a master of landscape sketches, to compare the landscape in literary work with landscape in painting and music.
Research objective
: - to reveal the peculiarity of the Turgenev landscape - its picturesqueness, "watercolor", lightness, sound painting, - to show the landscape in the paintings of the artists Shishkin, Levitan, Kuindzhi, Vasiliev, phenomena of nature, to show the ability of a writer, artist, composer-psychologist to create a certain emotional state through the landscape.

Research hypothesis
: the study in the works of Turgenev, paintings of artists and musical works of the landscape not only as a technique that allows you to create a certain emotional mood, but also one of the most important, indisputable life values, the attitude to which a person is tested.
Ivan Sergeevich Turgenev in his work expressed his attitude to nature as the soul of Russia. Man and the world of nature in the works of the writer act in unity, regardless of whether the steppes, animals, forests or rivers are depicted. In the famous stories from the "Notes of a Hunter" this can be clearly seen especially clearly.

Landscape in the works of Turgenev.
 The writer's work is rich in landscape sketches, which have their own independent significance. A characteristic feature of the Turgenev landscape is the ability to reflect the spiritual mood and feelings of the characters. The depiction of nature in Turgenev's works reaches a completeness unprecedented in world literature.

Village landscape in the novel "Fathers and Sons".
Almost all of Turgenev’s works are distinguished by magnificent landscape sketches of Russian nature. And against the backdrop of beautiful nature, Turgenev in the novel “Fathers and Sons” paints a picture of reality - a Russian village with “low huts under dark, often half-swept roofs”, with “crooked threshing sheds with wicker walls and yawning gates”, with its ignorance, lack of culture, poverty and complete devastation.

Painting by Fyodor Vasiliev “Village”.
Starting the story about the painting by Fyodor Vasilyev “Village”, it is worth saying that the work itself was written by the artist under the direct impression of trips around the Tambov province of the Russian Empire, as well as through provincial towns and villages of Ukraine. Vasiliev spent the summer, as well as the autumn of 1869, in a village called Znamenskoye, which was located in the Tambov province. It was there that Count Stroganov invited him to visit him. The impressions from these trips were soon transferred by the artist to the canvas.

Landscape sketch by I.S. Turgenev “Bezhin Meadow”.
On such days the heat is sometimes very strong, sometimes even "floating" over the slopes of the fields; but the wind disperses, pushes the accumulated heat, and whirlwinds - cycles - an undoubted sign of constant weather - walk like high white pillars along the roads through the arable land. In dry and clean air it smells of wormwood, compressed rye, buckwheat; even an hour before night you don't feel damp. The farmer wants such weather for harvesting bread ... "

Painting by I.I. Levitan “June Day”.
Let's compare Turgenev's landscape sketch with the painting of the artist Isaac Ilyich Levitan "June Day" - 1890s. Summer colors in all their diversity set the tone for the work. The edge of the rye field is adjacent to a small piece of natural field. The strict monotony of a young field and natural beauty - as if specially placed side by side, flooded with a generous sun, under one bottomless blue sky. Timid, quivering strokes make up the crown of a lonely birch and the edge of the forest. Precisely matched numerous meadow colors create a cheerful, carefree working atmosphere. Some movement is perceptibly felt - summer fresh in the wind.

Pyotr Ilyich Tchaikovsky June. Barcarolle
Let's listen to the landscape sketch in music. Peter Ilyich Tchaikovsky. June. Barcarolle. July - cheerful songs of the farmers who begin harvesting, uniform and well-coordinated mowing, folk songs, ripe ears of rye falling to the ground and cheerful laughter during a break in work. In any kind of art - painting, poetry, prose, music - mowing is widely praised, a picture of an endless field with islands of haystacks, tired peasants, happy with the harvest, is drawn. Tchaikovsky throughout the play has intonations repeating the rhythm folk songs, in the accompaniment, chords are heard that imitate the sounds of folk musical instruments, evoking memories of the village suffering and the evening, bringing the long-awaited coolness. .

Night in the story "Biryuk", A.I. Kuindzhi "Night on

Dnieper".
 And now Turgenev's night. And meanwhile the night is coming; You can't see it for twenty paces anymore. Over the black bushes, the edge of the sky becomes vaguely clear... What is it? fire?.. No, it's the moon rising. And down below, to the right, the lights of the village are already flickering... A.I. Kuindzhi in his famous painting depicted a quiet, calm landscape. A large wide space opens up, in the foreground of which the roofs of the houses of a small village are slightly distinguishable in the darkness of the night. The picture seems to be shrouded in something mysterious and mysterious. The whole world froze in anticipation of something special. There is a feeling that as if evil and good met, and evil is trying to defeat the bright ray, which flares up more and more.

Morning landscape in the story "Bezhin Meadow", Edvard Grieg "Morning", painting

Ivan Ivanovich Shishkin "Foggy Morning".
Turgenev's morning landscape is written in the story "Bezhin Meadow". … “The morning began. The dawn had not yet blushed anywhere, but it was already turning white in the east. Everything became visible, although vaguely visible, all around...”  The painting by I. I. Shishkin “Foggy Morning”, like many works of the great landscape master, conveys a surprisingly calm and peaceful atmosphere. The focus of the artist is a quiet, foggy morning on the river bank. The gently sloping shore is in the foreground, the water surface of the river, in which movement is barely guessed, the opposite hilly shore in the mist of the morning fog. The dawn seems to have awakened the river, and, sleepy, lazy, it is only gaining strength to run deep into the picture... Three elements - sky, earth and water - harmoniously complement each other Edvard Grieg "Morning". The gentle colors of the morning dawn and the softness of their modulations The expressive possibilities of music allow you to reproduce this in sounds.

"Night" in the story "Bezhin Meadow" and Kuindzhi's painting

"Night".
 All Turgenev's stories are permeated with the poetics of Russian nature. The story "Bezhin Meadow" begins with a depiction of the features of the change in nature during one July day, which ends with the onset of evening, sunset. Weary hunters and dogs that have lost their way are overwhelmed by a sense of loss. The mysterious life of the night nature puts pressure on the heroes because of its impotence in front of it. Kuindzhi's painting "Night" so reminds us of Turgenev's landscape. The circumstance of the incompleteness of the picture here acts as a kind of symbol of the eternity of the creative path. This association is enhanced by the lunar illumination of the endless plains - like an eternal light on the horizon.
V last years life, living in France, he suffered greatly not only because of illness, but also because he could not visit his Spassky-Lutovinovo, could not sit in the shade of his shady oaks, wander through his endless fields and meadows, where he inhaled the aroma of flowering herbs, could not feel the elusive play of colors of the autumn forest and listen to the play of nightingale singing, enthusiastically admire the evening dawn. Here he drew inspiration and gained strength for his work. With enormous artistic power and depth reflected I.S. Turgenev, all the soft and discreet beauty of Russian nature in the middle lane. “When you are in Spasskoye,” he wrote to his friend, the famous Russian poet Y. Polonsky, “bow from me to the house, garden, my young oak tree, bow to your homeland ...”

Romance "Mistful Morning"

music by V. Abaza.
 Turgenev has a wonderful romance “Mistful Morning”, music by V. Abaza, where everything is so in tune with our morning landscape. In this romance, passionate love is felt, an inescapable longing for a distant and so dear homeland. Foggy morning, gray morning, Sad fields covered with snow... Reluctantly you will remember the time of the past, You will remember the faces long forgotten. You will remember abundant, passionate speeches, Glances, so greedily and tenderly caught, First meetings, last meetings, Favorite sounds of a quiet voice. You will remember parting with a strange smile, You will remember much dear, distant, Listening to the tireless murmur of the wheels, Looking thoughtfully into the wide sky.
Nature in the works of Turgenev is always poeticized. It is colored by a sense of deep lyricism. Ivan Sergeevich inherited this trait from Pushkin, this amazing ability to extract poetry from any prosaic phenomenon and fact; everything that at first glance may seem gray and banal, under the pen of Turgenev acquires a lyrical coloring and picturesqueness. All landscape sketches of the author, in my opinion, are very bright, talented, once again show the extraordinary beauty of nature and reveal the broad soul of the Russian people.

List of used literature:
1. Petrov S.M. I.S. Turgenev is a great Russian realist writer. - In the book: Creativity of I.S. Turgenev. Digest of articles. A guide for the teacher. Under the general editorship of S.M. Petrov. Editor-compiler I.T. Trofimov. M., 1958, p. 558. 2. Kurlyandskaya G.B. Decree. op., p. 91, p. 98. 3. Pisarev D. Bazarov. - In the book: Russian literary criticism of the 1860s. Selected articles. Comp., foreword. and note. professor B.F. Egorova. M., 1984, p.229. 4. Orlovsky S. Decree. op., p. 166. 5. Nezelenov A.I. I.S. Turgenev in his works. v.2. SPb., 1903, p. 245. 6. Brandes G. Etude. - In the book: Foreign criticism of Turgenev. SPb, p. 27.

The landscape in the novel serves to reveal the characters and expresses moral ideals author. The action itself begins with a landscape sketch: "It was a quiet summer morning ...". Nature helps to understand the inner state of the characters. If you look closely, their short, amazing accuracy comparative characteristics Turgenev takes from the realm of natural phenomena. What could be more accurate than the remark that the insinuating Pandalevsky steps "carefully, like a cat"! About the old, silent French governess Natalya Lasunskaya, accustomed to living in strangers, we learn enough from her look - like in "old, very smart cop dogs." The arrogant Darya Mikhailovna, having learned about her daughter's dates, instantly changes her attitude towards Rudin - "so the water suddenly turns into solid ice." Volintsev, feeling Natalya's cooling towards him, "looked like a sad hare." Sometimes the characters define themselves exactly. “I'm not a factory horse - I'm not used to brooding,” Lezhnev says after Lasunskaya's visit. The largest number of comparisons, of course, refers to the central character, who “is rushing about ... among .. misunderstandings and confusion, like a swallow over a pond”, accustomed to “pin every movement of life, both his own and someone else’s, with a word, like a butterfly with a pin.”

Often such comparisons flow into detailed metaphors. The author conveys Natalya’s experiences after the collapse of her first love through a metaphorical comparison with evening twilight: “Natalya remembered her childhood, when, walking in the evening, he always tried to walk towards the bright edge of the sky, where the dawn was burning, and not towards the dark. Darkness now stood before her, 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 poured quickly<...>like diamonds." In the well-known confession scene in the gazebo, the surrounding natural world confirms the girl's hopes, her expectation of happiness: “The sky almost cleared when Natalya went to the garden. Freshness and silence emanated from him, that meek and happy silence, to which the heart of a person will respond with sweet languor of secret sympathy and indefinite desires ... ”On the contrary, the ominous silence around Avdyukhin Pond portends that this date will not be happy:“ The rare skeletons of huge trees towered with what - some sad ghosts over the low growth of bushes. It was terrible to look at them.<…>. It was a miserable morning."

As an artist, Turgenev is completely independent in these two landscape studies (happy and dramatic dates). And at the same time, the impetus for the creation of these two landscapes is the reminiscence of one Pushkin passage, the famous passage of “Eugene Onegin”, which begins with the words: “All ages are submissive to love ...” And then the poet talks about the difference in experiencing feelings. Young people like Natalia

In the rain of passions they freshen up,

And they are updated, and ripen ...

This is how Turgenev's heroine morally "ripens" in summer garden, after a light thunderstorm. The landscape of Avdyukhin Pond, given by Rudin's eyes, coincides with Pushkin's judgment of a love interest "at a late and barren age":

.... At the turn of our years,

Sad passion dead trail:

So cold autumn storms

The meadow is turned into a swamp

And expose the forest around.

In the sad result of their relationship, it turns out that, among other things, the age gap is to blame. Rudin, who has seen a lot, is not able to feel so fresh. However, he himself feels it. The heroes of Turgenev often speak in the language of Pushkin's quotations. In a farewell letter to Natalya Rudin, trying to explain their relationship, he cites Pushkin's lines: “Blessed is he who was young from his youth ...” And then, recollecting himself, he stipulates: “... These tips apply much more to me ...” The eighth words cited by Rudin chapters of the novel continue the author's brilliant speech in defense of " extra person»:

But it's sad to think that in vain

We were given youth

What cheated on her all the time,

That she deceived us;

That our best wishes

That our fresh dreams

Decayed quickly in succession ...

Rudin, indeed, involuntarily let it slip. He can be proud of the fact that in the course of life he did not betray "the best desires" and "fresh dreams." The hero of Turgenev deliberately did not become one of the lucky ones, “who at twenty was a dandy or grip, / And at thirty he was married profitably ... / Who fame, money and ranks / calmly achieved in line ... ". Perhaps this is another reason, which he himself has not yet realized, for refusing the hand of Natalia - a profitable bride - at the age of secular marriage (Rudin, as we remember, is "thirty-five years old").

That same evening, in her bedroom, the girl habitually "guesses" according to Pushkin's book. In turn, Natalya falls out the lines of the first chapter of Onegin: “Whoever felt is disturbed / The ghost of irretrievable days: / There are no charms for him, / That snake of memories, / That repentance gnaws ... "This passage reveals the state of mind of the disappointed woman as fully as possible both in life and in people of the heroine. At the same time, the hidden words are part of the author's description of the same Onegin:

I liked his features

Dreams involuntary devotion

Inimitable strangeness

And a sharp, chilled mind...

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

...expected malice

Blind Fortune and people

In the very morning of our days.

Let's remember Rudin's expulsion from the Lasunskys' house, his death... The writer offers to look at his hero, the "superfluous person", 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 designed to soften the anger of both Natalia 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 substantiates the impossibility of a categorically negative assessment. In addition to weakness of character, there was also a difference in age, and a hidden fear of betraying one's destiny ...

Turgenev did not mark Pushkin's quotations, like Goncharov, in italics. But, as for Goncharov, Pushkin's lines had for him an almost magical sacred power. They are guessing at them, they are explained, with their help the future fate of the character is predicted.

The “hidden” nature of psychologism does not mean that we will not find pure lyrical digressions in Turgenev. 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. No wonder Turgenev studied at German universities with the followers of the great philosopher. Inner world he strives to present his heroes in the light of philosophical generalizations. This is the description of Natalia's feelings after the final parting with Rudin. It flows into a whole philosophical study about the nature of tears, about the features of the first disappointment, about youth and all life: “Tears welled up in Natalya’s eyes ... They are gratifying 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 drop by drop from the heart<…>grief; they are dreary and bring no relief. Need cries such tears, and he has not yet been unhappy who did not shed them. Natalia recognized them that day.” Comprehension of the laws of the human soul allows the author to confidently predict the further movement of Natalia's feelings: “She still had many difficult days, sleepless nights, she was young - life had just begun for her, and sooner or later life will take its toll. Natalya suffered painfully, she suffered for the first time ... But the first sufferings, like first love, do not repeat - and thank God! It is easy to see the generalizing nature of Turgenev's characteristics. Only a few casually thrown strokes highlight the individual appearance of this particular person. About the noble Volyntsev, who is experiencing the collapse of hopes for marriage with Natalya, it is said: “However, there probably has not yet been a 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, unwilling 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 drawn a sad picture of an autumn night in the epilogue: “And the wind rose in the yard and howled with an ominous howl, hitting the ringing glass heavily and viciously,” the narrator excitedly exclaims: “It’s good for someone who sits under the roof of a house on such nights, who has a warm corner ... And may the Lord help all the homeless wanderers!

Russian landscape in Turgenev's prose.

Karelina Yu.L.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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