Composition plan - Images of nature in the works of Turgenev
I. Introduction
Turgenev is a recognized master of landscape in Russian literature of the 19th century. He does not personify nature, as, for example. Lermontov or later Yesenin, but shows the complex relationship between man and nature.
II. main part
1. Already in the early works of Turgenev - the cycle "Notes of a Hunter" - images of Russian nature are an important feature of the Turgenev style. In these works, the author carefully writes out landscapes, against the background of which images of people are drawn. Various pictures of nature (different times of the day and of the year, different weather, etc.) are given in the stories "Forest and Steppe", "Bezhin Meadow", "Burmister", "Date", etc. In "Notes of a Hunter", images of nature become important part of the image of the motherland, Russia. In the stories of this cycle, one can already see general principles landscape painting by Turgenev: careful study of details, perception of nature as an important aesthetic and moral value, complex relationship between man and nature.
2. In the further work of Turgenev, nature has basically two functions: to create a certain emotional color, a particular mood and serve as a test of the hero's moral potential.
3. With the help of images of nature, the emotional tone of the work is created in the stories "Asya", "First Love". "Spring Waters", in the novels "Rudin", "Noble Nest", "Fathers and Sons", etc. In "As", for example, nature conveys a romantic mood, in "Spring Waters" the title itself speaks of a parallel between "mood" nature and the emotional state of a person, in the "Noble Nest" and "Fathers and Children" nature creates an elegiac, sad, sublime mood of the finale, etc.
4. Since nature was for Turgenev one of the highest aesthetic and moral values, the attitude of this or that character towards it reflected not only his character, but also the author's attitude towards him. This principle is most consistently carried out in the novel "Fathers and Sons". Heroes who are sympathetic to the author (Nikolai Petrovich, Arkady, Katya) are endowed with a keen sense of nature, they are sensitive, first of all, to its beauty and harmony. Those heroes to whom the author has a negative or ambivalent attitude, as a rule, are deaf to nature as an aesthetic value. Thus, Pavel Petrovich is generally incapable of emotionally perceiving a landscape; Bazarov's utilitarian and practical attitude to nature (“nature is not a temple, but a workshop, and a person is a worker in it”) reveals the moral and emotional impairment of this character.
III. Conclusion
Turgenev was called and is called "the singer of Russian nature" for a reason. Indeed, it is difficult to find in Russian literature another writer for whom nature would be so important
(materials for a literature lesson in high school)
The story of I.S. Turgenev "Asya" is dedicated to love. Love reveals a person most fully. And show internal state description of nature helps man.
Descriptions of nature occupy a very large place in the story. They not only tune the reader to subtle empathy, but also accompany every mood, every movement of the soul of his heroes.
The story takes place in Germany, on the majestic and beautiful Rhine River. This is no coincidence. The author specially placed the characters in this place to create a romantic atmosphere.
In the first chapter we meet the hero of the story NN, who suffers for some "insidious widow." But his suffering is so insincere, so unnatural that even the hero himself notices it.
"To admit to say, 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 contrasted with the hero's fake love.
“I loved to wander around the city then; the moon seemed to gaze at him from the clear sky; and the city felt this look and stood alert and peaceful ... "
In the second chapter, NN meets Asya. Asi's description is juxtaposed with a description of the wonderful landscape of the Rhine. This, as it were, confirms everything that has been said about As.
“The view was definitely wonderful. The Rhine lay before us all silver, between the green banks; in one place it burned with the crimson gold of the sunset. "
NN's conversation with Asya and Gagin, which lasted a whole evening, is also accompanied by the romantic landscape of the evening, at first early, then gradually turning into night.
"The day had long gone out, and the evening, at first all fiery, then clear and scarlet, then pale and dim, quietly melted and poured into the night."
“I have not seen a creature more mobile. She did not sit still for a single moment "
Turgenev says that Asya's changeable character is very close to nature.
Descriptions of mountains, valleys, powerful flow of rivers help the author to 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 switches to Asya, and he no longer does not notice 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, a description of nature appears again. The hero swims along the "royal" Rhine, but there is no peace in his soul.
“I suddenly felt a secret concern in my heart… I raised my eyes to the sky - but there was no peace in the sky either…”.
This comparison heralds a sad end to the story.
The role of the landscape in the story is to better understand the power of the characters' feelings, the state of their souls. So that we understand how complex and incomprehensible the feelings of people are, and we must learn to understand them in order to become happy.
Ivan Turgenev's story "Asya" is sometimes called the elegy of unfulfilled, missed, but so close happiness. The plot of the work is simple, because the author is not important about external events, but the spiritual world of the heroes, each of which has its own secret. The landscape helps the author in revealing the depths of the spiritual states of a loving person, which in the story becomes a “landscape of the soul”.
Here we have the first picture of nature, introducing us to the scene, a German town on the banks of the Rhine, given through the perception of the protagonist. About a young man who loves walks, especially at night and in the evening, gazing into the clear sky with a motionless moon pouring serene and exciting light, observing the slightest changes in the world around him, we can say that he is a romantic, with deep, sublime feelings.
This is further confirmed by the fact that he immediately felt sympathy for his new acquaintances, Gagin, although before that he did not like meeting Russians abroad. The emotional closeness of these young people is also revealed with the help of the landscape: the Gagins' dwelling was located in a wonderful place, which was attracted primarily by Asya. The girl immediately attracts the attention of the narrator, her presence, as it were, illuminates everything around.
“You drove into the moon pole, you broke it,” Asya shouted to me. This detail in Turgenev becomes a symbol, because a broken moon pillar can be compared to Ashina's broken life, the girl's broken dreams about a hero, love, flight.
The continuing acquaintance with the Gagins sharpened the senses of the narrator: he is attracted to a girl, he finds her strange, incomprehensible and amazing. The jealous suspicion that Gagins are not brother and sister makes the hero look for peace in nature: “The mood of my thoughts had to match the calm nature of that land. I gave myself all to the quiet game of chance, to accumulated impressions ... "The following is a description of what the young man saw during these three days:" a modest corner of the German land, with unpretentious contentment, with ubiquitous traces of used hands, patient, although unhurried work ... the most important thing here is the remark that the hero "gave himself up to the quiet game of chances." This phrase explains the contemplative nature of the narrator, his habit of mentally not straining himself, but going with the flow, as depicted in Chapter X, where the hero actually floats home in a boat, returning after a conversation that excited him with Asya, who opened her soul to him. It was at this moment that merging with nature in the inner world the hero takes a new turn: what was vague, alarming, suddenly turns into an undoubted and passionate thirst for happiness, which is associated with the personality of Asya. But the hero prefers to mindlessly surrender to the oncoming impressions: "I am not only about the future, I did not think about tomorrow, I felt very good." Everything further is happening rapidly: the excitement of Asya, the realization of the hopelessness of her love for the young aristocrat (“I have grown wings, but nowhere to fly”), a difficult conversation with Gagin, a dramatic meeting of the heroes, which showed the complete “winglessness” of the narrator, a hasty flight of Asya, a sudden departure of brother and sister. During this short time, the hero regains his sight, a reciprocal feeling flares up, but it's too late, when nothing can be fixed.
Having lived for many years as a familyless boar, the narrator keeps as a shrine the girl's notes and a dried geranium flower, which she once threw to him from the window.
Asya's feeling for Mr. NN is deep and irresistible, it is “unexpected and as irresistible as a thunderstorm,” according to Gagin. Detailed descriptions of the mountains, the powerful flow of rivers symbolize the free development of the heroine's feelings.
Only this "insignificant grass" and its light smell remained to the hero from that beautiful, integral world of nature and the world of Asya's soul, merged together into the brightest, important days life of Mr. N. N., who lost his happiness.
Ivan Turgenev's story "Asya" is sometimes called the elegy of unfulfilled, missed, but so close happiness. The plot of the work is simple, because the author is not important about external events, but the spiritual world of the heroes, each of which has its own secret. The landscape helps the author in revealing the depths of the spiritual states of a loving person, which in the story becomes a “landscape of the soul”. Here we have the first picture of nature, introducing us to the scene, a German town on the banks of the Rhine, given through the perception of the protagonist. About a young man who loves walks, especially at night and in the evening, gazing into the clear sky with a motionless moon pouring serene and exciting light, observing the slightest changes in the world around him, we can say that he is a romantic, with deep, sublime feelings. This is further confirmed by the fact that he immediately felt sympathy for his new acquaintances, Gagin, although before that he did not like meeting Russians abroad. The emotional closeness of these young people is also revealed with the help of the landscape: the Gagins' dwelling was located in a wonderful place, which was attracted first of all by Asya. The girl immediately attracts the attention of the narrator, her presence, as it were, illuminates everything around. “You drove into the moon pole, you broke it,” Asya shouted to me. This detail in Turgenev becomes a symbol, because a broken moon pillar can be compared to Ashina's broken life, the girl's broken dreams about a hero, love, flight. The continuing acquaintance with the Gagins sharpened the senses of the narrator: he is attracted to a girl, he finds her strange, incomprehensible and amazing. The jealous suspicion that Gagins are not brother and sister makes the hero look for peace in nature: “The mood of my thoughts had to match the calm nature of that land. I gave myself all to the quiet game of chance, to accumulated impressions ... "The following is a description of what the young man saw during these three days:" a modest corner of the German land, with unpretentious contentment, with ubiquitous traces of used hands, patient, although unhurried work ... the most important thing here is the remark that the hero "gave himself up to the quiet game of chances." This phrase explains the contemplative nature of the narrator, his habit of mentally not straining himself, but going with the flow, as depicted in Chapter X, where the hero actually floats home in a boat, returning after a conversation that excited him with Asya, who opened her soul to him. It was at this moment that a new turn is made in the hero's inner world of merging with nature: what was vague, alarming, suddenly turns into an undoubted and passionate thirst for happiness, which is associated with the personality of Asi. But the hero prefers to mindlessly surrender to the oncoming impressions: "I am not only about the future, I did not think about tomorrow, I felt very good." Everything further is happening rapidly: the excitement of Asya, the realization of the hopelessness of her love for the young aristocrat (“I have grown wings, but nowhere to fly”), a difficult conversation with Gagin, a dramatic meeting of the heroes, which showed the complete “winglessness” of the narrator, a hasty flight of Asya, a sudden departure of brother and sister. During this short time, the hero regains his sight, a reciprocal feeling flares up, but it's too late, when nothing can be fixed. Having lived for many years as a familyless boar, the narrator keeps as a shrine the girl's notes and a dried geranium flower, which she once threw to him from the window. Asya's feeling for Mr. NN is deep and irresistible, it is “unexpected and as irresistible as a thunderstorm,” according to Gagin. Detailed descriptions of the mountains, the powerful flow of rivers symbolize the free development of the heroine's feelings. Only this "insignificant grass" and its light smell remained for the hero from that beautiful, integral world of nature and the world of Asya's soul, merged together on the brightest, most important days of the life of Mr. N. N., who lost his happiness.
It is impossible not to notice what delightful landscapes, including urban ones, Turgenev creates in "Asa". (Their visual reconstruction was unusually good 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 serene beauty of a small German town Z. and its environs looks at us, touching in us, according to Gagin, "all romantic strings" softened by the dominant evening pictures in which soft, warm colors of a dying day prevail and quiet sounds pouring over Rein Waltz.
However, the landscapes of the city 3. and the very description of the city in the story is not an end in itself for the author. With their help, Turgenev creates an atmosphere in which the hero's story unfolds. But most importantly, the city "participates" in the spatial solution of the image of N. N. As a crowd man, he becomes a man of solitude in the city.
What contributes to such a metamorphosis of the hero? To what extent has he changed from the crowd to solitude? These questions will become the main ones at the second stage of comprehending the story. And for answering them, it is extremely important to talk about the city in which N.N.
It is fundamentally important to note the depth of Turgenev's descriptions of the city, reflecting its past and present. In 3. lives the Middle Ages, which reminds of itself with "decrepit walls and towers", "narrow streets", "steep bridge", the ruins of a feudal castle, most importantly, a "high Gothic bell tower" soaring up into the sky, ripping open the blue sky with its needle. And after her majestically, as if in a prayer impulse, the soul aspires to the sky, crowning the spiritual tension of the Gothic landscape.
Depicting him mainly in the evening and at night, Turgenev once again emphasizes the mystery of medieval Gothic. Indeed, how can you weave lace from stone ?! How can you make this lace soar to an unknown height ?! But when moonlight is shed on the city and its surroundings, this mystery comes to life, and everything around seems to be immersed in a magical, serene and at the same time soul-stirring dream under the arches of the lunar city ...
And what a piercingly cutting dissonance bursts into this solemn picture of the present of the lunar city - strolling along its evening streets "pretty blonde German girls", pushing the shadows of the knights and lovely ladies, and the sweet-calling "Gretchen" bursting from a young breast, replacing the evening song of the troubadour.
The city bathed in moonlight is just a breakthrough, fleeing for a moment from the philistine present, which has fully reigned in 3. in which the hero found his solitude.
What is the background of N. N.'s solitude? Peaceful sleepy life of a small provincial town, drowned under slate roofs, entwined with stone fences, smelling of lime trees and disturbed only by the snotty whistle of the night watchman and the grumbling of good-natured dogs. Here, against the background of ancient castle ruins, they sell gingerbread and seltzer water, the city is famous for good wine and zealous inhabitants. Here, even on a holiday, they do not forget about order. Here everything is in abundance and in its place: the shouting and knocking of woodpeckers in the forest, motley trout on the sandy bottom, neat villages around the city, cozy mills, flat roads lined with apple and pear trees ... It is so comfortable here! And it is so comfortable for the soul to sleep! And in this solitude there is no place for a girl with fiery passions.