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

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

Each landscape painting in the work plays a specific role. Take, for example, the episode of the so-called “sparrow night”, where a thunderstorm passes in the distance. The same new feeling, similar to the flash of lightning, first flares up in the soul of the main character Vladimir after communicating with Zinaida. Having read the description of this night thunderstorm, we seem to imagine what is happening in the soul of the young man. The author, using a description of nature, recreates the feeling that captured the main character.

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

The complete opposite of Zinaida’s condition is the landscape in her garden. The girl “... had a very hard time, she went into the garden and fell to the ground as if she had been knocked down.” And “it was light and green all around; the wind rustled in the leaves of the trees. Somewhere pigeons were cooing and bees were buzzing. The sky was softly blue from above...” The description of beautiful and bright nature was used at this moment specifically to show how bad and difficult it was for Zinaida at that moment.

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

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

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

It is impossible not to notice what delightful landscapes, including urban ones, Turgenev creates in “Ace”. (Their visual recreation was achieved unusually well in the film of the same name by I. Kheifits, which we can recommend for you to watch). From the pages of the story, the peaceful beauty of the small German town of 3. and its environs looks at us, touching us, according to Gagin, “all the romantic strings,” softened by the dominant evening paintings, in which the soft, warm colors of the fading day and the quiet sounds of pouring above prevail. Rhine of waltzes.

However, the landscapes of the city 3. and the very description of the city in the story are not an end in themselves for the author. With their help, Turgenev creates the atmosphere in which the hero's story takes place. But most importantly, the city “participates” in the spatial solution of N.N.’s image. Being a man of the crowd, he becomes in the city 3. a man of solitude.

What contributes to such a metamorphosis of the hero? To what extent has he changed from crowd to solitude? These questions will become the main ones at the second stage of understanding the story. And to answer them, it is extremely important to talk about the city in which N.N. settled.

It is fundamentally important to note the depth of Turgenev’s descriptions of the city, reflecting its past and present. In 3. the Middle Ages live, which reminds of itself with “decrepit walls and towers”, “narrow streets”, “steep bridge”, the ruins of a feudal castle, and most importantly, a “tall Gothic bell tower” soaring to the sky, tearing up the azure of the heavens with its needle. And after her, majestically, as if in a prayerful outburst, the soul strives towards the sky, crowning the spiritual intensity of the Gothic landscape.

By depicting it mainly in the evening and at night, Turgenev once again emphasizes the mystery of medieval Gothic. In fact, how can you weave lace from stone?! How can you make this lace soar to unknown heights?! But when moonlight spills onto the city and its surroundings, this secret comes to life, and everything around seems to plunge into a magical, serene and at the same time soul-stirring dream under the arches of the lunar city...

And with what piercing and cutting dissonance the present of the lunar city bursts into this solemn picture - “pretty blond German girls” walking along its evening streets, crowding out the shadows of knights and beautiful ladies, and the sweetly inviting “Gretchen” bursting from a young breast, replacing the evening song of the troubadour.

The city bathed in moonlight is just a breakthrough, a momentary departure from the philistine present that has rightfully reigned in 3., in which the hero has found his solitude.

What is the background of N.N.’s solitude? The calm and sleepy life of a small provincial town, drowned under slate roofs, entwined with stone fences, smelling of linden trees and disturbed only by the snotty whistle of the night watchman and the grumbling of good-natured dogs. Here, against the backdrop of ancient castle ruins, people sell gingerbread and seltzer; the city is famous for its good wine and zealous residents. Here, even on holidays, they do not forget about order. Here everything is in abundance and in its place: the cry and knock of woodpeckers in the forest, colorful trout on the sandy bottom, clean villages around the city, cozy mills, smooth roads lined with apple and pear trees... It’s so comfortable here! And it’s so comfortable for your soul to sleep! And in this solitude there is no place for a girl with fiery passions.

Voronina Ekaterina Viktorovna
Job title: literature teacher
Educational institution: MBOU "Pokrovo-Prigorodnaya Secondary School"
Locality: Pokrovo-Prigorodnoye village
Name of material: presentation
Subject:"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. Turgeneva, in

works of painting

and music.
The work was carried out by Natalia Lebedeva, 9th grade student of the MBOU “Pokrovo-Prigorodnaya Secondary School”
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. All the author’s landscape sketches, 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. Village landscape in I.S. Turgenev’s novel “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 “Barcarolle”.  4. Night in the story “Biryuk” and in the painting “Night on the Dnieper” by A.I. Kuindzhi.  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 painting  A.I. Kuindzhi "Night".  7. Romance “Foggy 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

Goal of the work
: get an idea of ​​the writer Turgenev as a master of landscape sketches, compare the landscape in a literary work with the landscape in painting and music.
Research problem
: - to reveal the features of Turgenev’s landscape - its picturesqueness, “watercolor”, lightness, sound writing, - to show the landscape in the paintings of artists Shishkin, Levitan, Kuindzhi, Vasiliev, - to compare the landscape in a literary work and in the paintings of painters, - to analyze musical works showing natural phenomena - to show the ability of a writer, artist, composer, psychologist to create a certain emotional state through the landscape.

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

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

Rural 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 walls woven from brushwood and gaping gates,” with its ignorance, lack of culture, poverty and complete ruin.

Painting by Fyodor Vasiliev “Village”.
Starting the story about the painting “Village” by Fyodor Vasiliev, it is worth saying that the work itself was written by the artist under the direct impression of his trips around the Tambov province of the Russian Empire, as well as in 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 canvas.

Landscape sketch by I.S. Turgenev “Bezhin Meadow”.
On such days, the heat is sometimes very strong, sometimes even “soaring” along the slopes of the fields; but the wind disperses, pushes apart the accumulated heat, and the vortex-gyres - an undoubted sign of constant weather - walk in tall white pillars along the roads through the arable land. The dry and clean air smells of wormwood, compressed rye, and buckwheat; even an hour before night you do not feel damp. The farmer wishes for similar weather for harvesting grain...”

Painting by I.I. Levitan “June Day”.
Let's compare Turgenev's landscape sketch with the artist Isaac Ilyich Levitan's painting "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 seem to be specially placed side by side, bathed in generous sunshine, under one bottomless blue sky. Timid, tremulous brushstrokes make up the crown of a lonely birch tree and the edge of the forest. Precisely selected numerous colors of the meadow create a cheerful, carefree work atmosphere. Some movement is noticeably felt - fresh summer air.
Pyotr Ilyich Tchaikovsky “June. Barcarolle"

Let's listen to a landscape sketch in music. Peter Ilyich Tchaikovsky. June. Barcarolle. July - cheerful songs of farmers starting the harvest, uniform and coordinated mowing, folk songs, ripe ears of rye falling to the ground and cheerful laughter during a break in work. In any form of art - painting, poetry, prose, music - mowing is widely glorified, a picture of an endless field with islands of haystacks, tired peasants satisfied with the harvest is drawn. Throughout the entire piece, Tchaikovsky has intonations that repeat the rhythm of folk songs; in the accompaniment, chords are heard that imitate the sounds of folk musical instruments, evoking memories of a village festival and an evening that brings long-awaited coolness. .

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

 And now Turgenev’s night. Meanwhile, night comes; twenty steps away you can no longer see. Over there, above the black bushes, the edge of the sky becomes vaguely clear... What is this? fire?.. No, it's the moon rising. And down below, to the right, the lights of the village are already flashing... 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 visible in the darkness of the night. The picture seems to be shrouded in something mysterious and enigmatic. The whole world froze in anticipation of something special. There is a feeling that it is as if evil and good have met, and evil is trying to defeat the bright ray that flares up more and more.

Morning landscape in the story “Bezhin Meadow”, Edvard Grieg “Morning”, painting
Turgenev wrote a morning landscape in his 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 dimly visible, all around...”  I. I. Shishkin’s painting “Foggy Morning,” like many of the works of the great master of landscape, conveys a surprisingly calm and peaceful atmosphere. The artist focuses on a quiet, foggy morning on the river bank. The gentle bank in the foreground, the water surface of the river, in which movement is barely discernible, the hilly opposite bank in the haze of the morning fog. Dawn seems to have awakened the river, and, sleepy, lazy, it is only gaining strength to run deeper into the picture... Three elements - sky, earth and water - harmoniously complement each other by Edward Grieg "Morning". The delicate colors of the morning dawn and the softness of their tints. The expressive capabilities of music make it possible 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 changes in nature over the course of one July day, which ends with the onset of evening and sunset. The tired hunters and the dog, who have lost their way, are overcome by a feeling of being lost. The mysterious life of night nature puts pressure on the heroes due to their powerlessness in front of it.
Kuindzhi’s painting “Night” reminds us so much 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 strengthened by the lunar illumination of the endless plains - as if eternal light on the horizon.

In the last years of his 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 under the shade of its shady oak trees, wander through its 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 creativity. With enormous artistic power and depth reflected I.S. Turgenev describes all the dim and discreet beauty of Russian nature in the middle zone.

“When you are in Spassky,” he wrote to his friend, the famous Russian poet Ya. Polonsky, “bow from me to the house, the garden, my young oak tree, bow to the homeland...”
 Turgenev has a wonderful romance “Foggy Morning”, music by V. Abaza, where everything is so in tune with our morning landscape. In this romance one can feel passionate love, an inescapable longing for a distant and so dear homeland. A foggy morning, a gray morning, Sad fields covered with snow... Reluctantly you will remember the past, You will also remember faces long forgotten.
You will remember the abundant, passionate speeches, the glances so greedily and tenderly caught, the first meetings, the last meetings, the beloved sounds of a quiet voice.

You will remember the separation with a strange smile, You will remember much that is dear and distant, Listening to the tireless murmur of the wheels, Looking thoughtfully at the wide sky.
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. All the author’s landscape sketches, in my opinion, are very bright, talented, once again show the extraordinary beauty of nature and reveal the broad soul of the Russian people.

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 trace:

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 quotations, like Goncharov’s. 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!”

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Presentation on the topic: Turgenev the landscape painter

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Turgenev the landscape painter. 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.)

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Introduction... The 21st century is a time of severe trials for humans 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. Turgenev, L. N. Tolstoy, I. A. Bunin and others. They form in us love and respect for our native Russian nature.

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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)

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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 where his labor is applied. And in this sense, nature and man turn out to be inseparable and are perceived as a single whole.

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The landscape, as a part of nature, can emphasize the hero’s state of mind. To highlight one or another feature of his character by recreating consonant or contrasting pictures of nature. Through the landscape, the author expresses his point of view on events, as well as his attitude towards nature and the heroes of the work. The author’s landscape descriptions are primarily inextricably linked with the motives of life and death, generational change, captivity and freedom.

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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, in the Spasskoye-Lutovinovo estate, Mtsensk district, Oryol province. The Turgenev estate was located in a birch grove on a gentle hill. Around the spacious two-story manor house with columns, adjacent to which were semicircular galleries, there was a huge park with linden alleys, orchards and flower beds. It was in Spassky that Turgenev learned to deeply love and feel nature.

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Turgenev is an unsurpassed master of landscape. The pictures of nature in his works are distinguished by their concreteness, reality, and visibility. The author describes nature not as a dispassionate observer; he clearly and clearly expresses his attitude towards it. 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 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...” 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 it that a subtle artist, possessing the gift of extraordinary observation, able to notice “the hasty movements of the wet 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 does not use his signature art in the novel “Fathers and Sons” "?

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Turgenev, using spare but expressive artistic means, paints a picture of a Russian peasant village in the novel. In the village during the transition period of 1859 - 1860 on the eve of the abolition of serfdom, poverty, destitution, lack of culture, as a terrible legacy of their centuries-old slavery. “There were rivers with dug-out banks and tiny ponds with thin dams, villages with low huts under dark, often half-swept roofs, crooked threshing sheds with walls woven from brushwood and yawning gates near an empty church.”

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Artistic means of the novel “Fathers and Sons”. Let's turn to the monologue of the main character. At first, for Bazarov, “people are like trees in the forest; not a single botanist will study each individual birch tree.” It should be noted that in Turgenev there is a noticeable 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. It seems that Bazarov's favorite tree is aspen. Arriving at the Kirsanov estate, Bazarov goes to “a small swamp, near which there is an aspen grove.” Aspen is the image, the double of his life. Lonely, proud, surprisingly similar to this tree. However, the poor vegetation of Maryino reflects both the down-to-earth nature of the owner of the estate, Nikolai Kirsanov, and the doom shared with Bazarov of “the living dead - the lonely owner of the Bobyly farm, Pavel Petrovich.”

Slide no. 11

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Pictures of nature in the novel help to reveal the image of a particular hero. 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 (that is, 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. “The butterfly is a metaphor for the soul that flutters out at the moment of death, and Bazarov’s untimely death is predicted by this leaf sadly circling in the air.

Slide no. 12

Slide description:

The landscape can be included in the content of the work as part of national and social reality. The attitude of the author and his heroes to the landscape is determined by the characteristics of their psychological make-up, their ideological and aesthetic views. For the author, nature is a source of true inspiration. 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 reasonable for this. For Bazarov, “nature is not a temple, but a workshop,” that is, he does not recognize an aesthetic attitude towards it.

Slide no. 13

Slide description:

For the author, nature is a source of true inspiration. 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 heroes, intertwines with their thoughts, sometimes helps to reconsider their life and even radically change it. The beauty of nature, its greatness, vastness develop in a person moral, patriotic and civic beliefs, feelings of pride, love for his native land, aesthetic concepts , artistic taste, enrich sensations, emotional perception, presentation, thinking and language. Nature makes every person nobler, better, cleaner, lighter and more merciful. And fiction, recreating nature in words, instills in a person a sense of caring attitude towards it.

Slide no. 14

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