Works in which nature helps man. man and nature in works of art. Turgenev I. S

List of works

Perhaps there is no work where the description of nature is not assigned a certain role. But when writing an essay on this topic, you should talk about interaction between man and nature . Therefore, it will be necessary to recall works in which this interaction is somehow manifested.

“The Tale of Igor’s Campaign...” (Prince Igor, Yaroslavna - and nature)
V.A. Zhukovsky. Elegy “Sea” (What does the abyss of the sea mean for the lyrical hero?)
A.S. Pushkin. “Winter morning”, “Winter road”, “Demons”, “Cloud”, “On the hills of Georgia...”, “To the sea”, “The daylight has gone out...”, “Autumn”, poems “Prisoner of the Caucasus”, “The Bronze Horseman” ", chapters from the river. "Eugene Onegin"
M.Yu. Lermontov. “Clouds”, “Sail”, “Leaf”, “Three Palms”, “Motherland”, poems “Mtsyri”, “Demon”, “When the yellowing field is agitated”, “I go out alone on the road”, the novel “Hero of Our Time” »
A.N. Ostrovsky. “Thunderstorm” (What does nature mean to Katerina?)
I.A. Goncharov. "Oblomov" ("Oblomov's Dream")
I.S. Turgenev. “Notes of a Hunter”, “Fathers and Sons” (What does nature mean for Bazarov, for N.P. Kirsanov?)
Lyrics about nature by F.I. Tyutcheva, A.A. Feta, A.K. Tolstoy
L.N. Tolstoy. “War and Peace” (What does nature mean to the author’s favorite heroes?)
I.A. Bunin. Lyrics about nature.
A.I. Kuprin. “Olesya” (What does nature mean for the main character?)
A.M. Bitter. “The Old Woman Izergil” (The Legend of Danko)
Lyrics about nature by K.D. Balmonta, A.A. Blok.
Lyrics about the Motherland and nature by S.A. Yesenina, M.I. Tsvetaeva
M.A. Sholokhov. “Quiet Don” (What does nature mean for Grigory Melekhov and other Cossacks?)
M.A. Bulgakov. “The Master and Margarita” (Final chapters, epilogue)
Lyrics about nature by B.L. Pasternak, N.M. Rubtsova, N.A. Zabolotsky.
B.L. Vasiliev. "Don't shoot white swans"
V.G. Rasputin. "Farewell to Matera"
V.P. Astafiev. "Tsar Fish"
A. Saint-Exupery. "A little prince"

IN poetic works you should pay attention to what nature means to the lyrical hero. Do not forget that an analysis of the figurative and expressive means of language will help answer this question.

MAN AND NATURE IN THE WORKS OF WRITERS
XIX - XX CENTURIES

Egorova G.P., Popikova V.V.

In the last decade, ecology has experienced an unprecedented flourishing, becoming an increasingly important science, closely interacting with biology, natural history, and geography. Now the word “ecology” is found in all media. And for decades, the problems of interaction between nature and human society have concerned not only scientists, but also writers.

The unique beauty of our native nature has always encouraged us to take up the pen. How many writers have sung this beauty in poetry and prose!

In their works they not only admire, but also make people think and warn about what an unreasonable consumer attitude towards nature can lead to.

The heritage of literature of the 19th century is great. The works of the classics reflect the characteristic features of the interaction between nature and man inherent in the past era. It is difficult to imagine the poetry of Pushkin, Lermontov, Nekrasov, the novels and stories of Turgenev, Gogol, Tolstoy, Chekhov without describing pictures of Russian nature. The works of these and other authors reveal the diversity of the nature of their native land and help to find in it the beautiful sides of the human soul.

One of the founders of classical Russian prose, Sergei Timofeevich Aksakov, once warned that “wealth in forests leads us into extravagance, and with it we are not far from poverty.” From early childhood, Aksakov fell in love with nature with all his soul. Walks in the forest, hunting and fishing laid deep impressions in him, which later, years and years later, became an inexhaustible source of literary inspiration.

Aksakov's first work was the natural history essay "Buran", which to this day occupies a worthy place in the field of landscape literature.

The later “Notes on Fishing”, written later, were also a huge success. This success prompted Aksakov to continue them with “notes of a rifle hunter of the Orenburg province.” Both of these books had a popularity far beyond the special interest of hunters and fishermen. They went through several editions during the author's lifetime.

Aksakov's literary language is pure, truthful and clear. “I can’t invent anything: I don’t have a soul for anything fictional, I can’t take a living part in it, I even think it’s funny, and I’m sure that the story I’ve invented will be more vulgar than that of our narrators. This is my peculiarity and in my eyes it shows the extreme one-sidedness of my talent..." - Aksakov wrote to his son shortly before his death.

The significance of S.T.’s creativity Aksakov is very large. All his works are dedicated to his great love for nature, careful attention to it, to its fields and meadows, forests and parks, to rivers and lakes. Aksakov’s skill was appreciated by Belinsky, Chernyshevsky, and Dobrolyubov. Tolstoy, Gogol, Turgenev knew and admired him. The latter wrote about Aksakov like this: “... Anyone who loves nature in all its diversity, in all its beauty and power, everyone who cherishes the manifestation of universal life, among which man himself stands as a living link, the highest, but closely connected with other links, will not break away from the works of Mr. Aksakov...".

In the works of Ivan Sergeevich Turgenev himself, nature is the soul of Russia. In the works of this writer, the unity of man and the natural world can be traced, be it an animal, a forest, a river or a steppe. This is well shown in the stories that make up the famous “Notes of a Hunter.”

In the story “Bezhin Meadow,” the lost hunter not only experiences fear along with the dog, but also feels guilty before the tired animal. The Turgenev hunter is very sensitive to manifestations of mutual kinship and communication between man and animal.

The story "Bezhin Meadow" is dedicated to Russian nature. At the beginning of the story, the features of changes in nature during one July day are depicted. Then we see the onset of evening, the sunset. Tired hunters and the dog lose their way and feel lost. The life of nocturnal nature is mysterious, before which man is not omnipotent. But Turgenev’s night is not only eerie and mysterious, it is also beautiful with its “dark and clear sky”, which “solemnly and high” stands above people. Turgenev’s night spiritually liberates a person, disturbs his imagination with the endless mysteries of the universe: “I looked around: the night stood solemnly and regal... Countless golden stars seemed to flow quietly, all twinkling in competition, in the direction of the Milky Way, and, rightly, looking at them, you seemed to vaguely feel the rapid, non-stop running of the earth..."

Night nature suggests beautiful, fantastic stories from legends to children around the fire, offers one riddle after another and itself tells their possible solution. The story about the mermaid is preceded by the rustling of reeds and mysterious splashes on the river, the flight of a falling star (according to peasant beliefs of the human soul). The mermaid’s laughter and crying are responded to in Turgenev’s story by the nature of the night: “Everyone fell silent. Suddenly, somewhere in the distance, a drawn-out, ringing, almost moaning sound was heard... It seemed as if someone had shouted for a long, long time under the very horizon, someone... then the other one seemed to respond to him in the forest with a thin, sharp laugh, and a weak, hissing whistle rushed along the river.”

Explaining the mysterious phenomena of nature, peasant children cannot get rid of the impressions of the world around them. From mythical creatures, mermaids, brownies, at the beginning of the story, the children’s imagination switches to the fate of people, to the drowned boy Vasya, the unfortunate Akulina, etc.... Nature disturbs human thought with its riddles, makes one feel the relativity of any discoveries, solutions to its secrets. She humbles a person’s strength, demanding recognition of her superiority.

This is how Turgenev’s philosophy of nature is formed in “Notes of a Hunter.” Following short-term fears, the summer night brings people peaceful sleep and peace. Omnipotent in relation to man, night itself is only a moment. “A fresh stream ran across my face. I opened my eyes: the morning was beginning...”

Readers of the poetry of Nikolai Alekseevich Nekrasov constantly see pictures of Russian nature, which can be called landscapes.

Glorious autumn! Healthy, vigorous

The air invigorates tired forces;

Ice, fragile on the cold river,

It lies like melting sugar;
Near the forest, like in a soft bed,

You can get a good night's sleep - peace and space! -

The leaves have not yet had time to fade,

Yellow and fresh, they lie like a carpet!

Glorious autumn! Frosty nights

Clear, quiet days...

There is no ugliness in nature! And the nights

And moss swamps and stumps -

Everything is fine under the moonlight,

Everywhere I recognize my native Rus'...

I fly quickly on cast iron rails,

I think my thoughts...

In Nekrasov’s poem “The Railway,” everything in nature is poeticized: stumps, moss hummocks, and ice, like melting sugar. The poems convey an almost physical feeling of communion with nature - “... near the forest, as in a soft bed, you can sleep well...”

The relationship between man and nature is conveyed in the poem "Sasha". The heroine, after whom the poem is named, cried when the forest was cut down. The entire complex life of the forest was disrupted: animals, birds, insects - everyone lost their home. The “sad pictures” drawn by the poet cannot leave the reader indifferent.

From a chopped old birch tree

Farewell tears flowed in hail.

And they disappeared one after another

A tribute to the latter on native soil.

When the felling was completed:

The corpses of the trees lay motionless;

The branches broke, creaked, crackled,

The leaves rustled pitifully all around...

There was no mercy for the forest fauna:

The cuckoo crowed loudly in the distance,

Yes, the jackdaw screamed like crazy,
Flying noisily over the forest... but she

You can't find foolish children!

The jackdaws fell from the tree in a lump,

Yellow mouths opened wide,

Jumping, they got angry. I'm tired of their screaming -

And the man crushed them with his foot.

Nekrasov, a critic, discovered Tyutchev for the reader. "Tyutchev belongs to the few brilliant phenomena in the field of Russian poetry." Nekrasov was the first in Russian criticism to speak of Tyutchev as a great poet.

Tyutchev's lyrics reflected the philosophical thought of his era, the thought about the existence of nature and the universe, about the connections of human existence with universal life.

The paintings of nature embody the poet’s thoughts about life and death, about humanity and the universe.

Tyutchev’s nature is diverse, multifaceted, full of sounds, colors, and smells. Tyutchev’s lyrics are imbued with admiration for the greatness and beauty of nature:

I love the storm in early May,

When spring, the first thunder,

As if frolicking and playing,

Rumbling in the blue sky.

Young peals thunder,

Here the rain began to splash. dust flies

Rain pearls hung.

And the sun gilds the threads.

Tyutchev is especially attracted to the transitional moments of natural life. It depicts an autumn day, reminiscent of the recent summer:

There is in the initial autumn

A short but wonderful time -

The whole day stands, as if crystal,

And the evenings are radiant...

Where the cheerful sickle walked and the ear fell,

Now everything is empty - space is everywhere -

Only a web of thin hair

Glistens on an idle beard.

The air is empty, the birds are no longer heard,

But the first winter storms are still far away -

And pure and warm azure flows

To the resting field...

In another poem, Tyutchev depicts the first awakening of nature, from winter to spring:

Still winter looks sad,

And the air already breathes in spring,

And the dead stalk sways in the field,

And the oil tree moves its branches...

Nature in Tyutchev’s poems is humanized, internally close and understandable to man:

Not what you think, nature:

Not a cast, not a soulless face -

She has a soul, she has freedom,

It has love, it has language...

In an effort to show the visible and invisible connections between man and nature, Fet creates cycles of poems: “Spring”, “Summer”, “Autumn”, “Snow”, etc. The romantic hero Fet gains the ability to see the beautiful soul of nature. The happiest moment for him is a feeling of complete spiritual fusion with nature:

Night flowers sleep all day long,

But as soon as the sun sets behind the grove,

The leaves are quietly opening,

And I hear my heart bloom.

Writers of the twentieth century continued the best traditions of their predecessors. In their works they show what a person’s relationship to nature should be in the turbulent age of the scientific and technological revolution. Humanity's needs for natural resources are increasing, and the issues of caring for nature are especially acute, because... An environmentally illiterate person, combined with heavy-duty technology, causes faulty damage to the environment.

Every Russian person is familiar with the name of the poet Sergei Aleksandrovich Yesenin. All his life Yesenin worshiped the nature of his native land. “My lyrics are alive with one great love, love for my homeland. The feeling of homeland is the main thing in my work,” said Yesenin. All people, animals and plants in Yesenin are children of one mother - nature. Man is part of nature, but nature is also endowed with human traits. An example is the poem "Green Hair...". In it, a person is likened to a birch tree, and she is like a person. It is so interpenetrating that the reader will never know who this poem is about - about a tree or about a girl. The same blurring of boundaries between nature and man in the poem “Songs, songs, what are you shouting about?...”:

Nice willow tree along the road

To guard the dozing Rus'...

And in the poem "The golden foliage began to spin...":

It would be nice, like willow branches,

To capsize into the pink waters..."

But in Yesenin’s poetry there are also works that speak of disharmony between man and nature. An example of a person's destruction of the happiness of another living being is “The Song of the Dog.” This is one of Yesenin’s most tragic poems. Human cruelty in an everyday situation (a dog’s puppies were drowned) violates the harmony of the world. The same theme is heard in another Yesenin poem - “Cow”.

Another famous Russian writer Ivan Alekseevich Bunin entered literature as a poet. He wrote about the harmony of nature. His works convey a genuine admiration for nature. The poet wants to reunite with her. At the age of 16 he writes:

Open your arms to me, nature,

Bunin's best poetic work, the poem "Falling Leaves," occupies an honorable place in the world's landscape poetry.

But Bunin achieved wide fame thanks to his prose. The story "Antonov Apples" is a hymn to nature, filled with uncontrollable joy.

In the story "Epitaph" Bunin writes with bitterness about a deserted village. The surrounding steppe ceased to live, all nature froze.

In the story “The New Road,” two forces collided: nature and a train rumbling along the rails. Nature retreats before the invention of mankind: “Go, go, we make way for you,” say the eternal trees. - “But will you again do nothing but add the poverty of nature to the poverty of people?” Anxious thoughts about what the conquest of nature could lead torment Bunin, and he utters them on behalf of nature. Silent trees found the opportunity to speak to humanity on the pages of the works of I.A. Bunin.

In the story "Sukhodol" Bunin spoke about the process of the formation of ravines. From descriptions of paintings from the 18th century, when there were dense forests around the Kamenka River, the writer moves on to what was observed after deforestation: “rocky ravines appeared behind the huts with white pebbles and rubble along their bottoms,” the Kamenka River dried up long ago, and “the Sukhodolsk men they dug ponds in the rocky bed." This story provides a wonderful example of how everything is connected in the natural world. As soon as the soil was deprived of the protective layer of forests, conditions were created for the emergence of ravines, which are much more difficult to deal with than cutting down the forest...

The work of contemporary I.A. Bunin Mikhail Mikhailovich Prishvin from beginning to end is full of deep love for his native nature. Prishvin was one of the first to talk about the need to maintain the balance of power in nature, about what a wasteful attitude to natural resources can lead to.

It’s not for nothing that Mikhail Prishvin is called the “singer of nature.” This master of artistic expression was a subtle connoisseur of nature, perfectly understood and highly appreciated its beauty and riches. In his works, he teaches to love and understand nature, to be responsible to it for its use, and not always wisely. The problem of the relationship between man and nature is illuminated from different angles.

Even in his first work, “In the Land of Unfrightened Birds,” Prishvin is alarmed by man’s attitude to forests: “...You only hear the word “forest,” but with an adjective: sawn, drill, fire, wood, etc.” But that's half the problem. The best trees are cut down, only equal parts of the trunk are used, and the rest "... is thrown into the forest and rots. The entire dry-leaved or fallen forest also rots and goes to waste..."

The same problem is discussed in the book of essays “Northern Forest” and in “Ship Thicket”. Thoughtless deforestation along river banks leads to disturbances in the entire large organism of the river: the banks are eroded, plants that serve as food for fish disappear.

In “Forest Drop” Prishvin writes about the bird cherry tree, which during flowering is so foolishly broken by city dwellers, carrying away armfuls of white fragrant flowers. Bird cherry branches will last a day or two in houses and will go into trash cans, but the bird cherry tree will die and will no longer please future generations with its flowering.

And sometimes, in a seemingly completely harmless way, an ignorant hunter can cause a tree to die. This example is given by Prishvin: “Here a hunter, wanting to rouse a squirrel, knocks on the trunk with an ax and, having taken out the animal, leaves. And the mighty spruce is destroyed by these blows, and rot begins along the heart.”

Many of Prishvin's books are devoted to the animal world. This is also a collection of essays “Dear Animals”, telling about predators, fur-bearing animals, birds and fish. The writer wants to tell the reader in detail about living nature in order to show the close connection of all the links that make it up, and to warn that the disappearance of at least one of these links will result in irreversible undesirable changes in the entire biosphere.

In the story "Ginshen" the writer talks about a hunter's meeting with a rare animal - a spotted deer. This meeting gave rise to a struggle between two opposing feelings in the hunter’s soul. “I, as a hunter, was well known to myself, but I never thought, did not know... that beauty, or whatever else, could bind me, a hunter, like a deer, hand and foot. Two people fought in me One said: “If you miss a moment, it will never come back to you, and you will forever yearn for it. Quickly grab it, hold it, and you will have the female of the most beautiful animal in the world." Another voice said: "Sit still! A beautiful moment can be preserved only without touching it with your hands." The beauty of the animal prompted the hunter in man...

In the story "Undressed Spring" Prishvin talks about people saving animals during the spring flood. And then he gives an amazing example of mutual assistance among animals: hunting ducks became islands of land for insects that found themselves in the water due to a stormy flood. Prishvin has many such examples of animals helping each other. Through them, he teaches the reader to be attentive and notice the complex relationships in the natural world. Understanding of nature, a sense of beauty is inextricably linked with the correct approach of humanity to the use of the generous gifts of nature.

Throughout his literary career M.M. Prishvin promoted the idea of preserving flora and fauna. In any work of the writer there is a deep love for nature: “I write - it means I love,” said Prishvin.

One of the successors of Prishvin’s traditions in literature was Konstantin Georgievich Paustovsky.

Paustovsky’s story “Telegram” begins like this: “October was unusually cold and insatiable. The plank roofs turned black.

The tangled grass in the garden has fallen. and everything kept blooming and could not bloom and fall off, only a small sunflower by the fence.

Above the meadows, loose clouds were dragging from behind the river, clinging to the flying willows. Rain poured down from them annoyingly. It was no longer possible to walk or drive along the roads, and the shepherds stopped driving their flocks into the meadows.”

The sunflower in this episode symbolizes the loneliness of Katerina Petrovna. All her peers died, but she, like a little sunflower by the fence, outlived everyone. With the last of her strength, Katerina Petrovna writes a letter to her beloved daughter: “My beloved! I won’t survive this winter. Come even for a day... It’s so hard; my whole life, it seems, has not been as long as this one autumn.” There is a parallel running through the entire story - man and native nature, Katerina Petrovna “stopped at an old tree, took hold of a cold wet branch with her hand and recognized: it was a maple. She planted it a long time ago... and now it has become flying, chilled, and has nowhere to go.” was to get away from this impartial windy night." Another story by Paustovsky, “Rainy Dawn,” is filled with pride, admiration for the beauty of his native land, attention to people who are in love with this beauty, who subtly and strongly feel its charm.

Paustovsky knew nature very well, his landscapes are always deeply lyrical. The peculiarity of the writer is his manner of not saying anything, not drawing enough, he leaves the reader to complete this or that picture in his imagination.

Paustovsky had an excellent command of words, being a true connoisseur of the Russian language. He considered nature to be one of the sources of this knowledge: “I am sure that in order to fully master the Russian language, in order not to lose the feeling of this language, you need not only constant communication with ordinary Russian people, but also communication with pastures and forests, waters, old willows, with the whistling of birds and with every flower that nods from under the hazel bush."

Here is the story retold by Paustovsky from the words of a familiar forester: “Yes, this very spring. I noticed this word a long time ago. mother - the land, across the whole homeland, feeds the people. You look how smoothly it comes out - spring, homeland, people. And all these words are like relatives among themselves..."

“These simple words,” states Paustovsky, “revealed to me the deepest roots of our language. The entire centuries-old experience of the people, the entire poetic side of their character was contained in these words.”

Paustovsky talks about the hidden beauty of nature to people who have not yet understood that “our native land is the most magnificent thing that has been given to us for life. We must cultivate it, cherish it and protect it with all the strength of our being.”

Now, when the problem of nature conservation is in the center of attention of all mankind, Paustovsky’s thoughts and images have special value and significance.

It is impossible not to note the work of Boris Vasiliev “Don’t Shoot White Swans”, in which every page, every line is imbued with great love for our native nature.

The main character Egor Polushkin, a forester, found his calling by becoming a guardian of nature. Being a simple, unpretentious person, he shows all the beauty and richness of his soul in his work. Love for his work helps Polushkin to open up, take initiative, and show his individuality. For example, Egor and his son Kolya wrote the rules of conduct for tourists in verse:

Stop, tourist, you have entered the forest,

Don't joke with fire in the forest,

The forest is our home

If there is trouble in him,

Where will we live then?

How much this man could have done for his land if not for his tragic death. Yegor defends nature until his last breath in an unequal battle with poachers.
Shortly before his death, Polushkin says wonderful words: “Nature, it endures everything as long as it endures. She dies silently before her flight. And no man is the king of her, nature... He is her son, her eldest son. So be reasonable, do not drive into mummy's coffin."

We have not talked about all the works that touch on the issue of the relationship between man and nature. For writers, nature is not just a habitat, it is a source of kindness and beauty. In their ideas, nature is associated with true humanity (which is inseparable from the consciousness of its connection with nature). It is impossible to stop scientific and technological progress, but it is very important to think about the values of humanity.

All writers, as convinced connoisseurs of true beauty, prove that human influence on nature should not be destructive for it, because every meeting with nature is a meeting with beauty, a touch of mystery. Loving nature means not only enjoying it, but also treating it with care.

The unity of human life and nature in the works of Bunin

They themselves constitute the main thing in Bunin’s works: all the details of the story, the seeming unrelatedness of its episodes and pictures are designed to create in the reader one feeling - the unity of human life and nature. In “The Life of Arsenyev,” a book for which Bunin received the Nobel Prize in 1933, the hero is indignant upon hearing the opinion that there are too many descriptions of nature in Fet’s works: “I was indignant: the descriptions began to prove that there is no nature separate from us that every slightest movement of air is the movement of our own life! This worldview generally forms the basis of Bunin’s work. That is why everything living, earthly, fragmented into separate smells, sounds, colors, constitutes an independent subject of image for him. Here are the feelings of the serf Natalya, who returns to the farm after a two-year exile: “In everything, in everything - and especially in the smell of flowers - a part of her own soul, her childhood, adolescence, first love was felt” (“Sukhodol”).

The light breath of Olya Meshcherskaya after her death “dissipated in the world, in this cloudy sky, in this cold spring wind” (“Light Breath”). In emigration, the memory of the sounds, colors, and smells of his native land fueled all his creativity. The feeling of fullness of life for the hero of the story “Mitya’s Love” will grow from familiar smells, as in “Antonov Apples”: “... these fragrant smoke huts, warm, sweet, fragrant rain... night, spring, the smell of rain, the smell of plowed, soil ready for fertilization, the smell of horse sweat and the memory of the smell of a kid glove..."

Summing up the results of his life, Bunin will remember “that marvelous blue of the sky, turning into purple, which appears on a hot day against the sun in the tops of the trees, as if bathed in this blue...” - and will say: “This purple blue, shining through branches and foliage, even when I die I will remember...” (“The Life of Arsenyev”). Bunin's attention to the details of life - colors, smells, sounds - is thus deeply meaningful. And they testify in the “Antonov Blocks” not only to the unity of human life and nature. The idea of the story does not end with this thought. The idea is revealed more fully if you understand the genre of Antonov Apples. The story unfolds as a series of memories. “I remember”, “it happened”, “in my memory”, “as I see now” - these phrases are constantly found in the text, recalling the passage of time and the memoir nature of the narrative. The abundance of repetitions, the associative principle of the narration, the clearly defined role of the author experiencing what is being narrated, the emotional syntax - all this suggests that “Antonov Apples” is lyrical prose, the prose of a poet.

The kinship with lyric poetry can be seen primarily in the way the theme is developed. In the four chapters that make up “Antonov Apples,” episodes and pictures of village life are constantly changing; their change is accompanied by a mention of changes in nature - from Indian summer to the first snow and the onset of winter. And the gradual extinction of nature corresponds to the description of the extinction of local life. “I remember an early fine autumn,” - this is how the story begins. And the first chapter, which tells about the rich fruit-bearing garden in the estate, freshness, ends with an energetic exclamation: “How cold, dewy and how good it is to live in the world!” The second chapter tells about the “strong” life in the estate of Aunt Anna Gerasimovna, and nothing seems to foreshadow changes in it, including the ending of the chapter: “The windows to the garden are raised, and cheerful autumn coolness blows from there.” But gradually the intonation of cheerfulness and freshness gives way to the intonation of sadness. As a reminder of the alarming future, the phrase sounds at the beginning of the third chapter: “In recent years, one thing has supported the fading spirit of the landowners - hunting.” Hunting in this chapter is described as it was before, on a grand scale, but with insignificant details the hero of the story makes it clear that in fact this custom is also fading away and degenerating. And it is no coincidence that the frenzied troika rushes off somewhere into the distance, and the narrator is left alone - in the silence of the forest, and then in the silence of the estate library.

“Mockingly sad” the cuckoo crows in the office clock, “sweet and strange melancholy” arises when reading grandfather’s books, “sad and tender eyes” look from the portraits of beauties who once lived in noble estates - with such intonation Bunin approaches I'll tell you a story about that. And in a parallel plot, in descriptions of nature, there is deep autumn, leaves blackened by frost “in a birch alley, already half cut down.” There are also cheerful exclamations in this chapter: “The small-scale life is good too!..”, but they are rare in the elegiac tone of the final chapter.

ABOUT NATURE

Nature never makes noise. It teaches a person greatness in silence. The sun is silent. The starry sky silently unfolds before us. We hear little and rarely from the “core of the earth.” The royal mountains rest graciously and blissfully. Even the sea is capable of “deep silence.” The greatest thing in nature, that which determines and decides our destiny as such, happens silently...

And the man is making noise. He makes noise early and late, intentionally and unintentionally, while working and playing. And this noise has no correlation with the result achieved thanks to it. One would like to say that noise constitutes a person’s “privilege” in the world, because everything that nature gives to our hearing is a mysterious and meaningful sound, and not an annoying and empty noise. Amazed and captivated, we stand when thunder, a volcano or a hurricane raises its voice, and we listen to this voice, which intends to say something majestic. We hear the roar of the Rhine Falls or the sea, the collapse of a mountain avalanche, the whisper of a forest, the murmur of a stream, the singing of a nightingale not as noise, but as the speech or song of related but mysterious forces. The roar of trams, the crackle and hiss of factories, the roar of motorcycles, the squeal of braking cars, the crack of a whip, the beating of a scythe, the sharp sounds of garbage trucks and, oh, so often... the roar of a radio is noise, an annoying noise, so negligible in a spiritual sense. Noise is present everywhere where sound means little or nothing at all, where rumbling, whistling, buzzing, humming, roaring, penetrating into a person, give him little. Noise is impudent and disappointing, arrogant and empty, self-confident and superficial, merciless and deceitful. You can get used to noise, but you can never enjoy it. He doesn't have anything spiritual in him. He "speaks" without having anything to say. Therefore, every bad art, every stupid speech, every empty book is noise.
In this case, the noise arises from the spiritual “nothing” and dissolves in the spiritual “nothing”. It lures a person out of his spiritual refuge, out of his concentration, irritates him, binds him, so that he no longer lives a spiritual, but exclusively external life. In the language of modern psychology, he instills in a person an “extroverted attitude” without compensating him for this. Something like this: “Greetings, man!.. Listen to this! However, I have nothing to tell you!..”
And again... And again... The poor man is attacked and cannot even repel the attacker: “If you have nothing to say, leave me alone.” And the more a person is overwhelmed by noise, the more accustomed his soul is to paying attention to the purely external. Noise makes the outside world meaningful. It stuns a person and consumes him. The noise, so to speak, “blinds” perception, and the person becomes spiritually “deaf.”
The noise covers everything: in the external – the singing of the world, the revelation of nature, inspiration from cosmic silence. In the inner – the emergence of a word, the birth of a melody, relaxation of the soul, peace of mind. Because truly, where there is no silence, there is no peace. Where the insignificant is noisy, there the Eternal is silent.
Robka is also a muse. How easy it is to frighten her away with noise!.. Her essence is tender, her voice is gentle. And noise is a cheeky guy. This brute knows nothing about the mysterious primordial melody that rises from the well of the soul, sometimes asking, sometimes calling, sometimes sighing. He displaces this melody from earthly life and earthly music...
From this disaster I know no consolation. There is only one thing: to overcome the noise...
(According to I. Ilyin).

Essay based on Ilyin’s text:

In the text proposed for analysis, there is only one, but the universal pain of the brilliant (this is exactly the epithet that time carved for him) philosopher I.A. Ilyin. This means there is one (eternal!) problem - the distinction between the spiritual and the non-spiritual. This is an introduction (passionate!) to the universal endless striving for truth, goodness and beauty, that is, to “overcome the noise.”
What does the author do to influence our brain, consciousness, soul? I would call his appeal to his contemporaries (and to his descendants!) not just a reflection, but a real cry from the soul, shocked by the twisted man of the world.
It is from here that he portrays noise (roar, crackling, roaring, squealing, whistling, buzzing, buzzing) as the roar of metallic rock, turning off consciousness, disfiguring the psyche, devastating the soul. And this, the author convinces, is not a property of an individual person, it is a sign of universal lack of spirituality (even signs of the apocalypse). This is where modern people have such a great craving for entertainment, and, I would even say, for distractions (“noise drowns out everything”).
Each paragraph of the text is not even a logical chain of reasoning, it is a whole philosophy that gives insight to the soul, fills human life with a special meaning.
So what is the philosopher (I would even say “prophet”) so passionately leading us to? This phrase: “Noise arises from spiritual “nothing” and dissolves in spiritual “nothing”” is an axiom, a spiritual attitude. And suddenly: “I know no consolation from this disaster.” And yet the path is “There is only one (consolation): to overcome the noise.” This is both an attitude and a “light at the end of the tunnel” and encouraging advice.
God, what thoughts the author inspired, how he made me think about so many things and, perhaps, made me look at the world around me with completely different eyes and evaluate my place in it. As I understand it, “noise” is not only a sign of our time (although this was written by I.A. Ilyin in the first half of the 20th century), this is an image, this is a symbolic warning. So the TV is “bursting” with wild laughter (“noise”), a teenager is humming and roaring in ecstasy from the all-consuming rock. Nature does not tolerate emptiness - it is filled with facelessness (“every bad art, every stupid speech, every empty book is noise”). Walk along the book aisles, “cellophaneous” modern literature fills everything (Dontsova, Shilova, Khrustaleva... ad infinitum...) Everything is on the topic of the day - and will go away with it, “with malice”, for (I’m sure!) the light will not dim while you’re alive Human.
Go to the lofty, which elevates and ennobles the soul, to real art, which will strengthen your faith in goodness, truth and beauty. Go to A.S. Pushkin - and exit the eclipse labyrinth. Read - and you will see the light, you will be able to distinguish the false from the true. Delve into the meaning of his revelations, the images he created of Russian tragedy, where a formidable element (“blizzard”) acts as an enveloping, confusing everything. There are countless iconic works here, enlightening the soul, leading to the bright path to the Temple.
2014 -> Sabak Sabaktyn takyryby: 0-day 10-day sundar. Tolyk ondyktar (salystyru, sandardy kosu zhane azaytu). 10 kolemindegi sandardyn kuramy

“Happiness is being with nature, seeing it, talking with it,” wrote L.N. more than a hundred years ago. Tolstoy. Do people have happiness today? There are fewer and fewer clean rivers and lakes, wild forests, and unplowed steppes. In large cities, people can no longer breathe.

Who is to blame for the disappearance of the unity of man with nature? Why did the confrontation occur? Those who are concerned about the future of humanity and the Earth are looking for answers to these questions. Among the defenders of life on the planet are Russian writers. For decades, their opinions have been listened to, their books have been discussed, and ecologists and politicians look up to them. The works of V. Astafiev, V. Rasputin, Ch. Aitmatov reveal pressing problems of the relationship between man and nature. But if in the works of V. Astafiev and V. Rasputin nature dies, although it is not always conquered, then in Aitmatov it begins to take revenge on man for all his suffering.

From the first lines of the novel “The Scaffold,” the reader feels the alarming motives of the end of the world, the death of nature before the crushing activity of man. “Cars, helicopters, rapid-fire rifles - and life in the Moyunkum savannah was turned upside down...” The reason for the desecration of nature is the most prosaic: the region does not fulfill the meat delivery plan. As a result, it was decided to implement it using natural resources. Saiga antelopes are brutally exterminated in protected areas.

The reader wants to find answers to many questions. The main one is whether the actions of man and nature are compatible? And it turns out that most often they are incompatible. What could be more tragic than such an answer, because man himself is a child of nature.

In the novel “The Scaffold,” nature is personified by a family of wolves. Wolves are free, powerful animals. The image of the she-wolf Akbara with transparent blue divine eyes is striking. This is exactly how beautiful, according to Aitmatov, nature should be in us. As long as Akbara’s connections with the human world are not broken, she can feel sorry for a naked, defenseless person. But then man interferes in the fragile harmony of nature: he arranges a massacre. During the hunt for saigas, he kills, burns, and kidnaps wolf cubs. Having lost three broods,

wolves begin to take revenge on man. One day, near human habitation, Akbar meets a child: “She looked meekly at the baby, wagging her tail in a friendly manner.” This phrase makes your soul feel warm. For Akbara, like for any mother, children are the meaning of life. But the she-wolf carries away the child, and a tragic shot sounds, which crosses out both lives.

The tragedy of the Boston family is equal to the tragedy of the wolf family. Describing the death of the wolf cub Big Head during the execution and the death of Boston's son, the writer turns to one image: the world is losing sounds. And Boston’s wife, mourning her son, “...fell down at the head of the bed and howled as she howled at Akbar’s nights.”

The writer breathed a piece of his soul into every line of the novel. His civic position suggests that he cannot remain indifferent, foreseeing the disasters and suffering of humanity engaged in self-destruction. Having depicted the global confrontation between man and nature, Aitmatov calls for conscience, goodness and responsibility in everyone. “The scaffold” sounds like a tragic warning: if a person destroys nature, then he will also pass a death sentence on himself.

The problem of “man and nature” is a moral one. Because man’s attitude to nature can be considered a criterion of humanity. It grows into the problem of conscience as one of the qualities that distinguishes a person from everything else in the world.

The problem of “man and nature” and social. Because it is very important who will be the owner on Earth, into whose hands the natural resources will fall. Will these hands belong to thrifty, hardworking and diligent people? And will the native land bloom thanks to them?

By revealing these aspects of the problem, literature helps to defend not only the best in life, but also life itself, and provides recipes for harmonious relations between man and nature.

I want to finish the essay with the words of the Ural writer Nikolai Nikonov, because I have nothing to add to his words:

“Forest and city. City and forest. The triumph of man and the triumph of nature. Who knows how long they will be considered unequal and almost enemies since then, when the shaggy creature born of the forest raised its paw at him with

with a chopping stone and the first tree fell with a groan at his feet. Who knows how long humanity’s attack on what has been its home, food, shelter, clothing, storage, warmth, and breathing and living since centuries will last...”

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Ministry of the Russian Federation for Press, Television and Radio Broadcasting and Media

mass media of a government agency

secondary vocational education

SGKKBIiT

Nature and man in fiction of the 20th century

Completed by a student

groups 1.3

Belichenko Tatyana

Checked by the teacher:

Malova Galina Alekseevna

Saratov, 2007

Introduction

“Happiness is being with nature, seeing it, talking with it,” Lev Nikolaevich Tolstoy wrote more than a hundred years ago. But the nature in Tolstoy’s time and even much later, when our grandparents were children, surrounded people completely different from the one among which we live now. The rivers then calmly carried their clear water into the seas and oceans, the forests were so dense that fairy tales were entangled in their branches, and in the blue sky nothing except bird songs disturbed the silence. And just recently we realized that all these clean rivers and lakes, wild forests, unplowed steppes, animals and birds are becoming less and less. The crazy 20th century brought humanity, along with a stream of discoveries, many problems. Among them, environmental protection is very, very important.

It was sometimes difficult for individual people, busy with their work, to notice how poor nature was, how difficult it was once to guess that the Earth was round. But those who are constantly connected with nature, people who observe and study it, scientists, writers, nature reserve workers, and many others have discovered that the nature of our planet is quickly becoming scarce. And they began to talk, write, make films about it, so that all people on Earth would think and worry. A wide variety of books, on any topic, for a large circle of readers can now be found on the bookshelves of the store. But almost every person is interested in books on a moral topic, which contain answers to the eternal questions of mankind, which can push a person to resolve them and give him accurate and comprehensive answers to these questions.

Man and nature in Yesenin

The great Russian poet Sergei Yesenin is “the singer of the country of birch chintz”, “the singer of love, sadness, sorrow”, he is also the “Moscow mischievous reveler” and, of course, a poet-philosopher. Yesenin was always concerned with such philosophical and worldview problems as “Man and the Universe”, “Man and Nature”. In Yesenin’s poems there are many kind of cross-cutting images, enriched and modified, passing through all his poetry. These, of course, are, first of all, images of his native nature, which so deeply conveyed his beliefs about the fundamental unity of man with nature, the inseparability of man from all living things. Reading “You are my fallen maple, frozen maple...”, one cannot help but recall the “little maple tree” from the first verses. In one of Yesenin’s last poems there are the lines:

I am forever for fog and dew

I fell in love with the birch tree,

And her golden braids,

And her canvas sundress.

In this birch tree, which appeared at the very end of his life, one can clearly read the birch that appeared in his first published poem (“White birch tree under my window ...”), and many other appeals to this image.

The dialogue of the lyrical hero with the World (man, nature, earth, universe) is constant. "Man is a marvelous creation of nature, a unique flower of living life." In “Anna Snegina” - the largest work of the last years of his life, he wrote:

How beautiful

And there is a man on it.

These lines are filled with pride, joy and anxiety for a person, his fate, his future. They could rightfully become an epigraph to his entire work.

All of us, all of us in this world are perishable,

Copper quietly pours from the maple leaves...

May you be blessed forever,

What has come to flourish and die.

The philosophical depth and highest lyricism of this poem comes from the great traditions of Russian classical literature.

The poet feels like a part of nature and sees animals as “our little brothers.” His poems about animals clearly express sympathy for all living things on earth. So, in “Song of the Dog” the author shows the motherly love of a bitch for her puppies, and then her pain from losing them. This dog's feelings are similar to those of a woman. And when the month above the “hut” seemed to her like “one of her puppies,” she dies of melancholy:

And deaf, as if from a handout,

When they throw a stone at her to laugh,

The dog's eyes rolled

Golden stars in the snow.

In the poem "Fox" Yesenin shows the ruthless attitude of people towards animals. The description of the shot fox sounds piercing:

The yellow tail fell like a fire in the snowstorm,

On the lips - like rotten carrots.

It smelled of frost and clay fumes,

And blood was seeping quietly into my eyes.

The poet protects animals with his love. In the poem "To Kachalov's Dog" the author talks to a dog named Jim as if he were a friend. In each line, Yesenin conveys the beauty and gullibility of this dog, admiring him:

You are devilishly beautiful like a dog,

With such a sweet, trusting friend

And, without asking anyone a bit,

Like a drunk friend, you go in for a kiss.

Sergei Yesenin emphasizes the unity of all living things, all things. There is not and cannot be someone else’s pain in the world; we are all connected to each other.

In the poem “Songs, songs, what are you shouting about?..” one senses the fragility of the boundaries between nature and man through the likening of a tree and a man:

I want to be quiet and strict.

I learn from the stars by silence.

Good willow on the road

To guard dormant Rus'.

The interpenetration and interweaving of man and nature is especially felt in the poem “Silver Road”:

Give me the dawn for firewood.

A willow branch for a bridle.

Maybe to the gates of God

I'll bring myself.

Yesenin’s spiritualization of nature and even the likening of man to natural phenomena is reminiscent of folk poetry.

I've never been thrifty before

So did not listen to rational flesh,

It would be nice, like willow branches,

To capsize into the pink waters.

It would be nice, smiling at the haystack,

The muzzle of the month chews hay

Where are you, where, my quiet joy,

Loving everything, wishing for nothing!

From the folklore environment the poet took only what was close to his poetic worldview. This led to the appearance of a whole group of poetic symbols in Yesenin’s poetry. One of the most common symbols is the image of a tree. In ancient myths, the tree symbolized life and death, the ancient idea of the universe: the top is the sky, the bottom is the underworld, the middle is the earth. The tree of life as a whole can be compared to a person. Yesenin’s desire for harmony between man and the world is expressed through likening himself to a tree:

I wish I could stand like a tree

When traveling on one leg.

I would like to hear horses snore

Hugging a nearby bush.

("Winds, Winds")

Ah, the bush of my head has withered.

("Hooligan")

My head flies around

The bush of golden hair withers.

("An owl hoots like autumn")

Yesenin showed that a person in the vastness of the universe is just a defenseless grain of sand, and in order to leave a memory of oneself, one must create something beautiful.

Filled with love for people, for man, for his native land, imbued with sincerity, kindness, sincerity, Yesenin’s poetry helps us to learn, rediscover and protect nature.

The theme of the collision of nature and the human mind, invading it and destroying its harmony, sounds in S. Yesenin’s poem “Sorokoust”. In it, the competition between the foal and the train, which takes on a deeply symbolic meaning, becomes central. At the same time, the foal embodies all the beauty of nature, its touching defenselessness. The locomotive takes on the features of an ominous monster. In Yesenin's "Sorokoust" the eternal theme of the confrontation between nature and reason, technological progress merges with reflections on the fate of Russia.

Man and nature in Ch. Aitmatov’s novel “The Scaffold”

“The Scaffold” is a rather large work; in terms of its ideological content, it makes a person think about a lot and cannot leave its reader indifferent to it. It is difficult to simply put this book back on the shelf and forget about it, having read it “from cover to cover,” delving into the meaning of every word, every phrase, which contains hundreds of questions and answers.

Ch. Aitmatov in his novel, as well as in each of his books, always sought to show a person looking for his place in life, his vices leading to the death of all humanity. He raised such problems as drug addiction - the “plague of the 20th century”, the ecology of the human soul, its purity and morality - the eternal desire of people for the ideal of man, and such an important problem in our time as nature, caring for it. Ch. Aitmatov wanted to reveal all these topics in his work, to convey their meaning to his reader, not to leave him indifferent to everything and inactive, since time requires us to resolve them quickly and correctly. After all, now a person kills himself every minute. He “plays with fire”, shortening his life, simply wasting its precious minutes, months, years. And isn’t the loss of morality suicide for a person, because he will be a soulless creature, devoid of any feelings, capable of destroying the harmony of nature, destroying its creatures: people, animals, plants.

The novel “The Scaffold” begins with the theme of describing the life of a wolf family, then developing into the theme of the death of the savannah through the fault of man, as he bursts into it like a predator, senselessly and rudely destroying everything in his path. The wolves here are humanized, endowed with moral strength, nobility and intelligence that people lack. They are capable of loving children and yearn for them. They are selfless, ready to sacrifice themselves for the future life of their children. They are doomed to fight with people. You feel uneasy when you read about the barbaric roundup of saigas. The reason for such cruelty was simply a difficulty with the meat delivery plan. “The involvement of undiscovered reserves in the planned turnover” resulted in a terrible tragedy: “...across the steppe, along the white snow powder, a continuous black river of wild horror rolled.” The reader sees this beating of saigas through the eyes of the she-wolf Akbara: “Fear reached such apocalyptic proportions that the she-wolf Akbara, deaf from the gunshots, thought that the whole world had become deaf and numb, that chaos had reigned everywhere and the sun itself... was also rushing about and looking for salvation, and that even the helicopters suddenly became numb and, without any roar or whistle, silently circled over the steppe going into the abyss, like giant silent kites...” In this massacre, Akbar’s wolf cubs die. The Akbars’ misfortunes did not end there: five more wolf cubs died during a fire, which was specially set by people to make it easier to obtain expensive raw materials: “For this, you can gut the globe like a pumpkin.” This is what people say, not suspecting that nature will take revenge for everything sooner than they expect. Nature, unlike people, has only one unfair action: while taking revenge on people for their ruin, it does not consider whether you are guilty or not before it. But nature is still devoid of senseless cruelty. The she-wolf, left alone due to human fault, is still drawn to people. She wants to transfer her unspent maternal tenderness to the human child. It turned out to be a tragedy, but this time for the people. But Akbara is not to blame for the death of the boy. This man, in his cruel outburst of fear and hatred for the incomprehensible behavior of the she-wolf, shoots at her, but misses and kills his own son.

Akbar's she-wolf is endowed by the writer with moral memory. She not only personifies the misfortune that befell her family, but also recognizes this misfortune as a violation of the moral law. As long as a person did not touch her habitat, the she-wolf could meet a helpless person one on one and let him go in peace. In the cruel circumstances imposed on her by a man, she is forced to enter into mortal combat with him. But not only Bazarbai, who deserved punishment, dies, but also an innocent child. Boston has no personal guilt before Akbara, but he is responsible for Bazarbai, his moral antipode, and for the barbarity of Kandarov, who destroyed Moyunkum. I would like to note that the author well understands the nature of such human cruelty towards the environment. This is elementary greed, the struggle for one’s own well-being, justified almost by state necessity. And the reader, together with Aitmatov, understands that since gangster actions are committed under the guise of state plans, it means that this is a general phenomenon, not a particular one, and it must be fought.

The plight of the ecological environment has long been one of the most pressing topics of modern writers. “The scaffold” is a call to come to your senses, to realize your responsibility for everything that has been carelessly destroyed by man in nature. It is noteworthy that the writer considers environmental problems in the novel inextricably with the problems of the destruction of the human personality.

Astafiev about man and nature

Writer Viktor Astafiev wrote: “That’s why I’m afraid when people go wild in shooting, even at an animal, a bird, and casually, playfully shed blood. They do not know that, having ceased to be afraid of blood, without revering it, hot, living, they imperceptibly cross that fatal line beyond which a person ends, and from distant times filled with cave horror, a low-browed, fanged the mug of a primitive savage.” Cruelty to animals is one of the means of destroying moral sensitivity. Man and nature, their unity and confrontation are the core theme in the works of Viktor Astafiev. In understanding this dialectical process, literature plays an important role. And Astafiev, a sensitive artist, could not stay away from the problem. The writer has created many books about war, peace, and childhood. All of them are marked by the mystery of talent, the sounds of the Motherland - the bright and pure, bitter and joyful music of human destiny. A real event in life and in literature was the work “The Tsar Fish”, awarded the USSR State Prize.

The author calls the hero of the story "master". Indeed, Ignatyich knows how to do everything better and faster than anyone else. He is distinguished by thrift and accuracy. “Of course, Ignatyich caught fish better than anyone else and more than everyone else, and this was not disputed by anyone, it was considered legal, and no one was envious of him, except for the younger brother of the Commander.” The relationship between the brothers was difficult. The commander not only did not hide his hostility towards his brother, but also showed it at the first opportunity. Ignatyich tried not to pay attention to it. Actually, he treated all the residents of the village with some superiority and even condescension. The main character of the story, of course, is far from ideal: he is dominated by greed and a consumerist attitude towards nature. The author brings the main character face to face with nature. For all his sins before her, nature presents Ignatyich with a severe test. It happened like this: Ignatyich goes fishing on the Yenisei and, not content with small fish, waits for sturgeon. “And at that moment the fish announced itself, went to the side, the hooks clicked on the iron, blue sparks were struck from the side of the boat. Behind the stern, the heavy body of the fish seethed, turned around, rebelled, scattering the water like rags of burnt, black rags.” At that moment, Ignatyich saw a fish at the very side of the boat. “I saw it and was taken aback: there was something rare, primitive not only in the size of the fish, but also in the shape of its body - it looked like a prehistoric lizard...” The fish immediately seemed ominous to Ignatich. His soul seemed to split into two: one half suggested letting go of the fish and thereby saving himself, but the other did not want to miss such a sturgeon, because the king fish comes only once in a lifetime. The fisherman's passion takes precedence over prudence. Ignatyich decides to catch the sturgeon at any cost. But due to carelessness, he ends up in the water, on the hook of his own gear. Ignatyich feels that he is drowning, that the fish is pulling him to the bottom, but he can do nothing to save himself. In the face of death, the fish becomes a kind of creature for him. The hero, who has never believed in God, at this moment turns to him for help. Ignatyich remembers what he tried to forget throughout his life: a disgraced girl who was doomed to eternal suffering. It turned out that nature, also in a sense a “woman,” took revenge on him for the harm he had caused. Nature took cruel revenge on man. Ignatyich, “not having control of his mouth, but still hoping that at least someone would hear him, hissed intermittently and tornly: “Gla-a-asha-a-a, forgive-ti-i-i. .." And when the fish lets go of Ignatyich, he feels that his soul is freed from the sin that weighed on him throughout his life. It turned out that nature fulfilled the divine task: it called the sinner to repentance and for this absolved him of his sin. The author leaves hope for a life without sin not only for his hero, but for all of us, because no one on earth is immune from conflicts with nature, and therefore with his own soul.

Having finished reading the story “The King Fish”, you understand that the natural world is fraught with the spirit of just retribution. The suffering of the King Fish, wounded by man, calls for him.

“The King Fish” was written in an open, free, relaxed manner, inspired by the artist’s thoughts about what is most personal and vital. Direct, honest, fearless conversation about current and significant issues. About problems of a national scale: about the establishment and improvement of reasonable connections between modern man and nature, about the extent and goals of our activity in the “conquest” of nature. Life itself poses these problems.

How can we do this in order to preserve and increase earthly wealth while transforming the earth? By renewing, saving and enriching the beauty of nature? How to avoid and prevent the sad consequences of an unreasonable encroachment on the natural laws of nature - the cradle of man? This is not only an environmental problem, but also a moral one. Awareness of its seriousness, according to Astafiev, is necessary for everyone so as not to trample, damage or burn nature and oneself with the fire of soullessness and deafness.

The writer states: whoever is merciless and cruel to nature is merciless and cruel to man. The writer's soulless consumerist treatment of nature evokes a passionate protest. The image of poaching - the predatory behavior of a person in the taiga, on the river - grows into a strong living image in the story.

The author's main attention is focused on people, their destinies, passions and concerns. There are many heroes in the story. Different. Good and evil, just and treacherous, “fish control workers” and “poachers.” The writer does not judge them, even the most inveterate, he cares about their spiritual healing.

The author speaks from a position of goodness and humanity. In every line he remains a poet of humanity. There lives in him an extraordinary sense of integrity, the interconnectedness of all life on earth, present and future, today and tomorrow.

Nature was and should remain man's teacher and his nurse, and not vice versa, as people imagined. In this message I would like to dwell on Rasputin’s very unique work “Live and Remember”. The writer shows in the story the beginning of spring, the awakening of nature and life. And against the backdrop of this state of nature, the thieving and hiding fate of Andrei Guskov and his wife Nastena is depicted. Andrey the deserter, nature itself in the author’s depiction is a reproach to him. But it is difficult to judge him, and the writer does not pronounce his verdict. However, wartime has its own laws and a ruthless tribunal awaits him. Guskov finds himself in Robinson-like conditions, hiding among the wild nature. Between him and his village is the Angara, like a line between past and present life. Only Nastena violates this border. The fate of the poor woman is tragic. She throws herself into the river. The writer manages to better reveal the moral suffering of the characters through images of nature. Nothing can replace living, changeable nature for us, which means it’s time to come to our senses, in a new way, much more carefully, more caringly than before, to treat it. After all, we ourselves are also a part of it, despite the fact that we have fenced ourselves off from it with the stone walls of cities. And if nature becomes bad, it will certainly be bad for us too.

Conclusion

I believe that we all need to seriously think about what the nature of our fatherland will be like in the future. Is it possible to wish our descendants a life on bare land, without groves and nightingale trills?! Many authors write about the problem of nature, about how people relate to it. For example, Robert Rozhdestvensky wrote the following lines:

There is less and less natural surroundings,

More and more environment!

There is a lot of deep meaning contained in these words. And through the fault of man, this process occurs, which is described in these lines.

A man is worse than a beast when he is a beast.

Constellations blink overhead.

And your hands themselves reach out to the fire...

How strange it is to me that people get used to it

Open your eyes and not be surprised by the day.

Exist, don’t run after a fairy tale,

And go away, as if into a monastery, into poetry.

Catch the Firebird for roast with porridge.

And Goldfish - for fish soup.

R. Rozhdestvensky

Perhaps never before has the problem of the relationship between man and nature been as acute as in our time. And this is no coincidence. “We are no strangers to losses,” wrote S. Zalygin, “but only until the moment comes to lose nature, after which there will be nothing to lose.”

Sources

1. Multimedia - edition of the “Big Encyclopedia of Cyril and Methodius”

2. S. Yesenin. Collected works in 6 volumes, 1978

3. Soviet literature of the 50-80s. Moscow, “Enlightenment”, 1988

Arguments

I.S. Turgenev “Fathers and Sons”. The work contains two completely opposite views on the place of nature in people’s lives. Nihilist Evgeny Bazarov perceives the world around him as material for practice, saying that “nature is not a temple, but a workshop.” He tries to find benefit in everything, rather than see the beauty around him. The hero considers living beings only material for his research. For Arkady Kirsanov, who at first supported the views of Yevgeny Bazarov, nature is a source of harmony. He feels like an integral part of the world around him, sees and feels beauty.

ON THE. Nekrasov “Grandfather Mazai and the Hares.” The story of Grandfather Mazay rescuing hares has been known to every person since childhood. From the poem of the great poet it is clear that our hero is a hunter, which means that for him hares should first of all be prey. But grandfather Mazai cannot offend animals when they are absolutely helpless, between life and death. Love for nature turns out to be higher for a person than the opportunity to get easy prey. He shouts after the rescued hares so that they don’t come across him during the hunting period, but at the moment he releases them.

A.I. Kuprin “Olesya”. The attitude towards nature of the main character of the work can be called truly correct. Olesya's life is inextricably linked with the world around her. She feels that she is connected to the forest and that the forest is something alive. The girl loves all living things. Olesya is ready to protect everything connected with nature: grass, shrubs, huge trees. Unity with the outside world allows her to survive at a distance from people, in the depths of the forest.

V.P. Astafiev “Tsar Fish”. The fate of Gosha Gertsev is a striking example of the fact that nature can not only tolerate human attacks, but also actively defend itself with the help of its moral and punitive force. The hero who showed a consumerist, cynical attitude towards the environment is punished. Moreover, punishment threatens not only him, but all of humanity if it does not realize how cruel its activities are. Lack of spirituality, thirst for profit, thoughtless use of the achievements of scientific and technological progress - all this threatens the death of society.

B.L. Vasiliev “Don’t shoot white swans.” The work shows the different attitudes of people towards nature: we see both its defenders and enemies, whose activities are only of a consumer nature. The main character, Yegor Polushkin, takes care of all living things. He often becomes the object of ridicule because those around him do not support his views on the world. Egor Polushkin, while laying a pipe, decides to go around the anthill, which causes laughter and condemnation from people. When the hero needs money, he learns that the population can receive a reward for soaked bast. However, even in a difficult situation, the hero cannot decide to destroy a living thing, while his cousin destroys an entire grove for profit. Yegor Polushkin's son is distinguished by the same moral qualities: Kolka gives his expensive gift (a spinning rod that everyone dreamed of) to Vovka to save a puppy that the boy wanted to torture. The main character himself is killed by evil and envious people for his desire to protect nature.

Chingiz Aitmanov “The Scaffold”. The work shows how a person destroys the world around him with his own hands. People abuse saigas; wolf cubs die due to man-made fires. Not knowing where to direct her maternal love, the she-wolf becomes attached to the human child. People, not realizing this, shoot at her, but one of them ends up killing his own son. The death of a child can be blamed not on the she-wolf, but on the people who barbarously invaded her territory, exterminated her children, and therefore took up arms against nature. The work “The Scaffold” shows the consequences of such an attitude towards the living.

D. Granin “Bison”. The main character realizes with horror that almost all people, including scientists, are confident in the boundlessness of nature and the insignificant impact of humans on it. The bison does not understand how a person can approve scientific and construction projects that cause irreparable damage to all living things. He believes that science in this case works not for the benefit, but to the detriment of humanity. The hero is pained by the fact that almost no one has come to understand the true role of nature in human life, its uniqueness and vulnerability.

E. Hemingway “The Old Man and the Sea.” For the old fisherman, the sea is his breadwinner. In the entire appearance of the hero, a connection with nature is visible. The old man treats everything with respect and gratitude: he asks the caught fish for forgiveness. The work shows the role of nature’s generosity in our lives, and the hero demonstrates a truly correct attitude towards the world around him - grateful.

Man and nature in domestic and foreign literature

Russian literature, be it classical or modern, has always been sensitive to all changes occurring in nature and the world around us. Poisoned air, rivers, earth - everything is crying out for help, for protection. Our complex and contradictory times have given rise to a huge number of problems: economic, moral and others. However, according to many, the most important among them is the environmental problem. Our future and the future of our children depends on its decision. The current ecological state of the environment can be called a catastrophe of the century. Who is guilty? A man who forgot about his roots, who forgot where he came from, a predatory man who sometimes became more terrible than a beast. A number of works by such famous writers as Chingiz Aitmatov, Valentin Rasputin, Viktor Astafiev are devoted to this problem.

The name Rasputin is one of the brightest and most memorable among writers of the 20th century. My appeal to the work of this writer is not an accident. It is the works of Valentin Rasputin that leave no one indifferent or indifferent. He was one of the first to raise the problem related to the relationship between man and nature. This problem is pressing, since life on the Planet, the health and well-being of all humanity is connected with the environment.

In the story “Farewell to Matera” the writer reflects on many things. The subject of the description is the island on which the village of Matera is located. Matera is a real island with the old woman Daria, with grandfather Yegor, with Bogodul, but at the same time it is an image of a centuries-old way of life that is now leaving - forever? And the name emphasizes the maternal principle, that is, man and nature are closely connected. The island must go under water because a dam is being built here. That is, on the one hand, this is correct, because the population of the country must be provided with electricity. On the other hand, this is a gross interference of people in the natural course of events, that is, in the life of nature.

Something terrible happened to all of us, Rasputin believes, and this is not a special case, this is not just the history of a village, something very important in a person’s soul is being destroyed, and for the writer it becomes completely clear that if today it is possible to hit the cross with an ax to the cemetery, then tomorrow it will be possible to put a boot in the old man’s face.

The death of Matera is the destruction of not just the old way of life, but the collapse of the entire world order. The symbol of Matera becomes the image of the eternal tree - larch, that is, the king is a tree. And the belief lives on that the island is attached to the river bottom, to the common land, by the royal foliage, and as long as it stands, Matera will stand.

The work of Chingiz Aitmatov “The Scaffold” cannot leave the reader indifferent. The author allowed himself to speak out on the most painful, topical issues of our time. This is a scream novel, a novel written in blood, this is a desperate appeal addressed to one and all. In "The Scaffold" the she-wolf and the child die together, and

their blood mixes, proving the unity of all living things, despite all the existing disproportions. A person armed with technology often does not think about what consequences his actions will have for society and future generations. The destruction of nature is inevitably combined with the destruction of everything human in people.

Literature teaches that cruelty to animals and nature turns into a serious danger for the person himself for his physical and moral health

Thus, the relationship between man and nature on the pages of books is diverse. When reading about others, we unwittingly try on characters and situations for ourselves. And, perhaps, we also think: how do we ourselves relate to nature? Shouldn't something be changed in this regard? (505 words)

Human and nature

How many beautiful poems, paintings, songs have been created about nature... The beauty of the nature around us has always inspired poets, writers, composers, artists, and they all depicted its splendor and mystery in their own way.

Indeed, since ancient times, man and nature have formed a single whole; they are very closely interconnected. But, unfortunately, man considers himself superior to all other living beings and proclaims himself the king of nature. He forgot that he himself is part of living nature, and continues to behave aggressively towards it. Forests are cut down every year, tons of waste are dumped into the water, the air is poisoned by the exhaust of millions of cars... We forget that the reserves in the bowels of the planet will one day run out, and we continue to predatoryly extract minerals.

Nature is a huge treasure trove of wealth, but man only treats it as a consumer. This is the story in the stories of V. P. Astafiev “The Tsar Fish”. The main theme is the interaction between man and nature. The writer tells how white and red fish are exterminated on the Yenisei, animals and birds are destroyed. The climax is the dramatic story that happened one day on the river with the poacher Zinovy Utrobin. While checking the traps where the huge sturgeon had fallen, he fell out of the boat and became entangled in his own nets. In this extreme situation, on the verge of life and death, he remembers his earthly sins, remembers how he once offended his fellow villager Glashka, sincerely repents of what he has done, begs for mercy, mentally turning to Glashka, and to the king fish, and to the whole wide world. And all this gives him “some kind of liberation not yet comprehended by the mind.” Ignatyich manages to escape. Nature itself taught him a lesson here. Thus, V. Astafiev returns our consciousness to Goethe’s thesis: “Nature is always right.”

Ch. T. Aitmatov also talks about the environmental disaster awaiting man in his warning novel “The Scaffold”. This novel is a cry, despair, a call to come to your senses, to realize your responsibility for everything that has become so aggravated and thickened in the world. Through the environmental problems raised in the novel, the writer strives to achieve, first of all, the state of the human soul as a problem. The novel begins with the theme of a wolf family, which then develops into the theme of the death of the Mogonkums through the fault of man: a man breaks into the savannah as a criminal, as a predator. He senselessly and rudely destroys all living things that exist in the savannah. And this combat ends tragically.

Thus, man is an integral part of nature, and we all need to understand that only with a caring and careful attitude towards nature and the environment can a beautiful future await us. (355 words)

Direction:

What does nature teach man?

(Based on the work of V. Astafiev)

So that one day in that house

Before the big road

Say: - I was a leaf in the forest!

N. Rubtsov

In the 70s and 80s of our century, the lyre of poets and prose writers sounded powerfully in defense of the environment. Writers went to the microphone, wrote articles for newspapers, putting aside work on works of art. They defended our lakes and rivers, forests and fields. It was a reaction to the dramatic urbanization of our lives. Villages went bankrupt - cities grew. As always in our country, all this was done on a grand scale, and the chips flew with might and main. Now the gloomy results of the damage caused by hot heads to our nature have already been summed up.

Writers who are fighters for ecology were all born near nature, know and love it. This is the well-known prose writer Viktor Astafiev here and abroad. I want to explore this topic using the example of V. Astafiev’s story “The Tsar Fish”.

The author calls the hero of V. Astafiev’s story “The Tsar Fish” “master”. Indeed, Ignatyich knows how to do everything better and faster than anyone else. He is distinguished by thrift and accuracy. The relationship between the brothers was difficult. The commander not only did not hide his hostility towards his brother, but also showed it at the first opportunity. Ignatyich tried not to pay attention to it. Actually, he treated all the residents of the village with some superiority and even condescension. The main character of the story, of course, is far from ideal: he is dominated by greed and a consumerist attitude towards nature. The author brings the main character face to face with nature. For all his sins before her, nature presents Ignatyich with a severe test. It happened like this: Ignatyich goes fishing on the Yenisei and, not content with small fish, waits for sturgeon. At that moment, Ignatyich saw a fish at the very side of the boat. The fish immediately seemed ominous to Ignatyich. His soul seemed to split into two: one half suggested letting go of the fish and thereby saving himself, but the other did not want to miss such a sturgeon, because the king fish comes only once in a lifetime. The fisherman's passion takes precedence over prudence. Ignatyich decides to catch the sturgeon at any cost. But due to carelessness, he ends up in the water, on the hook of his own gear. Ignatyich feels that he is drowning, that the fish is pulling himto the bottom, but he can do nothing to save himself. In the face of death, the fish becomes a kind of creature for him. The hero, who has never believed in God, at this moment turns to him for help. Ignatyich remembers what he tried to forget throughout his life: a disgraced girl who was doomed to eternal suffering. It turned out that nature, also in a sense a “woman,” took revenge on him for the harm he had caused. Nature took cruel revenge on man. Ignatyich asks for forgiveness for the harm caused to the girl. And when the fish lets go of Ignatyich, he feels that his soul is freed from the sin that has weighed on him throughout his life. It turned out that nature fulfilled the divine task: it called the sinner to repentance and for this absolved him of his sin. The author leaves hope for a life without sin not only to his hero, but also to all of us, because no one on earth is immune from conflicts with nature, and therefore with their own soul.

So I want to conclude:Indeed, man himself is a part of nature. Nature is the world around us, where everything is interconnected, where everything is important. And a person must live in harmony with the world around him. Nature is powerful and defenseless, mysterious and sensitive. You need to live in peace with her and learn to respect her. (517 words)

Man and nature in domestic and world literature

A person comes into this world not to say what it is like, but to make it better.

Since ancient times, man and nature have been closely interconnected. There was a time when our distant ancestors not only respected nature, but personified and even deified it. So, fire, water, earth, trees, air, and thunder and lightning were considered deities. To appease them, people performed ritual sacrifices.

The theme of man, as well as the theme of nature, is quite often found in both domestic and world literature. K.G. Paustovsky and M.M. Prishvin showed the unity of man and nature as harmonious coexistence.

Why is this particular theme used so often in the stories of these particular writers? One reason is that they are mediators of realism in literature. This topic has been considered by many writers, including foreign ones, from a variety of angles, both with sarcasm and with deep regret.

The great Russian writer A.P. Chekhov repeatedly presented the motives of man and nature in his stories. One of the leading themes of his works is the mutual influence of man and nature. It is observed especially in such a work as “Ionych”. But this topic was also considered by such writers as Gogol, Lermontov, Dostoevsky.

In B. Vasiliev’s work “Don’t Shoot White Swans,” the main character Yegor Polushkin has an infinite love for nature, always works conscientiously, lives peacefully, but always turns out to be guilty. The reason for this is that Yegor could not disturb the harmony of nature, he was afraid to invade the living world. But people did not understand him; they considered him unsuited to life. He said that man is not the king of nature, but her eldest son. In the end, he dies at the hands of those who do not understand the beauty of nature, who are accustomed only to conquering it. But my son will grow up. Who can replace her father, who will respect and take care of her native land. This topic was also considered by foreign writers.

The wild nature of the North comes to life under the pen of the American fiction writer D. London. Often the heroes of the works are representatives of the animal world (“White Fang” by D. London or the stories of E. Seton-Thompson). And even the narration itself is told as if from their perspective, the world is seen through their eyes, from the inside.

Polish science fiction writer S. Lem, in his “Star Diaries,” described the story of space vagabonds who ruined their planet, dug up all the subsoil with mines, and sold minerals to the inhabitants of other galaxies. Retribution for such blindness was terrible, but fair. That fateful day came when they found themselves on the edge of a bottomless pit, and the ground began to crumble under their feet. This story is a threatening warning to all of humanity, which is rapaciously plundering nature.

430 words

Man and nature in domestic and world literature

“Man will destroy the world sooner than learn to live in it” (Wilhelm Schwebel)

Not what you think, nature: Not a cast, not a soulless face - She has a soul, she has freedom, She has love, she has language...

F. I. Tyutchev

Literature has always been sensitive to all changes occurring in nature and the surrounding world. Poisoned air, rivers, earth - everything is crying out for help, for protection. Our complex and contradictory times have given rise to a huge number of problems: economic, moral and others, but, according to many, the most important among them is the environmental problem. Our future and the future of our children depends on its decision.

The catastrophe of the century is the ecological state of the environment. Many areas of our country have long become unfavorable: the destroyed Aral Sea, which could not be saved, the Volga, poisoned by wastewater from industrial enterprises, Chernobyl and many others. Who is guilty? A man who exterminated, destroyed his roots, a man who forgot where he came from, a predator man who became more terrible than a beast. “Man will destroy the world sooner than learn to live in it,” wrote Wilhelm Schwebel. Is he right? Doesn't a person understand that he is chopping the branch on which he is sitting? The death of nature threatens his own death.

A number of works by such famous writers as Chingiz Aitmatov, Valentin Rasputin, Viktor Astafiev, Sergei Zalygin and others are devoted to this problem.

Chingiz Aitmatov’s novel “The Scaffold” cannot leave the reader indifferent. The author allowed himself to speak out on the most painful, topical issues of our time. This is a scream novel, a novel written in blood, this is a desperate appeal addressed to each of us. At the center of the work is the conflict between a man and a pair of wolves who have lost their cubs. The novel begins with the theme of wolves, which develops into the theme of the death of the savannah. Due to human fault, the natural habitat of animals is dying. Akbar's she-wolf, after the death of her brood, meets with a man one on one, she is strong, and the man is soulless, but the she-wolf does not consider it necessary to kill him, she only takes him away from the new wolf cubs.

And in this we see the eternal law of nature: do not harm each other, live in unity. But the second litter of wolf cubs also perishes during the development of the lake, and again we see the same baseness of the human soul. No one cares about the uniqueness of the lake and its inhabitants, because profit and gain are most important for many. And again the boundless grief of the wolf mother, she has nowhere to find refuge from the flame-spewing engines. The last refuge of wolves is the mountains, but even here they do not find peace. There comes a turning point in Akbara’s consciousness: evil must be punished. A feeling of revenge settles in her sick, wounded soul, but Akbar is morally superior to man.

Saving a human child, a pure being, not yet touched by the dirt of the surrounding reality, Akbara shows generosity, forgiving people for the evil done to her. Wolves are not only opposed to humans, they are humanized, endowed with nobility, that high moral strength that people lack. Animals are kinder than humans, because they take from nature only what is necessary for their existence, and humans are cruel not only to nature, but also to the animal world. Without any feeling of regret, meat producers shoot defenseless saigas at point-blank range, hundreds of animals die, and a crime is committed against nature. In the novel “The Scaffold,” the she-wolf and the child die together, and their blood mixes, proving the unity of all living things, despite all existing differences.

A person armed with technology often does not think about what consequences his actions will have for society and future generations. The destruction of nature is inevitably combined with the destruction of everything human in people. Literature teaches that cruelty to animals and nature turns into a serious danger for the person himself for his physical and moral health. Nikonov’s story “On the Wolves” is about this. It talks about a huntsman, a man whose profession is called upon to protect all living things, but in reality a moral monster who causes irreparable harm to nature.

Experiencing burning pain for the dying nature, modern literature acts as its defender. Vasiliev’s story “Don’t Shoot White Swans” evoked a great public response. For forester Yegor Polushkin, the swans that he settled on Black Lake are a symbol of the pure, lofty and beautiful.

Rasputin’s story “Farewell to Matera” raises the topic of the extinction of villages. Grandma Daria, the main character, takes the news the hardest of all that the village of Matera, which has lived for three hundred years, where she was born, is living out its last spring. A dam is being built on the Angara, and the village will be flooded. And here Grandma Daria, who worked tirelessly, honestly and selflessly for half a century, receiving almost nothing for her work, suddenly resists, defending her old hut, her Matera, where her great-grandfather and grandfather lived, where every log is not only hers, but also hers. ancestors Her son Pavel also feels sorry for the village, who says that it doesn’t hurt to lose it only for those who “didn’t water every furrow.” Pavel understands today's truth, he understands that a dam is needed, but Grandma Daria cannot come to terms with this truth, because the graves will be flooded, and this is a memory. She is sure that “the truth is in memory; those who have no memory have no life.” Daria grieves in the cemetery at the graves of her ancestors and asks for their forgiveness. The scene of Daria's farewell in the cemetery cannot fail to touch the reader. A new village is being built, but it does not have the core of that village life, the strength that a peasant gains from childhood by communicating with nature.

Against the barbaric destruction of forests, animals and nature in general, calls are constantly heard from the pages of the press from writers who strive to awaken in readers responsibility for the future. The question of attitude to nature, to native places is also a question of attitude to the Motherland.

There are four laws of ecology, which were formulated more than twenty years ago by the American scientist Barry Commoner: “Everything is interconnected, everything must go somewhere, everything is worth something, nature knows this better than us.” These rules fully reflect the essence of the economic approach to life, but, unfortunately, they are not taken into account. But it seems to me that if all the people of the earth thought about their future, they could change the current environmentally dangerous situation in the world. Otherwise, a person will really “...destroy the world rather than learn to live in it.” All in our hands!

925 words

Man and nature in domestic and world literature

It is impossible to imagine a person without nature.

Indeed, this connection is impossible not to notice. Great writers and poets admired and admired nature in their works. Of course, nature served as a source of inspiration for them. Many works show man's dependence on his native nature. Far from the Motherland, native nature, a person fades, and his life loses its meaning.

Also, society as a whole is connected with nature. I think thanks to her it is gradually taking shape. Despite the fact that man exists thanks to nature, he is also a threat to it. After all, under the influence of man, nature develops, or, conversely, is destroyed. V.A. Soloukhin is right that “man is a kind of disease for the planet, causing irreparable harm to it every day.” Indeed, sometimes people forget that nature is their home, and it requires careful treatment.

My point of view is confirmed in I.S. Turgenev’s novel “Fathers and Sons.” The main character of the novel, Evgeny Bazarov, adheres to a rather categorical position: “Nature is not a temple, but a workshop, and man is a worker in it.” It seems to me that with this attitude towards nature, Evgeny Bazarov shows his indifference to the nature in which he lives. Using everything he needs, Evgeniy forgets about the consequences this can lead to.

In V.G. Rasputin’s story “Farewell to Matera”, man’s attitude towards nature is clearly manifested. The main theme of the story is the history of the small village of Matera. For many years the village lived its calm, measured life. But one day on the Angara River, on the banks of which Matera is located, they begin to build a dam for a power plant. It becomes clear to the villagers that their village will soon be flooded.

From this story it follows that a person can control nature as he pleases. In an attempt to improve life, people build various power plants. But they don’t think about the fact that this small village stood in this place for many years and it is dear to humanity as a memory. And because of buildings, people destroy their memory and value.

It seems to me that for a long time man perceived nature as a storehouse from which one could draw endlessly. Because of this, unfortunately, environmental disasters have begun to occur more and more often. An example of this is the accident at the Chernobyl nuclear power plant that occurred on April 26, 1986. The destruction was explosive, the reactor was completely destroyed, and a large amount of radioactive substances was released into the environment.

Thus, we can say that the human impact on nature in most cases is deplorable. But, fortunately, modern society has begun to realize the importance of caring for nature. Environmental problems that arise under human influence on nature, and which writers so want to convey in their works, force people to think about the well-being of nature. After all, nature is a home for every inhabitant of the planet and, I am sure, for literature - this is the main value that great masters of words are called to preserve. 426 words

Nature: trees, flowers, river, mountains, birds. This is everything that surrounds a person every day. Familiar and even boring... What is there to admire? What to be excited about? This is what a person thinks, who from childhood was not taught to notice the beauty of a drop of dew on the petals of a rose, to admire the beauty of a newly blossoming white-trunked birch tree, or to listen to the conversation of the waves rolling onto the shore on a quiet evening. And who should teach? Probably a father or mother, a grandmother or grandfather, someone who himself has always “been captivated by this beauty.”

The writer V. Krupin has a wonderful story with the intriguing title “Drop the Bag.” It’s about how a father taught his daughter, “blind” to the beauty of nature, to notice the beautiful. One day after the rain, when they were loading a barge with potatoes, my father suddenly said: “Varya, look how beautiful it is.” And my daughter has a heavy bag on her shoulders: how do you look? The father's phrase in the title of the story seems to me to be a kind of metaphor. After Varya throws off the “bag of blindness,” a beautiful picture of the sky after the rain will open before her. A huge rainbow, and above it, as if under an arc, the sun! My father also found figurative words to describe this picture, comparing the sun to a horse harnessed to a rainbow! At that moment, the girl, having recognized beauty, “as if she had washed herself,” she “began to breathe easier.” From then on, Varya began to notice the beauty in nature and taught her children and grandchildren, just as she had once adopted this skill from her father.

And the hero of V. Shukshin’s story “The Old Man, the Sun and the Girl,” an old village grandfather, teaches a young urban artist to notice the beauty in nature. It is thanks to the old man that she notices that the sun that evening was unusually large, and the river water in its setting rays looked like blood. The mountains are also magnificent! In the rays of the setting sun they seemed to move closer to people. The old man and the girl admire how between the river and the mountains “the dusk was quietly fading,” and a soft shadow was approaching from the mountains. What a surprise the artist will be when she learns that a blind man was discovering beauty before her! How one must love one’s native land, how often one must come to this shore so that, having already gone blind, one can see all this! And not just to see, but to reveal this beauty to people...

We can conclude that we are taught to notice the beauty in nature by people endowed with a special flair and a special love for their native land. They themselves will notice and tell us that we only have to look closely at any plant, even at the simplest stone, and you will understand how majestic and wise the world around us is, how unique, diverse and beautiful it is.

(376 words)

"The relationship between man and nature"

What role does nature play in human life? People have been thinking about this for centuries. This problem became especially relevant in the 20th century.Icentury, which resulted in global environmental problems. But I think that humanity would not have even survived to this day if writers and poets had not constantly reminded us that man and nature cannot exist separately, if they had not taught us to love nature.Nature is a large and interesting world that surrounds us.

The story “Don't Shoot White Swans” is an amazing book about the beauty of the human soul, about the ability to feel the beauty of nature, understand it, give all the best that is in man to mother nature, without demanding anything in return, only admiring and enjoying the wonderful appearance of nature .This work depicts different people: thrifty owners of nature, and those who treat it as consumers, committing terrible acts: burning an anthill, exterminating swans. This is the “gratitude” of tourists for their vacation and enjoyment of beauty. Fortunately, there are people like Yegor Polushkin, who strove to preserve and preserve the natural world and taught his son Kolka this. He seemed strange to people, those around him did not understand him, they often scolded him, and even beat him from his fellow covens for Yegor’s excessive, in their opinion, honesty and decency. But he was not offended by anyone and responded to all occasions in life with a good-natured remark: “It must be so, since it is not that way.” But we become scared, because people like the Buryanovs are not uncommon in our lives. Striving for profit and enrichment, Fyodor becomes hardened in soul, becomes indifferent to work, nature, and people. ANDB. Vasiliev warns: indifferent people are dangerous, they are cruel. Destroying nature, forests, destroying tons of fish, killing the most beautiful swan birds, Buryanov is not far from raising his hand against a person. Which is what he did at the end of the story. There was no place in Buryanov’s soul for goodness, love for people, for nature. Spiritual and emotional underdevelopment is one of the reasons for the barbaric attitude towards nature. A person who destroys nature first of all destroys himself and cripples the lives of his loved ones.

Thus, in Russian literature, nature and man are closely interconnected. Writers show that they are part of one whole, live by the same laws, and mutually influence each other. The narcissistic delusions of a person who imagines himself to be the master of nature lead to a real tragedy - the death of all living things and people, first of all. And only attention, care and respect for the laws of nature and the Universe can lead to the harmonious existence of man on this Earth.

372 words

Popular

Parthenogenesis - technique of the immaculate conception

« The concept of parthenogenesis During fertilization, the sperm releases the egg from its dormant state and it begins to develop. But in nature there are cases... »

The Tale of the Three Brothers Who gave the three brothers Harry Potter accessories

« Once upon a time there lived Three Brothers of a Wizard, and one day they needed to cross a river; they couldn’t swim across it, it was too wide and deep. And brothers... »

De Broglie hypothesized that particles of matter

« O.S.Ageeva, T.N.Stroganova, K.S.Chemezova ELEMENTS OF QUANTUM MECHANICS AND SOLID STATE PHYSICS Tyumen. 2009 UDC 537(075):621.38 Ageeva O.S.,... »