The purpose of the lesson: give students the opportunity to feel the writer’s skill in describing nature, to see the wealth of expressive means of language.
Tasks:
establish the relationship between man and nature in the story;
determine the role of landscape in the story;
continue to develop skills in analyzing literary texts and expressive reading; develop imagination;
cultivate a reverent attitude towards nature.
Lesson type: lesson on learning new material (analysis of literary text).
Forms of study work: individual, frontal.
Required technical equipment: computer, projector.
1. Organizing time.
Let us also smile at each other so that sparks of goodness will light up in each of us.
2. Introduction to the topic, setting lesson goals.
Teacher: Guys, today we will continue our acquaintance with the work of I. S. Turgenev “Bezhin Meadow”. Please tell me what place in the Central Russian zone is the name of I. S. Turgenev associated with? ( Spasskoye-Lutovinovo).
Teacher: Spasskoye is one of the most attractive places in all of central Russia. It lies among a vast black earth plain, dissected by deep ravines, with hills occasionally covered with deciduous forests. The surrounding area is picturesque and majestic…. The estate itself is especially beautiful. The memory of the family estate, the secret beauty of Spassky is imprinted in the poetic works of Ivan Sergeevich (the teacher reads against the background of nature slides):
Golden clouds are walking
Above the resting earth;
The fields are spacious, silent
They shine, drenched in dew...
The tall forest is silent and dim,
The green, dark forest is silent.
Only sometimes in the deep shadow
The sleepless leaf will rustle.
The star trembles in the lights of the sunset,
Love's beautiful star
And my soul is light and holy,
It’s easy, like in childhood.
Guys, please tell me how what you saw and what you heard compare? (We saw pictures of nature and heard a poem in which the author also describes nature.)
Guess what the topic of our lesson will be. (Nature in the story “Bezhin Meadow”)
What is the name of a picture of nature in a work of art? (Scenery).
The topic of our lesson: “Landscape and its role in I. S. Turgenev’s story “Bezhin Meadow.”
And the epigraph to our lesson today will be the words of I. S. Turgenev himself:
“Nature is one miracle and a whole world of miracles: every person should be the same - that’s what he is... What would nature be without us, what would we be without nature? Both are unthinkable! ... how infinitely sweet - and bitter - and joyful and at the same time hard life is!..”
How do you understand the writer's words?
Based on the words of I. S. Turgenev, set the goals of the lesson. What will we have to figure out today, what will we discover, what will we learn?
(Establish the relationship between man and nature in the story, determine the role of the landscape in the story, learn to read and analyze the text expressively).
3. Studying new material.
(Work with text)
– What landscape appears before the hunter at the very beginning of the story? Find this place in the text, read it expressively to make it easier to imagine the July day. (The story “Bezhin Meadow” begins with a lyrical landscape, imbued with a feeling of the joy of life - a description of a “beautiful July day”).
Give this landscape a name. ("A Beautiful July Day")
What are they, the colors of a July day? (The sky is clear; blush, the sun is not fiery, not dull purple, welcomingly radiant, lilac).
Find in the story what a day in July smells like? ( Wormwood, compressed rye, buckwheat.)
What is the mood of the landscape that opens the story? ( M an enthusiastic message about the coming new day, the joy of meeting nature).
Conclusion: The July day creates a joyful and calm impression. The landscape “Bezhin Meadows” outlines the theme of the story - the theme of the beauty of nature - and creates a bright mood. This first part of the story creates a living image of Russian summer nature.
Landscape development.
- On just such a day, the narrator had a successful hunt and, with a full heavy bag, is getting ready to head back. He climbs the hill, expecting to see a familiar landscape, but he doesn’t. He goes in the direction where, it seemed, he was about to confirm his guess about his whereabouts, but he makes mistakes several times until he finally realizes that he is lost. Let's see how the environment and its perception changes.
(Reading the study passage).
So, the day is replaced by night. How do the colors of the story and its intonation change?
(From a mild July day, the narrator plunges into the unpleasant, motionless underground dampness of the natural interior. The thick tall grass at the bottom of the ravine where the wanderer finds himself turns dead white.)
What sounds do we hear?
How does our hunter feel? (Anxiety, confusion)
Find words and expressions that convey a person's feelings?
(“How did I come here? So far? Strange!” the hunter is perplexed. The feeling of the strangeness of what is happening does not leave the hero. Everything here is no less mysterious than in the boys’ stories: large white stones in the ravine, “seemed... to have crawled there for a secret meeting, and before that it was mute and deaf, the sky hung so flat, so sadly above her that her heart... sank.”
The hero’s internal monologue, rhetorical questions, and vocabulary symbolizing something creepy, dark, ominous, and disturbing, emphasize the hero’s confusion.
Teacher: In the story “Bezhin Meadow” the author’s words are heard: “Darkness fought with light.” How do you understand them?
(The description of nature includes the light part of the day and the dark part - evening and night.)
Compiling the table:
Light partday.
Evening and night.
Bright light, clarity
Gloomy gloom, darkness
Peace and meekness of soul
Anxiety, fear, freezing before the abyss
The light part is the bright light; clarity, peace and meekness of soul. Evening and night are mysterious, increasing anxiety, fear, wandering in unfamiliar terrain and, finally, freezing in front of the abyss; incomprehensible, mysterious and terrible, which can be not only in nature, but also in the human soul.
The question arises: “Who will win the story? Darkness of the night or light of the morning? I will ask you to answer this question at the end of the lesson.
Teacher: Now let's see, b Will there be another description of the night in the story? We try to imagine a quiet, dewy night; A fire is burning nearby, there is a river nearby, and horses are nibbling the grass a little further away. Quiet, cozy. There are several guys at the fire. Guys unknown to you and me. These are peasant children of the century before last. They graze horses and while away the time by telling various tales. They are unusual for us. They are different.
We observe what they see at night, what does the author of the story see?
Read write and title episode describing the dead of night. ( Students are reading the episode.)
- How do we see the landscape here? What sounds do we hear?
(The landscape changes when the author moves on to characterize the boys and their “horrible stories.” Turgenev, on the one hand, admires nature, the beauty of the night, listens with great interest to their mysterious stories, and on the other, as if experiencing incomprehensible phenomena with them nature “The night stood solemnly and regal...” and “... a strange, sharp, painful cry suddenly rang out twice in a row over the river and, after a few moments, was repeated further...”).
Guys, you’ve probably also noticed that during the day you feel different, not like at night? But as?
- Indeed, under the influence of darkness in the story, a mood of mystery and vague anxiety grows, preparing the reader for the main part of the story - the boys’ conversation about brownies and goblins.
Guys, you had homework - to prepare an artistic retelling of a story from the perspective of one of the characters in the story. Try to convey with your voice the mood of mystery that is present in the story.
(Children talk.)
Physical education minute.
Work based on the painting by V. E. Makovsky “In the Night”
Does the picture fully reflect the text of the story?
Which of the boys in “Bezhin Meadows” are reminiscent of the children’s figures depicted by V.E. Makovsky?" (Students recognize Fedya in the boy lying in the foreground. The boy standing in the right corner of the picture is Pavlusha. Ilyusha is enthusiastically telling something, and Kostya is next to him.)
Does the time of day depicted in the painting match the time in the story?
( Landscape I.S. Turgeneva describes an earlier picture of dawn, and in the painting by V.E. Makovsky morning has already fully come into its own. The final landscape shown in the story is more consistent with what is depicted in the picture: “... first scarlet, then red, golden streams of young, hot light poured down.”
To compare the landscape in the picture and in the text, the teacher reads a fragment of the story - a description of the dawn.
Questions to the text:
What is the difference between the depiction of nature in the picture and in the text of the story?
Which image of nature is more complete: verbal or pictorial? (In the painting, the artist showed one moment of the landscape, and the writer in the story presented a picture of a sunrise in motion.)
Look at the plan you made. What can you say about the composition of the story? How do descriptions of nature alternate in the story? How do you answer the question: “P did the light of the morning dine in the story?”
According to V. G. Belinsky, Turgenev “loves nature not as an amateur, but as an artist, and therefore never tries to depict it only in poetic forms, but takes it as it appears to him.” His landscape is mobile: it lives and changes. Turgenev finds himself a subtle observer of the various shades of colors, sounds, smells of the field and forest during the transition from day to night, from night to morning.
Determine what artistic techniques the author uses when describing pictures of nature.
Row assignment:
1st row: Find paths in the description of the sky, sun, clouds, wind.
2nd row: Find trails in the description of the forest and plants.
3rd row: Find trails in the descriptions of animals.
Summing up the lesson. Reflection.
Teacher: Now let’s summarize the lesson and for this we will conduct a small experiment. Imagine that Turgenev removed all pictures of nature from the story. What will happen? What is lost in this? Are descriptions of nature necessary?
(Without pictures of nature, without these landscape sketches, the charm and all the charm of this short but such a beautiful story will disappear. Pictures of nature helped us to better understand the characters of the characters in the story).
What is nature for boys?(For the boys who were met by the hunter at the night fire, nature, on the one hand – their life, even a holiday: “Drive out the herd before the evening and bring in the herd at dawn - a big holiday for peasant boys.” On the other hand, nature for them is full of mysteries, incomprehensible phenomena, which they explain by the action of otherworldly forces in the stories about the brownie in the roller, about Gavril and the mermaid, about Ermil and the lamb, about the bully, about the goblin, about the merman.)
- Did the description of nature help reveal the characters of peasant children?
( Against the backdrop of beautiful nature, village children seem even more attractive, i.e. the inner beauty of peasant children is enhanced. The bravest of the boys, Pavlusha, is not afraid of the dangers that nature is full of: “Without a twig in his hand, at night, he, without hesitation at all, galloped alone towards the wolf.” At the same time, Pavlusha completely trusts fate: “You can’t escape your fate”).
Teacher: Now check yourself to see if you installed it correctly connection between man and his surrounding nature in Turgenev's story?To do this, complete the following task:
Assignment: Choose the appropriate commentary for the pictures of nature:
1. Description of the July day.
Nature lives a separate, beautiful, independent life. The person seems to be looking up at her (description of the sky, sun, clouds), admiring the constantly changing pictures of the sky.
2. The night was approaching and growing like a thundercloud.
Nature frightens the hunter and is hostile to him.
3. The night stood solemnly and regal.
A person feels like a part of nature. Description of nature creates an atmosphere of mystery, shows that something fantastic is bound to happen.
Yes, nature is mysterious, and if you don’t unravel its secrets, it has a terrifying effect on people’s minds . But in this confrontation between man and nature, man gains the upper hand. As V.G. said Belinsky: “Nature is the eternal example of art, and the greatest and noblest subject in nature is man.”
- Guys, pay attention to one more statement by I. S. Turgenev:
“...Nature cannot cope with logic, with our human logic; it has its own, which we do not understand and do not recognize until it runs over us like a wheel.”
What does it mean “until she runs over us like a wheel”? (Perhaps she will punish? After all, people often offend nature, litter in the forest, handle fire carelessly. And she punishes: not only forests, but also houses burn.)
Compare this statement by I. S. Turgenev with the statement that we took as the epigraph to our lesson. What conclusion can you draw for yourself?
- Express your attitude to the lesson:
I was wondering when...
It was difficult for me when...
I like it…
I did not like…
Lesson grades.
Homework.
Write a short essay-reflection on the topic: “Man and Nature.”
The story of Ivan Sergeevich Turgenev “Bezhin Meadow” is one of the most beautiful stories about nature. describes the meadow through the eyes of a hunter - a man in love with his land, with his native nature.
The hunter approached the boys who were grazing the horses. He doesn’t want to disturb them, so he admires the night meadow. As he says, the picture that appeared before his eyes was wonderful: “Near the lights, a round reddish reflection trembled and seemed to freeze, resting against the darkness; the flame, flaring up, occasionally threw quick reflections beyond the line of that circle; a thin tongue of light will lick the bare branches of the vine and disappear at once; Sharp, long shadows, rushing in for a moment, in turn reached the very lights: darkness fought with light. From an illuminated place it is difficult to see what is happening in the darkness, and therefore everything up close seemed to be covered with an almost black curtain; but further towards the horizon, hills and forests were vaguely visible in long spots. The dark, clear sky stood solemnly and immensely high above us with all its mysterious splendor. My chest felt sweetly ashamed, inhaling that special, languid and fresh smell - the smell of a Russian summer night. Almost no noise was heard all around... Only occasionally in a nearby river a large fish would splash with sudden sonority and the coastal reeds would rustle faintly, barely shaken by the oncoming wave... Only the lights crackled quietly.”
This night landscape instills harmony, tranquility, and some kind of quiet joy in the hero and the reader. Turgenev paints this landscape so skillfully for us that we not only see it, but also feel the same as the boys gathered around the fire.
Nature is given a lot of space in the story. Turgenev not only shows us the beauty of Russian nature, but also expresses philosophical thoughts. Looking at the night sky, the hunter thinks about the passage of time, about space and other things: “The moon was not in the sky: it rose late at that time. Countless golden stars seemed to flow quietly, twinkling in competition, in the direction of the Milky Way, and, really, looking at them, you seemed to vaguely feel the rapid, non-stop running of the earth ... "
This philosophical mood does not disappear from the hero even at dawn; on the contrary, he feels the beginning of a new day and a new life. Nature seems to be telling him that everything is changing for the better, that after the darkness the dawn will surely come, that the world around him is beautiful and he should be happy about it.
At the end of the story, Turgenev gives a delightful picture of dawn, which infects with optimism and cheerfulness: “...first scarlet, then red, golden streams of young, hot light poured out... Everything moved, woke up, sang, rustled, spoke. Everywhere large drops of dew began to glow like radiant diamonds; the sounds of a bell came towards me, clean and clear, as if also washed by the morning cool, and suddenly a rested herd rushed past me, driven by familiar boys.”
It was a beautiful July day, one of those days that only happen when the weather has settled for a long time. From early morning the sky is clear; The morning dawn does not burn with fire: it spreads with a gentle blush. The sun - not fiery, not hot, as during a sultry drought, not dull purple, as before a storm, but bright and welcomingly radiant - floats up peacefully under a narrow and long cloud, shines freshly and sinks into its purple fog. The upper, thin edge of the stretched cloud will sparkle with snakes; their shine is like the shine of forged silver.
But then the playing rays poured out again, and the mighty luminary rose merrily and majestic, as if taking off. Around noon there usually appear many round high clouds, golden-gray, with delicate white edges. Like islands scattered along an endlessly overflowing river, flowing around them with deeply transparent branches of even blue, they hardly move from their place; further, towards the horizon, they move, crowd together, the blue between them is no longer visible; but they themselves are as azure as the sky: they are all thoroughly imbued with light and warmth.
The color of the sky, light, pale lilac, does not change throughout the day and is the same all around; It doesn’t get dark anywhere, the thunderstorm doesn’t thicken; unless here and there bluish stripes stretch from top to bottom: then barely noticeable rain is falling. By evening these clouds disappear; the last of them, blackish and vague, like smoke, lie in pink clouds opposite the setting sun; at the place where it set as calmly as it calmly rose into the sky, a scarlet glow stands for a short time over the darkened earth, and, quietly blinking, like a carefully carried candle, the evening star glows on it.
On days like these, the colors are all softened; light, but not bright; everything bears the stamp of some touching meekness. 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...
The moon has finally risen; I didn’t notice it right away: it was so small and narrow. This moonless night seemed to be as magnificent as before... But many stars, which had recently stood high in the sky, were already leaning toward the dark edge of the earth; everything around was completely silent, as everything usually only calms down in the morning: everything was sleeping in a deep, motionless, pre-dawn sleep. There was no longer such a strong smell in the air; dampness seemed to be spreading in it again... The summer nights were short!.. The boys' conversation faded away along with the lights... The dogs even dozed; the horses, as far as I could discern, in the slightly faltering, weakly pouring light of the stars, also lay with their heads bowed... A faint oblivion attacked me; it turned into dormancy.
Matsuo Basho
Hint: In his description of nature, Turgenev creates an atmosphere of mystery, showing that on such a fantastic night something mysterious must inevitably happen. He peers, observes, not only notices, but also reveals the secrets of the familiar world. The author uses a poetic, fairy-tale device: the hunter got lost. I got lost... and unexpectedly discovered a special world of nature, a children's world, a world full of fantastic secrets, beliefs, fairy tales, a sincere and kind world. The pictures of nature in the story reflect the mood of man, man is part of nature. Turgenev’s landscape lives the same life with the characters, as if nature understands people. We can safely say that Turgenev is a master of landscape.
Matsuo Basho is a recognized Master of Japanese poetry. Basho's haiku (three verses) are truly masterpieces. Haiku teaches us to look for hidden beauty in the simple, inconspicuous, everyday. “Basho is considered the First Great Master of Haiku. According to Basho, the process of writing a poem begins with the poet’s penetration into the “inner life,” into the “soul” of an object or phenomenon, followed by the transmission of this “inner state” in the simple and laconic form of a tercet. Basho associated this skill with the principle-state “sabi” (“sadness of loneliness”, or “enlightened loneliness”), which allows one to see “inner beauty” expressed in simple, even meager forms.” (V. Markova)
"Autumn has already arrived!" -
The wind whispered in my ear,
Sneaking up to my pillow.
What freshness it blows
From this melon in drops of dew,
With sticky wet soil!
Evening bindweed
I'm captured...Motionless
I stand in oblivion.
Vasily Shukshin The sun, the old man and the girl The days burned with white fire. The ground was hot, the trees were hot too. Dry grass rustled underfoot. Only in the evenings did it get cooler. And then an ancient old man came out to the bank of the fast-moving Katun River, always sat down in one place - near a snag - and looked at the sun. The sun was setting behind the mountains. In the evening it was huge and red. The old man sat motionless. His hands lay on his knees - brown, dry, and terribly wrinkled. The face is also wrinkled, the eyes are moist and dull. The neck is thin, the head is small, gray. Sharp shoulder blades stick out under a blue calico shirt. One day, while the old man was sitting like this, he heard a voice behind him: “Hello, grandfather!” The old man nodded his head. A girl sat next to him with a flat suitcase in her hands. - Are you resting? The old man nodded his head again.
Said; - Resting. He didn't look at the girl. - Can I write to you? - asked the girl. - Like this? - the old man did not understand. - Draw you. The old man was silent for some time, looking at the sun, blinking his reddish eyelids without eyelashes. “I’m ugly now,” he said. - Why? - The girl was somewhat confused. - No, you are handsome, grandfather. - In addition, he is sick. The girl looked at the old man for a long time. Then she stroked his dry, brown hand with a soft palm and said: “You are very handsome, grandfather.” Is it true. The old man smiled weakly: “Draw, if that’s the case.” The girl opened her suitcase. The old man coughed into his palm: - City, probably? - he asked. - City. - Apparently they pay for this? - When, in general, I do well, they will pay. - We have to try. - I'm trying. They fell silent. The old man kept looking at the sun.
The girl drew, peering at the old man’s face from the side. - Are you from here, grandfather? - Local. - And were born here? - Here, here. - How old are you now? - Godkov? Eighty. - Wow! “A lot,” the old man agreed and smiled weakly again. “What about you?” - Twenty five. There was silence again. - What a sun! - the old man exclaimed quietly. - Which? - the girl didn’t understand. - Big. - Ahh... Yes. It's actually beautiful here. - And look, what kind of water there... Near that shore... - Yes, yes. - Exactly more blood was added. “Yes.” The girl looked at the other shore. “Yes.” The sun touched the peaks of Altai and began to slowly sink into the distant blue world.
And the deeper it went, the more clearly the mountains appeared. They seemed to move closer. And in the valley - between the river and the mountains - the reddish twilight was quietly fading. And a thoughtful soft shadow approached from the mountains. Then the sun completely disappeared behind the sharp ridge of Buburkhan, and immediately a swift fan of bright red rays flew out into the greenish sky. He did not last long - he also quietly faded away. And in the sky in that direction the dawn began to blaze. “The sun has gone,” the old man sighed. The girl put the sheets of paper in a box. For some time we sat just like that, listening to the small rushing waves babbling along the shore. Fog crept into the valley in large wisps. In a small forest nearby, some night bird timidly cried out.
They responded loudly to her from the shore, on the other side. “Okay,” the old man said quietly. And the girl was thinking about how she would soon return to the distant sweet city and bring a lot of drawings. There will be a portrait of this old man too. And her friend, a talented, real artist, will certainly be angry: “Again, wrinkles!.. And for what? Everyone knows that Siberia has a harsh climate and people work there a lot. What's next? What?...” The girl knew that she was not God knows how gifted. But she thinks about what a difficult life this old man lived. Look at his hands... Wrinkles again! “We have to work, work, work...” - Will you come here tomorrow, grandfather? - she asked the old man. “I’ll come,” he responded. The girl got up and went to the village. The old man sat a little longer and also went. He came home, sat down in his corner, near the stove, and sat quietly - waiting for his son to come home from work and sit down to dinner.
The son always came tired, dissatisfied with everything. The daughter-in-law was also always dissatisfied with something. The grandchildren grew up and moved to the city. It was sad in the house without them. We sat down to dinner. They crumbled bread into the milk for the old man, and he slurped it while sitting on the edge of the table. He clinked his spoon carefully on the plate, trying not to make any noise. They were silent. Then they went to bed. The old man climbed onto the stove, and his son and daughter-in-law went into the upper room. They were silent. What should we talk about? All the words had been said long ago. The next evening the old man and the girl were again sitting on the shore, near a snag. The girl hurriedly drew, and the old man looked at the sun and said: “We always lived happily, it’s a sin to complain.” I worked as a carpenter, there was always enough work. And my sons are all carpenters. They beat a lot of them in the war - four. Two left. Well, that’s the only one I live with now, Stepan.
And Vanka lives in the city, in Biysk. Foreman on a new building. Writes; nothing, they live happily. We came here and visited. I have many grandchildren, they love me. In the cities everything is now... The girl was drawing the old man’s hands, she was in a hurry, nervous, and often washed. - Was it difficult to live? - she asked randomly. - Why is it difficult? - the old man was surprised. - I’m telling you: we lived well. - Do you feel sorry for your sons? - What about it? - the old man was surprised again. - Putting four of these is no joke? The girl didn’t understand: either she felt sorry for the old man, or she was more surprised by his strange calm and tranquility. And the sun was setting behind the mountains again.
The dawn was burning quietly again. “There will be bad weather tomorrow,” said the old man. The girl looked at the clear sky: - Why? - It breaks me completely. - And the sky is completely clear. The old man remained silent. - Will you come tomorrow, grandfather? “I don’t know,” the old man did not immediately respond. - It breaks something, - Grandfather, what do you call such a stone? - The girl took out a white stone with a golden tint from her jacket pocket. - Which? - asked the old man, continuing to look at the mountains. The girl handed him the stone. The old man, without turning around, extended his palm. - Such? - he asked, glancing briefly at the pebble and turning it over in his dry, crooked fingers. “It’s a flint.” This was during the war, when there were no seryankas, fire was made from it. The girl was struck by a strange guess: it seemed to her that the old man was blind. She didn’t immediately find what to talk about, she was silent, looking sideways at the old man. And he looked to where the sun had set.
He looked calmly and thoughtfully. “On... a pebble,” he said and handed the stone to the girl. - They are not like that yet. It happens: it’s all white, it’s already translucent, and there are some specks inside. And there are: testicle and testicle - you can’t tell the difference. There are some: they look like a magpie's testicle - with specks on the sides, and there are, like starlings', blue ones, also with a rowan like this. The girl kept looking at the old man. I didn’t dare ask if it was true that he was blind. - Where do you live, grandfather? - And it’s not very far from here. This is Ivan Kolokolnikov’s house,” the old man showed the house on the shore, “then the Bedarevs, then the Volokitins, then the Zinovievs, and then, in a side street, ours.” Come in if you need anything. We had grandchildren, and we had a lot of fun. - Thank you. - I went. Breaks me.
The old man got up and walked along the path up the mountain. The girl looked after him until he turned into an alley. The old man never stumbled, never hesitated. He walked slowly and looked at his feet. “No, not blind,” the girl realized. “Just weak eyesight.” The next day the old man did not come ashore. The girl sat alone, thinking about the old man. There was something in his life, so simple, so ordinary, something difficult, something big, significant. “The sun - it also just rises and just sets,” the girl thought. “Is it really that simple!” And she looked closely at her drawings. She was sad. The old man did not come on the third day or the fourth. The girl went to look for his house. Found it.
In the fence of a large five-walled house under an iron roof, in the corner, under a canopy, a tall man of about fifty was whittling a pine board on a workbench. “Hello,” said the girl. The man straightened up, looked at the girl, ran his thumb over his sweaty forehead, nodded: “Great.” - Please tell me, grandfather lives here... The man looked at the girl carefully and somehow strangely. She fell silent. “He lived,” said the man. - I’m making homework for him.
The girl opened her mouth: - He died, right? - Died. - The man leaned over the board again, shuffled the plane a couple of times, then looked at the girl. - What did you need? - So... I drew him. - Ahh. - The man sharply shuffled his plane. - Tell me, was he blind? - the girl asked after a long silence. - Blind. - And how long? - Ten years already. And what? - So... The girl left the fence. On the street, she leaned against the fence and cried. She felt sorry for her grandfather. And it was a pity that she could not tell about him. But she now felt some deeper meaning and mystery of human life and heroism and, without realizing it, she was becoming much more mature.
Titaev Ivan
The purpose of this work: to determine the artistic originality of Turgenev’s landscape, to determine the role of landscape in I.S. Turgenev’s work “Bezhin Meadow”, to trace the development of the central image - light in the story. Objectives of the work: to study the visual and expressive means of language; determine the role of tropes in creating pictures of nature; identify the function of landscape in the work of I.S. Turgenev “Bezhin Meadow”; comprehend the problem of the relationship between man and nature.
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Municipal budgetary educational institution
Secondary school No. 105
Avtozavodsky district of Nizhny Novgorod
Students' Scientific Society
The artistic originality of the landscape in the story
I.S. Turgenev “Bezhin Meadow”
Completed by: Titaev Ivan,
5th grade student
Scientific adviser:
Matrosova I. A.,
teacher of Russian language and literature
Nizhny Novgorod
2014
Page |
|
Introduction | |
Chapter 1 The concept of “Landscape”. | |
Chapter 2 The artistic originality of Turgenev’s landscape in the story “Bezhin Meadow” | |
2.1 Picture of an early summer morning | |
2.2 Picture of a clear summer day | |
2.3 Picture of the night | |
2.4 Image of light | |
Chapter 3 The meaning of nature in the story “Bezhin Meadow” | |
Bibliography |
Introduction
“Man cannot help but be fascinated by nature; he is connected with it by a thousand inextricable threads; he is her son."
I.S. Turgenev
I. S. Turgenev is an extraordinary master of depicting pictures of Russian nature. With enormous artistic power and depth, the writer reflected all the dim and discreet beauty of his native nature.
“The beautiful is the only immortal thing... The beautiful is scattered everywhere,” Turgenev would write in 1850. The writer extended his reverence for the secret life of nature to his attitude towards the human soul. Nature gives a person purity and tranquility, but it also makes him feel completely helpless and weak before its incomprehensible power and mystery. Nature in his works is a living and comprehensive image, it’s like another hero in the system of characters
Goal of the work:
Determine the artistic originality of Turgenev’s landscape, determine the role of landscape in I.S. Turgenev’s work “Bezhin Meadow”, trace the development of the central image - light in the story.
Tasks:
- Study the figurative and expressive means of language;
- Determine the role of tropes in creating pictures of nature;
- Identify the function of landscape in the work of I.S. Turgenev “Bezhin Meadow”;
- Understand the problem of the relationship between man and nature.
Research methods:
1) text analysis,
2) search method,
Object of study:
Work by I.S. Turgenev "Bezhin Meadow".
Subject of study:
Image of landscape sketches.
To achieve my goals and objectives, I need to study the following literature:
1. .Valagin, A.P.I.S. Turgenev “Notes of a Hunter”: Experience of analyzing reading/ A.P. Valagin//Literature at school. – 1992. - No. 3-4. – pp. 28-36.
2. I.S. Turgenev Bezhin meadow - M.: 2005.
3. Nikolina, N. A. Compositional stylistic originality of the story by I. S. Turgenev “Bezhin Meadow” / N. A. Nikolina // Russian language. At school. – 1983. - No. 4. – pp. 53-59.
4. Kikina, E. A. Man between light and darkness: materials for lessons based on the story by I. S. Turgenev “Bezhin Meadow” / E. A. Kikina // Literature: Supplement to the newspaper “First of September”. – 2005. - No. 21. - P. 3-4.
I. The concept of “Landscape”
Scenery (from French paysage, from pays - country, locality) - a description, a picture of nature, part of the real situation in which the action takes place. The landscape can emphasize or convey the state of mind of the characters; at the same time, the internal state of a person is likened to or contrasted with the life of nature. Depending on the subject, the image of the landscape can be rural, urban, industrial, sea, river, historical (pictures of the ancient past), fantastic (the appearance of the future world), astral (the supposed, conceivable, heavenly), lyrical.
The lyrical landscape is more often found in works of lyrical prose (lyrical story, short story, miniature), characterized by the expressiveness of the sensory-emotional principle and the pathos of the elevation of life. Given through the eyes of a lyrical (often autobiographical) hero: it is an expression of the state of his inner world, primarily sensory-emotional. The lyrical hero experiences a feeling of unity, harmony, harmony with nature, therefore the landscape depicts a peaceful nature, maternally disposed towards man; she is spiritualized, poeticized. A lyrical landscape, as a rule, is created by combining the contemplation of a natural picture (directly at the moment or in memory images) and hidden or explicit meditativeness (emotional reflection, reflection). The latter is associated with the themes of home, love, motherland, and sometimes God, and is permeated with a feeling of world harmony, mystery and the deep meaning of life. There are many tropes in the descriptions and rhythm is expressed. Lyrical landscapes are especially developed in the literature of the 19th-20th centuries (I. Turgenev, M. Prishvin).
II. Main part. The artistic originality of the landscape in the story by I.S. Turgenev "Bezhin Meadow"
1. Picture of an early summer morning.
The story opens with a landscape of a summer morning. The writer turns to the description of the sky, dawn, sun, clouds. The colors used by the author to describe nature amaze with their sophistication and variety: welcoming radiant, lilac, the shine of forged silver, golden-gray, lavender. Nature is royal and benevolent... It gives off a feeling of fragility and harmony. There is no man in the landscape; he has no power to control this power and beauty, but only looks at God’s creation with delight. The writer’s entire description of the morning landscape is based on the image of the high sky. The result is a feeling of some kind of sublimity.
Showing the awakening of an early summer morning, the writer uses an abundance of personification and verbal metaphors, which also includes figurative and visual epithets.
Moreover, the number of emotional epithets exceeds the number of figurative ones.
Central images of the early morning: the morning dawn “does not glow..., spreads”, the sun “peacefully rises, shines and sinks”, a cloud, a cloud - words with diminutive suffixes that indicate the fragility of the picture. The artist’s goal is to show the meekness of the early morning, its fragility. Emotional epithets predominate because the image of nature, the picture of the awakening of nature, is conveyed through the perception of the author-storyteller. The delicate color scheme conveys to us the author’s own idea that the beauty of the world around us is associated with such concepts as silence, peace, meekness.
2. Picture of a clear summer day.
Let us turn to the description of the picture of a clear summer day. In this picture, Turgenev clearly predominates in the figurative epithet in combination with metaphor; let us highlight the epithet together with the noun and verb that it defines.
“...playing rays poured out and cheerfully and majestically...the mighty luminary rose.”
With nouns | With verbs |
"Beautiful July Day"; "the sky is clear"; “the sun is bright, welcomingly radiant”; "mighty luminary" | "rises merrily and majestically" |
Epithets in a picture of a summer day | |
Emotional epithets | Figurative epithets |
“beautiful... day”, “the sky is clear”, “the sun is not fiery, not hot... not dull purple,... but bright and welcomingly radiant...”, “mighty luminary”, “The color of the sky, light, pale lilac...” , "clouds...uncertain." | “lilac...fog”, “...many...clouds appear, golden-gray...”, “... azure...” (about clouds), “bluish stripes”, “pink puffs”, “scarlet radiance”, “the colors are light, but not bright", "white pillars". |
The main artistic means for creating the image of a summer day are epithets that help the reader see a picture of a beautiful, warm, sparkling day, giving a person a feeling of calm and purity. The verb of the perfect form separates the timid quiet morning, which is mainly described with the help of verbs of the imperfect form “does not glow, spills, floats up” from the dynamic day: “Playing rays poured in...” Here is the complete awakening of nature, the light that literally permeates everything around triumphs.
3. Picture of the night.
Turgenev's night landscape is also very emotional. To create it, the author uses personifications, metaphors, vivid expressive and emotional epithets, and comparisons. At night everything seems to come to life.
metaphors | personifications | epithets | comparisons |
Darkness rose from everywhere and even poured from above”; “with every moment approaching, gloomy darkness rose in huge clouds”; “My heart sank” | “At the bottom of it (the hollow) several large white stones stood upright - it seemed that some were crawling there for a secret meeting | “The night bird timidly dived to the side”; “a gloomy darkness rose up”; “my steps echoed dully”; “I desperately rushed forward”; in the ravine “it was mute and deaf, the sky hung so flat, so sadly above it”; “some animal squeaked weakly and pitifully” | “The night was approaching and growing like a thundercloud”; “the bushes seemed to suddenly rise out of the ground right in front of my nose” |
Turgenev uses an emotional, expressive epithet.These artistic means are necessary for the author in order to convey the state of the hero. Through the prism of his feelings we see the night landscape. The emotional epithet “the bird fearfully dived” also conveys the state in which the hero is: a feeling of fear, anxiety and restlessness. “The night was approaching and growing like a thundercloud; It seemed that, together with the evening couples, darkness was rising from everywhere and even pouring from above... approaching every moment, gloomy darkness rose in huge clouds. My steps echoed dully in the frozen air.” As the night grows, so does the hunter’s anxiety. The picture of the approaching night is revealed through the perception of a worried, alarmed man who is finally convinced that he is lost. At first he is overcome by an “unpleasant feeling,” then he feels “somehow creepy,” and finally, fear develops into horror in front of the “terrible abyss.” To a troubled imagination everything appears in a gloomy light. This is the psychological basis of the picture of night in its initial stage.
The alarming night landscape is replaced by highly solemn and calmly majestic pictures of nature, when the author finally went out onto the road, saw peasant children sitting around two fires, and sat down with the children near the cheerfully crackling flames. The calmed artist saw the high starry sky in all its splendor and even felt the special pleasant aroma of the Russian summer night.
“The dark, clear sky, solemn and immense, stood high above us with all its mysterious splendor.My chest felt sweetly ashamed, inhaling that special, languid and fresh smell - the smell of a Russian summer night. Almost no noise was heard around...”
We see, hear and smell Turgenev's night. The author admires the majestic beauty of the Russian summer night, and his heroes are fascinated by it.
4. Image of light.
The central image in the story is the image of light. To understand this, it is enough to trace how many words in the description of morning and day contain the meaning (semantics) of light. The image of light appears gradually, at first we find its meaning in the words “clear, dawn, not blazing, bright,” then the light grows: “the shine is like the shine ... of silver, rays poured out,” and now the “luminary” appears. This is the Sun. But it is no coincidence that the author calls him a luminary. This is no longer just a celestial body, it is already some kind of pagan deity who gives life to everything on Earth. It spreads light to everything around. It's majestic. For a moment it seems that this is unshakable. The color of the sky is the same all day. As evening approaches, the light becomes less. Here clouds appear, the color scheme of the day changes: “blackish and vague” clouds. There are fewer words with the meaning of light: “the setting sun,” “the scarlet glow over the darkened earth,” and, finally, “a carefully carried candle,” “the evening star.”
The metaphor of a “carefully carried candle” very accurately reflects Turgenev’s thought about the fragility of this world.
From this moment on, the light begins to fight the darkness. There is still light: “the sky is vaguely clear,” but the closer the night, the less it becomes, first “darkness poured down,” then “gloomy darkness,” and now “a terrible abyss.” It seemed that it could be worse, the light disappeared completely.
All this struggle in nature also occurs in the soul of the hero. The less light there is, the more he panics. Man and nature are one. Light and darkness are eternal rivals for the soul of man. It seems that the darkness has completely won, but suddenly the hunter sees fire from the fire. It's light again. Throughout all the boys' stories, the motif of the struggle between darkness and light will be present. And finally, at the very end of the story, the final victory of light will occur: “scarlet streams... of hot light flowed... dewdrops began to glow like diamonds everywhere.”
With the help of metaphors and personifications, emotional, expressive epithets, Turgenev conveys to us the idea that in nature everything is harmonious, no matter how hopeless the night world may seem, we must always remember that light will definitely win. In nature, everything is in balance.
III. The meaning of nature in the story “Bezhin Meadow”.
So, in Turgenev’s story “Bezhin Meadow” Russian nature is shown with great expressiveness. Turgenev's landscape is lyrical, it is warmed by a deep feeling of love. Turgenev presents nature in the richness of its colors, sounds and smells; the image of the landscape is full of paths.
Showing the awakening of an early summer morning, the writer uses more personification, verbal metaphors and emotional epithets. This is justified by the artist’s goal - to show the very process of awakening and revitalizing nature.
In the description of pictures of a summer day, epithets in combination with metaphor predominate, which helps to express one’s impression and note the most striking signs of nature, the richness of colors on one of the summer days.
When depicting the night, the character and meaning of the visual means are already different, since the author wants to show not only pictures of nature, but also the growth of nocturnal mystery and a feeling of increasing anxiety, therefore, there is no need to use vivid pictorial epithets. Turgenev uses a whole complex of linguistic means to convey anxious feelings: emotional epithets, comparisons, metaphors and personifications.
Thus, the very selection of visual means in Turgenev, as we have seen, is internally justified and plays a huge role in the description of nature.
Why, for what purpose did Turgenev introduce extensive descriptions of pictures of nature into his story? The life of peasant children, unlike urban ones, is always connected with nature, and in Turgenev’s story nature is shown, first of all, as a condition of life for peasant boys who are early introduced to agricultural work. It would be false, and even impossible, to depict children in the night without showing nature. But it is given not only as a background or condition for the life of peasant children.
Pictures of the approaching night caused the artist a feeling of restlessness and anxiety, and pictures of a summer day – a feeling of joy of life. Thus, pictures of nature evoke certain moods of the author.
The story begins with an image of a “beautiful summer day” and ends with an image of a clear summer morning. The landscape serves as the beginning and ending of the work.
So, the function of landscape in Turgenev is unusually diverse: it serves as the background for the lives of the heroes, determining the structure of the work, forming its beginning and ending; influences the imagination of heroes; highlights the hero’s state of mind, revealing the movement of the soul; has a social function; is permeated with philosophical reflections on the eternal struggle between good and evil.
Thus, nature is shown by Turgenev as a force influencing both the narrator and the boys. Nature lives, changes, it is a character in the story. She interferes in a person's life. When the guys tell their stories, a pike splash is heard, a star rolls; a “lingering, ringing, almost moaning sound” is heard, a white dove appears, which “flew straight into this reflection, timidly turned around in one place, covered in a hot sheen, and disappeared, ringing its wings.” And this is the uniqueness of I.S. Turgenev’s perception of nature.
List of sources used in the literature
1. A.P. Valagin, I.S. Turgenev “Notes of a Hunter”: Experience of analyzing reading / A.P. Valagin // Literature at school. – 1992. - No. 3-4. – pp. 28-36.
2. I.S. Turgenev Bezhin meadow - M.: Education, 2005.
3. N.A. Nikolina, Compositional and stylistic originality of the story
I. S. Turgenev “Bezhin Meadow” / N. A. Nikolina // Rus. language At school. – 1983.
- No. 4. – P. 53-59.
4. E.A. Kikina, Man between light and darkness: materials for lessons based on the story by I. S. Turgenev “Bezhin Meadow” / E. A. Kikina // Literature: Supplement to the newspaper “First of September”. – 2005. - No. 21. – P. 3-4.
5. S.P. Belokurova, Dictionary of literary terms, St. Petersburg: Paritet, 2007.