Landscape in Turgenev's story “Bezhin Meadow. Night landscape in the story “Bezhin Meadow”

15.10.2019

Titaev Ivan

The purpose of this work: to determine the artistic originality of Turgenev’s landscape, to determine the role of landscape in I.S. Turgenev’s work “Bezhin Meadow”, to trace the development of the central image - light in the story. Objectives of the work: to study the visual and expressive means of language; determine the role of tropes in creating pictures of nature; identify the function of landscape in the work of I.S. Turgenev “Bezhin Meadow”; comprehend the problem of the relationship between man and nature.

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Municipal budgetary educational institution

Average comprehensive school № 105

Avtozavodsky district of Nizhny Novgorod

Students' Scientific Society

Artistic originality landscape in the story
I.S. Turgenev “Bezhin Meadow”

Completed by: Titaev Ivan,

5th grade student

Scientific adviser:

Matrosova I. A.,

teacher of Russian language and literature

Nizhny Novgorod

2014

	Page
Introduction
Chapter 1 The concept of “Landscape”.
Chapter 2 The artistic originality of Turgenev’s landscape in the story “Bezhin Meadow”
2.1 Picture of an early summer morning
2.2 Picture of a clear summer day
2.3 Picture of the night
2.4 Image of light
Chapter 3 The meaning of nature in the story “Bezhin Meadow”
Bibliography

Introduction

“Man cannot help but be fascinated by nature; he is connected with it by a thousand inextricable threads; he is her son."

I.S. Turgenev

I. S. Turgenev is an extraordinary master of depicting pictures of Russian nature. With a huge artistic power and the writer reflected with depth all the dim and discreet beauty native nature.

“The beautiful is the only immortal thing... The beautiful is scattered everywhere,” Turgenev would write in 1850. The writer extended his reverence for the secret life of nature to his attitude towards human soul. Nature gives a person purity and tranquility, but it also makes him feel completely helpless and weak before its incomprehensible power and mystery. Nature in his works is a living and comprehensive image, it’s like another hero in the system of characters

Goal of the work:

To determine the artistic originality of Turgenev’s landscape, to determine the role of landscape in I.S. Turgenev’s work “Bezhin Meadow”, to trace the development of the central image - light in the story.

Tasks:

Study the figurative and expressive means of language;
Determine the role of tropes in creating pictures of nature;
Identify the function of landscape in the work of I.S. Turgenev “Bezhin Meadow”;
Understand the problem of the relationship between man and nature.

Research methods:

1) text analysis,

2) search method,

Object of study:

Work by I.S. Turgenev "Bezhin Meadow".

Subject of study:

Image landscape sketches.

To achieve my goals and objectives, I need to study the following literature:

1. .Valagin, A.P.I.S. Turgenev “Notes of a Hunter”: Experience of analyzing reading/ A.P. Valagin//Literature at school. – 1992. - No. 3-4. – pp. 28-36.

2. I.S. Turgenev Bezhin meadow - M.: 2005.

3. Nikolina, N. A. Compositional and stylistic originality of I. S. Turgenev’s story “Bezhin Meadow” / N. A. Nikolina // Russian language. At school. – 1983. - No. 4. – pp. 53-59.

4. Kikina, E. A. Man between light and darkness: materials for lessons based on the story by I. S. Turgenev “Bezhin Meadow” / E. A. Kikina // Literature: Supplement to the newspaper “First of September”. – 2005. - No. 21. - P. 3-4.

I. The concept of “Landscape”

Scenery (from French paysage, from pays - country, locality) - a description, a picture of nature, part of the real situation in which the action takes place. The landscape can emphasize or convey the state of mind of the characters; at the same time, the internal state of a person is likened to or contrasted with the life of nature. Depending on the subject, the image of the landscape can be rural, urban, industrial, sea, river, historical (pictures of the ancient past), fantastic (the appearance of the future world), astral (the supposed, conceivable, heavenly), lyrical.

The lyrical landscape is more often found in works of lyrical prose (lyrical story, short story, miniature), characterized by the expressiveness of the sensory-emotional principle and the pathos of the elevation of life. Given through the eyes of a lyrical (often autobiographical) hero: it is an expression of the state of his inner world, primarily sensory-emotional. Lyrical hero experiences a feeling of unity, harmony, harmony with nature, therefore the landscape depicts a peaceful nature, maternally disposed towards man; she is spiritualized, poeticized. A lyrical landscape, as a rule, is created by combining the contemplation of a natural picture (directly in this moment or in images of memory) and hidden or overt meditativeness (emotional reflection, reflection). The latter is associated with the themes of home, love, motherland, and sometimes God, and is permeated with a feeling of world harmony, mystery and the deep meaning of life. There are many tropes in the descriptions and rhythm is expressed. Lyrical landscapes are especially developed in the literature of the 19th-20th centuries (I. Turgenev, M. Prishvin).

II. Main part. The artistic originality of the landscape in the story by I.S. Turgenev "Bezhin Meadow"

1. Picture of an early summer morning.

The story opens with a landscape of a summer morning. The writer turns to the description of the sky, dawn, sun, clouds. The colors used by the author to describe nature amaze with their sophistication and diversity: welcoming radiant, lilac, the shine of forged silver, golden-gray, lavender. Nature is regal and benevolent... It gives off a feeling of fragility and harmony. There is no man in the landscape; he has no power to control this power and beauty, but only looks at God’s creation with delight. The writer’s entire description of the morning landscape is based on the image of the high sky. The result is a feeling of some kind of sublimity.

Showing the awakening of an early summer morning, the writer uses an abundance of personification and verbal metaphors, which also includes figurative and visual epithets.

Moreover, the number of emotional epithets exceeds the number of figurative ones.

Central images early morning: the morning dawn “does not glow..., spreads”, the sun “peacefully rises, shines and sinks”, a cloud, a cloud - words with diminutive suffixes that indicate the fragility of the picture. The artist’s goal is to show the meekness of the early morning, its fragility. Emotional epithets predominate because the image of nature, the picture of the awakening of nature, is conveyed through the perception of the author-storyteller. The delicate color scheme conveys to us the author’s own idea that the beauty of the world around us is associated with such concepts as silence, peace, meekness.

2. Picture of a clear summer day.

Let us turn to the description of the picture of a clear summer day. In this picture, Turgenev clearly predominates in the figurative epithet in combination with metaphor; let us highlight the epithet together with the noun and verb that it defines.

“...playing rays poured out and cheerfully and majestically...the mighty luminary rose.”


With nouns	With verbs
"Beautiful July Day"; "the sky is clear"; “the sun is bright, welcomingly radiant”; "mighty luminary"	"rises merrily and majestically"
Epithets in a picture of a summer day
Emotional epithets	Figurative epithets
“beautiful... day”, “the sky is clear”, “the sun is not fiery, not hot... not dull purple,... but bright and welcomingly radiant...”, “mighty luminary”, “The color of the sky, light, pale lilac...” , "clouds...uncertain."	“lilac...fog”, “...many...clouds appear, golden-gray...”, “... azure...” (about clouds), “bluish stripes”, “pink puffs”, “scarlet radiance”, “the colors are light, but not bright", "white pillars".

The main artistic means for creating the image of a summer day are epithets that help the reader see a picture of a beautiful, warm, sparkling day, giving a person a feeling of calm and purity. The verb of the perfect form separates the timid, quiet morning, which is mainly described with the help of verbs of the imperfect form “does not glow, spills, floats up” from the dynamic day: “Playing rays poured in...” Here is the complete awakening of nature, the light that literally permeates everything around triumphs.

3. Picture of the night.

Turgenev's night landscape is also very emotional. To create it, the author uses personifications, metaphors, vivid expressive and emotional epithets, and comparisons. At night everything seems to come to life.

metaphors	personifications	epithets	comparisons
Darkness rose from everywhere and even poured from above”; “with every moment approaching, gloomy darkness rose in huge clouds”; “My heart sank”	“At the bottom of it (the hollow) several large white stones stood upright - it seemed that some were crawling there for a secret meeting	“The night bird timidly dived to the side”; “a gloomy darkness rose up”; “my steps echoed dully”; “I desperately rushed forward”; in the ravine “it was mute and deaf, the sky hung so flat, so sadly above it”; “some animal squeaked weakly and pitifully”	“The night was approaching and growing like a thundercloud”; “the bushes seemed to suddenly rise out of the ground right in front of my nose”

Turgenev uses an emotional, expressive epithet.These artistic means are necessary for the author in order to convey the state of the hero. Through the prism of his feelings we see the night landscape. The emotional epithet “the bird fearfully dived” also conveys the state in which the hero is: a feeling of fear, anxiety and restlessness. “The night was approaching and growing like a thundercloud; It seemed that, together with the evening couples, darkness was rising from everywhere and even pouring from above... approaching every moment, gloomy darkness rose in huge clouds. My steps echoed dully in the frozen air.” As the night grows, so does the hunter's anxiety. The picture of the approaching night is revealed through the perception of a worried, alarmed man who is finally convinced that he is lost. At first he is overcome by an “unpleasant feeling,” then he feels “somehow creepy,” and finally, fear develops into horror in front of the “terrible abyss.” To a troubled imagination everything appears in a gloomy light. This is the psychological basis of the picture of night in its initial stage.

The alarming night landscape is replaced by highly solemn and calmly majestic pictures of nature, when the author finally went out onto the road, saw peasant children sitting around two fires, and sat down with the children near the cheerfully crackling flames. The calmed artist saw the high starry sky in all its splendor and even felt the special pleasant aroma of the Russian summer night.

“The dark, clear sky, solemn and immense, stood high above us with all its mysterious splendor.My chest felt sweetly ashamed, inhaling that special, languid and fresh smell - the smell of a Russian summer night. Almost no noise was heard around...”

We see, hear and smell Turgenev's night. The author admires the majestic beauty of the Russian summer night, and his heroes are fascinated by it.

4. Image of light.

The central image in the story is the image of light. To understand this, it is enough to trace how many words in the description of morning and day contain the meaning (semantics) of light. The image of light appears gradually, at first we find its meaning in the words “clear, dawn, not blazing, bright,” then the light grows: “the shine is like the shine ... of silver, rays poured out,” and now the “luminary” appears. This is the Sun. But it is no coincidence that the author calls him a luminary. It's not easy anymore heavenly body, this is some kind of pagan deity who gives life to everything on Earth. It spreads light to everything around. It's majestic. For a moment it seems that this is unshakable. The color of the sky is the same all day. As evening approaches, the light becomes less. Here clouds appear, the color scheme of the day changes: “blackish and vague” clouds. There are fewer words with the meaning of light: “the setting sun,” “the scarlet glow over the darkened earth,” and, finally, “a carefully carried candle,” “the evening star.”

The metaphor of a “carefully carried candle” very accurately reflects Turgenev’s thought about the fragility of this world.

From this moment on, the light begins to fight the darkness. There is still light: “the sky is vaguely clear,” but the closer the night, the less it becomes, first “darkness poured down,” then “gloomy darkness,” and now “a terrible abyss.” It seemed that it could be worse, the light disappeared completely.

All this struggle in nature also occurs in the soul of the hero. The less light there is, the more he panics. Man and nature are one. Light and darkness are eternal rivals for the soul of man. It seems that the darkness has completely won, but suddenly the hunter sees fire from the fire. It's light again. Throughout all the boys' stories, the motif of the struggle between darkness and light will be present. And finally, at the very end of the story, the final victory of light will occur: “scarlet streams... of hot light flowed... dewdrops began to glow like diamonds everywhere.”

With the help of metaphors and personifications, emotional, expressive epithets, Turgenev conveys to us the idea that in nature everything is harmonious, no matter how hopeless the night world may seem, we must always remember that light will definitely win. In nature, everything is in balance.

III. The meaning of nature in the story “Bezhin Meadow”.

So, in Turgenev’s story “Bezhin Meadow” Russian nature is shown with great expressiveness. Turgenev's landscape is lyrical, it is warmed by a deep feeling of love. Turgenev presents nature in the richness of its colors, sounds and smells; the image of the landscape is full of paths.

Showing the awakening of an early summer morning, the writer uses more personification, verbal metaphors and emotional epithets. This is justified by the artist’s goal - to show the very process of awakening and revitalizing nature.

In the description of pictures of a summer day, epithets in combination with metaphor predominate, which helps to express one’s impression and note the most striking signs of nature, the richness of colors on one of the summer days.

When depicting the night, the character and meaning of the visual means are already different, since the author wants to show not only pictures of nature, but also the increase in nighttime mystery and a feeling of increasing anxiety, therefore, there is no need to use vivid pictorial epithets. Turgenev uses a whole complex of linguistic means to convey anxious feelings: emotional epithets, comparisons, metaphors and personifications.

Thus, the very selection of visual means in Turgenev, as we have seen, is internally justified and plays a huge role in the description of nature.

Why, for what purpose did Turgenev introduce extensive descriptions of pictures of nature into his story? The life of peasant children, unlike urban ones, is always connected with nature, and in Turgenev’s story nature is shown, first of all, as a condition of life for peasant boys who are early introduced to agricultural work. It would be false, and even impossible, to depict children in the night without showing nature. But it is given not only as a background or condition for the life of peasant children.

Pictures of the approaching night caused the artist a feeling of restlessness and anxiety, and pictures of a summer day – a feeling of joy of life. Thus, pictures of nature evoke certain moods of the author.

The story begins with an image of a “beautiful summer day” and ends with an image of a clear summer morning. The landscape serves as the beginning and ending of the work.

So, the function of landscape in Turgenev is unusually diverse: it serves as the background for the lives of the heroes, determining the structure of the work, forming its beginning and ending; influences the imagination of heroes; highlights the hero’s state of mind, revealing the movement of the soul; carries social function; permeated with philosophical reflections on eternal struggle good and evil.

Thus, nature is shown by Turgenev as a force influencing both the narrator and the boys. Nature lives, changes, it is a character in the story. She interferes in a person's life. When the guys tell their stories, a pike splash is heard, a star rolls; a “lingering, ringing, almost moaning sound” is heard, a white dove appears, which “flew straight into this reflection, timidly turned around in one place, covered in a hot sheen, and disappeared, ringing its wings.” And this is the uniqueness of I.S. Turgenev’s perception of nature.

List of sources used in the literature

1. A.P. Valagin, I.S. Turgenev “Notes of a Hunter”: Experience of analyzing reading / A.P. Valagin // Literature at school. – 1992. - No. 3-4. – pp. 28-36.

2. I.S. Turgenev Bezhin meadow - M.: Education, 2005.

3. N.A. Nikolina, Compositional and stylistic originality of the story
I. S. Turgenev “Bezhin Meadow” / N. A. Nikolina // Rus. language At school. – 1983.
- No. 4. – P. 53-59.

4. E.A. Kikina, Man between light and darkness: materials for lessons based on the story by I. S. Turgenev “Bezhin Meadow” / E. A. Kikina // Literature: Supplement to the newspaper “First of September”. – 2005. - No. 21. – P. 3-4.

5. S.P. Belokurova, Dictionary literary terms, - St. Petersburg: Parity, 2007.

“Landscape and its role in I. S. Turgenev’s story “Bezhin Meadow.”

The purpose of the lesson: give students the opportunity to feel the writer’s skill in describing nature, to see the richness expressive means language.

Tasks:

establish the relationship between man and nature in the story;

determine the role of landscape in the story;

continue to develop analysis skills literary text, expressive reading; develop imagination;

cultivate a reverent attitude towards nature.

Lesson type: lesson on learning new material (analysis of literary text).

Forms of study work: individual, frontal.

Required technical equipment: computer, projector.

1. Organizing time.

Let us also smile at each other so that sparks of goodness will light up in each of us.

2. Introduction to the topic, setting lesson goals.

Teacher: Guys, today we will continue our acquaintance with the work of I. S. Turgenev “Bezhin Meadow”. Please tell me what place in the Central Russian zone is the name of I. S. Turgenev associated with? ( Spasskoye-Lutovinovo).

Teacher: Spasskoye is one of the most attractive places in all of central Russia. It lies among a vast black earth plain, dissected by deep ravines, with hills occasionally covered with deciduous forests. The surrounding area is picturesque and majestic…. The estate itself is especially beautiful. The memory of the family estate, the secret beauty of Spassky was imprinted in poetic works Ivan Sergeevich (teacher reads against the background of nature slides):

Golden clouds are walking

Above the resting earth;

The fields are spacious, silent

They shine, drenched in dew...

The tall forest is silent and dim,

The green, dark forest is silent.

Only sometimes in the deep shadow

The sleepless leaf will rustle.

The star trembles in the lights of the sunset,

Love's beautiful star,

And my soul is light and holy,

It’s easy, like in childhood.

Guys, please tell me how what you saw and what you heard compare? (We saw pictures of nature and heard a poem in which the author also describes nature.)

Guess what the topic of our lesson will be. (Nature in the story “Bezhin Meadow”)

What is the name of the picture of nature in work of art? (Scenery).

The topic of our lesson: “Landscape and its role in I. S. Turgenev’s story “Bezhin Meadow.”

And the epigraph to our lesson today will be the words of I. S. Turgenev himself:

“Nature is one miracle and a whole world of miracles: every person should be the same - that’s what he is... What would nature be without us, what would we be without nature? Both are unthinkable! ... how infinitely sweet - and bitter - and joyful and at the same time hard life is!..”

How do you understand the writer's words?

Based on the words of I. S. Turgenev, set the goals of the lesson. What will we have to figure out today, what will we discover, what will we learn?

(Establish the relationship between man and nature in the story, determine the role of the landscape in the story, learn to read and analyze the text expressively).

3. Studying new material.

(Work with text)

– What landscape appears before the hunter at the very beginning of the story? Find this place in the text, read it expressively to make it easier to imagine the July day. (The story “Bezhin Meadow” begins with a lyrical landscape, imbued with a feeling of the joy of life - a description of a “beautiful July day”).

Give this landscape a name. ("A Beautiful July Day")

What are they, the colors of a July day? (The sky is clear; blush, the sun is not fiery, not dull purple, welcomingly radiant, lilac).

Find in the story what a day in July smells like? ( Wormwood, compressed rye, buckwheat.)

What is the mood of the landscape that opens the story? ( M an enthusiastic message about the coming new day, the joy of meeting nature).

Conclusion: The July day creates a joyful and calm impression. The landscape “Bezhin Meadows” outlines the theme of the story - the theme of the beauty of nature - and creates a bright mood. This first part of the story creates a living image of Russian summer nature.

Landscape development.

- On just such a day, the narrator had a successful hunt and, with a full heavy bag, is getting ready to head back. He climbs the hill, expecting to see a familiar landscape, but he doesn’t. He goes in the direction where, it seemed, he was about to confirm his guess about his whereabouts, but he makes mistakes several times until he finally realizes that he is lost. Let's see how the environment and its perception changes.

(Reading the study passage).

So, the day is replaced by night. How do the colors of the story and its intonation change?

(From a mild July day, the narrator plunges into the unpleasant, motionless underground dampness of the natural interior. The thick tall grass at the bottom of the ravine where the wanderer finds himself turns dead white.)

What sounds do we hear?

How does our hunter feel? (Anxiety, confusion)

Find words and expressions that convey a person's feelings?

(“How did I come here? So far? Strange!” the hunter is perplexed. The feeling of the strangeness of what is happening does not leave the hero. Everything here is no less mysterious than in the boys’ stories: large white stones in the ravine, “seemed... to have crawled there for a secret meeting, and before that it was mute and deaf, the sky hung so flat, so sadly above her that her heart... sank.”

The hero’s internal monologue, rhetorical questions, and vocabulary symbolizing something creepy, dark, ominous, and disturbing, emphasize the hero’s confusion.

Teacher: In the story “Bezhin Meadow” the author’s words are heard: “Darkness fought with light.” How do you understand them?

(The description of nature includes the light part of the day and the dark part - evening and night.)

Compiling the table:

Light partday.

Evening and night.

Bright light, clarity

Gloomy gloom, darkness

Peace and meekness of soul

Anxiety, fear, freezing before the abyss

The light part is bright light; clarity, peace and meekness of soul. Evening and night are mysterious, increasing anxiety, fear, wandering in unfamiliar terrain and, finally, freezing in front of the abyss; incomprehensible, mysterious and terrible, which can be not only in nature, but also in the human soul.

The question arises: “Who will win the story? Darkness of the night or light of the morning? I will ask you to answer this question at the end of the lesson.

Teacher: Now let's see, b Will there be another description of the night in the story? We try to imagine a quiet, dewy night; A fire is burning nearby, there is a river nearby, and horses are nibbling the grass a little further away. Quiet, cozy. There are several guys at the fire. Guys unknown to you and me. These are peasant children of the century before last. They herd horses and while away the time by telling various tales. They are unusual for us. They are different.

We observe what they see at night, what does the author of the story see?

Read write and title episode describing the dead of night. ( Students are reading the episode.)

- How do we see the landscape here? What sounds do we hear?

(The landscape changes when the author moves on to characterize the boys and their “ scary stories" Turgenev, on the one hand, admires nature, the beauty of the night, listens with great interest to their mysterious stories, and on the other hand, he seems to be experiencing incomprehensible natural phenomena with them: “The night stood solemnly and royally...” and “... a strange, sharp, painful cry was heard suddenly twice in a row over the river and, a few moments later, repeated further...").

Guys, you’ve probably also noticed that during the day you feel different, not like at night? But as?

- Indeed, under the influence of darkness in the story, a mood of mystery and vague anxiety grows, preparing the reader for the main part of the story - the boys’ conversation about brownies and goblins.

Guys, did you have homework- prepare an artistic retelling of the story from the perspective of one of the characters in the story. Try to convey with your voice the mood of mystery that is present in the story.

(Children talk.)

Physical education minute.

Work based on the painting by V. E. Makovsky “In the Night”

Does the picture fully reflect the text of the story?

Which of the boys in “Bezhin Meadows” are reminiscent of the children’s figures depicted by V.E. Makovsky?" (Students recognize Fedya in the boy lying in the foreground. The boy standing in the right corner of the picture is Pavlusha. Ilyusha is enthusiastically telling something, and Kostya is next to him.)

Does the time of day depicted in the painting match the time in the story?

( Landscape I.S. Turgeneva describes an earlier picture of dawn, and in the painting by V.E. Makovsky morning has already fully come into its own. The final landscape shown in the story is more consistent with what is depicted in the picture: “... first scarlet, then red, golden streams of young, hot light poured down.”

To compare the landscape in the picture and in the text, the teacher reads a fragment of the story - a description of the dawn.

Questions to the text:

What is the difference between the depiction of nature in the picture and in the text of the story?

Which image of nature is more complete: verbal or pictorial? (In the painting, the artist showed one moment of the landscape, and the writer in the story presented a picture of a sunrise in motion.)

Look at the plan you made. What can you say about the composition of the story? How do descriptions of nature alternate in the story? How do you answer the question: “P did the light of the morning dine in the story?”

According to V. G. Belinsky, Turgenev “loves nature not as an amateur, but as an artist, and therefore never tries to portray it only in poetic types, but takes it as it appears to him.” His landscape is mobile: it lives and changes. Turgenev finds himself a keen observer of the various shades of colors, sounds, smells of the field and forest during the transition from day to night, from night to morning.

Determine which artistic techniques used by the author when describing pictures of nature.

Row assignment:

1st row: Find paths in the description of the sky, sun, clouds, wind.

2nd row: Find trails in the description of the forest and plants.

3rd row: Find trails in the descriptions of animals.

Summing up the lesson. Reflection.

Teacher: Now let’s summarize the lesson and for this we will conduct a small experiment. Imagine that Turgenev removed all pictures of nature from the story. What will happen? What is lost in this? Are descriptions of nature necessary?

(Without pictures of nature, without these landscape sketches, the charm and all the charm of this short but such a beautiful story will disappear. Pictures of nature helped us to better understand the characters of the characters in the story).

What is nature for boys?(For the boys who were met by the hunter at the night fire, nature, on the one hand – their life, even a holiday: “Dismissing a herd before the evening and bringing in a herd at dawn is a big holiday for peasant boys.” On the other hand, nature for them is full of mysteries, incomprehensible phenomena, which they explain by the action of otherworldly forces in the stories about the brownie in the roller, about Gavril and the mermaid, about Ermil and the lamb, about the bully, about the goblin, about the merman.)

- Did the description of nature help reveal the characters of peasant children?

( Against the backdrop of beautiful nature, village children seem even more attractive, i.e. the inner beauty of peasant children is enhanced. The bravest of the boys, Pavlusha, is not afraid of the dangers that nature is full of: “Without a twig in his hand, at night, he, without any hesitation, galloped alone towards the wolf.” At the same time, Pavlusha completely trusts fate: “You can’t escape your fate”).

Teacher: Now check yourself to see if you installed it correctly connection between man and his surrounding nature in Turgenev's story?To do this, complete the following task:

Assignment: Choose the appropriate commentary for the pictures of nature:

1. Description of the July day.

Nature lives separately, beautifully, independent life. The person seems to be looking up at her (description of the sky, sun, clouds), admiring the constantly changing pictures of the sky.

2. The night was approaching and growing like a thundercloud.

Nature frightens the hunter and is hostile to him.

3. The night stood solemnly and regal.

A person feels like a part of nature. Description of nature creates an atmosphere of mystery, shows that something fantastic is bound to happen.

Yes, nature is mysterious, and if you don’t unravel its secrets, it has a terrifying effect on people’s minds . But in this confrontation between man and nature, man gains the upper hand. As V.G. said Belinsky: “Nature is the eternal example of art, and the greatest and noblest subject in nature is man.”

- Guys, pay attention to one more statement by I. S. Turgenev:

“...Nature cannot cope with logic, with our human logic; it has its own, which we do not understand and do not recognize until it runs over us like a wheel.”

What does it mean “until she runs over us like a wheel”? (Perhaps she will punish? After all, people often offend nature, litter in the forest, handle fire carelessly. And she punishes: not only forests, but also houses burn.)

Compare this statement by I. S. Turgenev with the statement that we took as the epigraph to our lesson. What conclusion can you draw for yourself?

- Express your attitude to the lesson:

I was wondering when...

It was difficult for me when...

I like it…

I did not like…

Lesson grades.

Homework.

Write a short essay-reflection on the topic: “Man and Nature.”

Night landscape in the story “Bezhin Meadow”

I. O. Turgenev’s story “Bezhin Meadow” occupies a special place in the composition of “Notes of a Hunter”, however, it was he who “was most subject to distortion in criticism.” Interpretations of this story are different and often opposed to each other. According to modern researchers, this a work in which “the Russian peasant world - peasant children - is shown not only in its deprivation, but also in its gift for spiritual beauty.” But it should also be noted that nature plays a great role in this story. alive in all its visual clarity; the writer sensitively notices and subtly notes the various shades of visual and auditory sensations perceived from natural phenomena at different moments of the day and night; nature in Turgenev’s depiction is organically connected with human experiences, setting up at night a feeling of some kind of connected mystery; with some fear and fear of incomprehensible night sounds, rustles, darkness, blinking stars, awakens creative imagination in teenagers who are just entering life and are interested in everything. But they, like the writer, not only subtly notice, but also love nature.

The story opens with a landscape of a summer day. The colors used by the author to describe nature amaze with their sophistication and diversity: welcoming radiant, lilac, the shine of forged silver, golden-gray, lavender. Nature is royal and benevolent... There is no man in the landscape, he has no power to control this power and beauty, but only looks at God’s creation with delight. . The abundance of light is like opposition to darkness. The light is graduated, intensifying from morning to noon and decreasing towards evening. There is an abundance of vegetation (bushes, thick, tall grass, buckwheat, wormwood, compressed rye), birds and animals (wedges, dogs, horses, hawks, quails, pigeons, herons), familiar sounds and smells that are associated with the living world (voices , living sounds, quails were calling, the sound of a bell, singing, rustling, talking, smells of wormwood, compressed rye, buckwheat). .

There is also an abundance of antitheses (day-night, light-darkness, life-death, peace-anxiety). In the semantic composition of the work, it is opposed to “gloom”, “darkness” (“darkness fought with light”). It is the night landscape that plays a special role in creating the figurative and symbolic plan of the work. System speech means, conveying the onset of darkness, is dynamic. The first comparisons are of an everyday nature:

“I was immediately overcome by an unpleasant, motionless dampness, as if I had entered a cellar; thick, tall, white as a smooth tablecloth».

The role of means that convey the emotional intensity of the narrator and the mystery of the surrounding nature is gradually increasing ( somehow creepy, mysteriously swirling, oxymoron hazy clear sky and so on.).

Metaphorical word usage acts as the leading principle of the lexical-semantic organization of a given text fragment:

“Meanwhile, the night was approaching and growing like a thundercloud; It seemed as if, along with the evening vapors, darkness was rising from everywhere and even pouring from above.”

Metaphors and comparisons create a certain emotionally expressive halo around neutral units of context. The night landscape in the story “Bezhin Meadow” is characterized by a special depiction of realities that are abstract, partly hyperbolic in nature. This is not so much a description of the forest middle zone Russia, as a generalized transfer of the most characteristic natural elements of the expanding space:

“I quickly pulled back my raised leg and, through the barely transparent darkness of the night, I saw a huge plain far below me. A wide river went around it in a semicircle moving away from me... The hill on which I was suddenly descended into an almost vertical cliff; its huge outlines separated, turning black, from the bluish airy void..."

At the same time, the narrator’s duality deepens: on the one hand, his objectivity is emphasized, on the other hand, his assessments become more emotional and subjective:

A) ... approaching with every moment, gloomy darkness rose in huge clouds. My steps echoed dully in the frozen air.
B) The sky hung so high, so sadly above her that my heart sank.

In this description, words of the same lexical-semantic group gloom, darkness, haze, twilight, which are characterized by a stable symbolic halo, are regularly repeated in this description. The description ends with the image of a “terrible abyss.”

This movement of speech means is not accidental - in this fragment of the text it is a form of expression of a figurative and symbolic plan: the external, daytime world hides the “nameless abyss” of the night, in front of which the narrator finds himself. The human “I” in this compositional part is opposed to nature - the eternal Isis.

And in fact, nocturnal nature plays a very important role in the story. It does not give a person’s inquisitive thoughts complete satisfaction and maintains the feeling of unresolved mysteries of earthly existence. Turgenev’s night is not only eerie and mysterious, it is also regally beautiful with its “dark and clear sky, which “solemnly and immensely high” stands above the people, “languorous smells,” and the sonorous splashes of large fish in the river.

It spiritually liberates a person, cleanses his soul from small everyday worries, disturbs his worldview with the endless mysteries of the universe: “I looked around: the night stood solemnly and regally... Countless golden stars seemed to flow quietly, flickering in competition, in the direction of the Milky Way, and , really, looking at them, you seemed to vaguely feel the rapid, non-stop running of the earth...”

Nature, taking place in the darkness of the night, suggests to children around the fire the beautiful, fantastic plots of legends, dictates their succession, offers children one riddle after another, and itself often suggests the possibility of solving them. The story about the mermaid is preceded by the rustling of reeds and mysterious splashes on the river, as well as the flight of a falling star - the human soul, according to peasant beliefs. The image of the mythical mermaid is surprisingly pure and, as it were, woven from a wide variety of natural elements. She is light and white, like a cloud, silver, like the light of the moon, like the shine of a fish in the water. And “her voice... is so thin and pitiful,” like the voice of that mysterious “animal” that “squeaked weakly and pitifully among the stones.”

So, after short-term fears, the summer night brings glimmers of hope to the hunter and the peasant children, and then peaceful sleep and tranquility. The omnipotent night in relation to man is itself only a moment in the living breath of the cosmic forces of nature, restoring light and harmony in the world: “A fresh stream ran across my face. I opened my eyes: the morning was beginning... Before I had gone two miles, they were already pouring all around me... first scarlet, then red, golden streams of young hot light... Everything moved, woke up, sang, rustled, spoke. Everywhere large drops of dew began to glow like radiant diamonds; The sounds of a bell came towards me, clean and clear, as if also washed by the morning cool, and suddenly a rested herd rushed past me...”.

The world of boys in the story “Bezhin Meadow” is a poetic world and in many ways attractive to the narrator. The attitude of children to nature differs significantly from the position of the hunter at the beginning of the story. For peasant boys, nature represents a single whole, each point of which is connected to the rest. The views of the characters are commented on, interpreted and in some cases refuted by both the narrator and the characters themselves, refracted in different subjective spheres and presented in double light. The principle of correspondence between two plans - real and fantastic - acts as the leading compositional principle of this part of the work. Descriptive contexts framing children's stories create the impression of inexhaustiveness of explanation, approximate motivations, which is strengthened by the use of attributive series such as an incomprehensible night sound, a strange, sharp, painful sound, etc. “The world, approaching from all sides towards the weak flame of a night fire, does not lose its poetic mystery, depth, inexhaustibility... Night nature does not give self-satisfaction to the inquisitive thoughts of a person, it maintains the feeling of the unresolved mysteries of earthly existence.” At the same time, the Image of the night is associated with the motive of revelation, an irrational approach to the truth: it is no coincidence that the boys’ night stories contain elements of prospection - tragic references to the fate of other heroes of “Notes of a Hunter” (Akulina, Akim the forester), thus “Bezhin Meadow” really acts as the “focus of the poetic line” of the cycle. .

With the rise of the mighty sun, “Bezhin Meadow” opens and closes - one of best stories about Russian nature and its children. In “Notes of a Hunter,” Turgenev created a living poetic image of Russia, crowned with life-affirming sunny nature. In the peasant children living in close union with her, he saw “the embryo of future great deeds, great people's development, giving the picture of nature a bright poetic imagery, consistent with the spirit of those folk legends that peasant children tell on a mysterious night around the fire.

We see the coming of evening, the sunset. The shadows of the night thicken, the area becomes ghostly, the exhausted hunter and dog lose their way, lose their composure, experiencing an acute feeling of loneliness and loss. The mysterious and enigmatic life of nocturnal nature comes into its own powerfully, before which man is by no means omnipotent. He is reminded of this by the silent flight of frightened birds, the gloomy, swirling darkness, the weak and plaintive squeak of some animal between the stones.

It is unlikely that in this story we will find someone who is usually called the “main character.” Because the people themselves, adults and children, who are described in the work, are not “main” in relation to everything that surrounds them. “More important” than them are the night, the fire of the fire, the stars in the sky, the sky itself in its unimaginable and disturbing infinity. Finally, the planet Earth, rushing in the cosmic void in its inescapable circle—the narrator experiences a vague sensation of this movement. And if we talk about the dominant position of representatives not of the human, but of the cosmological series, then we must admit that the true protagonist of the story is the Sun. The description of the rising sun “frames” the story, although all of its night events and incidents.

The action of the story begins in the evening, after sunset (“the evening dawn has already gone out”), but in the introductory part the author gives a description of the passing day, clearly recording its parts: “ From the very early morning... Around noon... Towards the evening..." The most important element of this description is the sunrise: “ The sun - not fiery, not dull crimson, as before a storm, but bright and welcomingly radiant - floats peacefully above a narrow and long cloud, shines freshly and plunges into its purple fog... But then the playing rays poured out again - and joyfully I majestically, as if taking off, a mighty luminary rises.”. At the end of the story, the hunter, leaving the fire, is, apparently, with his back to to the rising sun. But the effect of the “solar presence” does not weaken because of this, the observer’s gaze is simply directed not upward, but “around”. The narrator complements the invisible part of the sunlit space of the earth with his imagination: “I had not gone two miles before it began to pour all around me across a wide wet meadow, and in front, along the green hills, from forest to forest, and behind along a long dusty road, along sparkling, stained bushes, and along the river, shyly turning blue from -under the thinning fog, - first scarlet, then red, golden streams of young, hot light poured down..

Arousing superstitious feelings first in the soul of the hunter, and then in the minds of the peasant children, Turgenev’s night gives only hints of the possibility of a realistic explanation of its mysteries and mysteries. She is omnipotent and omnipotent, she saves the final word of the answer from man in her dark depths.

Main stages of development artistic idea in the semantic composition of the work corresponds the opposition “light” - “darkness” - “light”, and in the external composition - its three-part structure. In the first part of the story, as already noted, the image of light is dominant; the lexical means used in it are characterized by the general semantic features “meek”, “peaceful” (gentle blush, welcoming radiant sun, smooth blue, peacefully floats up, calmly set, touching meekness). These “overtones of meaning” (B. A. Larin) interact in the introduction with others generated by the units “sultry drought”, “fire”, “storm”, “thunderstorm” - the image of serene-light nature turns out to be internally contradictory, which prepares the system images of the central part of the story. It is dominated by images of Darkness, darkness, night, opposed to the image of light. The fantastic nature of the story introduces dark features into nature, which usually scare people away and instill a feeling of fear that is inherent when darkness comes. The boys' stories are far from reality, but, nevertheless, they are impressive and evoke terrible thoughts. And fear comes only because everything happens at night, at the most mysterious time of the day, which in itself does not attract people, but, on the contrary, scares them away. Therefore, the legends that boys tell each other look even more impressionable and memorable. But in the last part of the work, “darkness” retreats, “light” wins:

... first scarlet, then red, golden streams of young, hot light poured out. Everything moved, woke up, sang, made noise, spoke. .

Descriptions of the night and morning landscapes reveal a system of echoes and correspondences (the motionless, dark mirror of the river, the river, bashfully turning blue from under the thinning fog), and the sound designations are supplemented by color designations that correspond to the introduction. .

Also amazing picture we observe the nights in the story “Forest and Steppe”. Reading the first lines of the story, we are immersed in that nightly calm that the author tells us about. The features of the night are described in great detail. Turgenev did not want to miss even small details. The depiction of nature lacks the simplicity that we are accustomed to seeing, the author reveals to us new picture nature, makes it possible to feel it and enjoy it. Just a few lines at the beginning of the story, and we already feel that extraordinary calm that only happens in summer, and we see pure “ dark gray" the sky where " stars are twinkling here and there" Light coolness, the noise of trees, gray shadows - all this calms us, helping us forget about the problems of the approaching morning. We are accustomed to correlating the night with calm, silence, carefreeness, also with romance, beauty, mystery - this is how we see the night, and the author does not contradict our ideas, but, on the contrary, depicts them as brighter and more intense. We listen to the “discreet, unclear whisper of the night,” trying to understand it, merge with the silence of the night and completely immerse ourselves in the world created by I. S. Turgenev.

Nature in “Bezhin Meadow” is presented in the richness of its colors, sounds and smells. This is the richness of color Turgenev gives in the picture of the early morning: “I had not gone two miles before... first scarlet, then red, golden streams of young hot light began to pour around me... Large drops of dew began to glow everywhere like radiant diamonds... ."

These are the sounds that permeate Turgenev’s majestic power: “Almost no noise was heard all around... Only occasionally in a nearby river will splash with sudden sonority big fish, and the coastal reeds will rustle faintly, barely shaken by the oncoming wave... Only the lights crackled quietly.” Or: “Suddenly, somewhere in the distance, a drawn-out, ringing, almost moaning sound was heard, one of those incomprehensible night sounds that sometimes arise in the midst of deep silence, rise, stand in the air and slowly spread, finally, as if dying out. If you listen, it’s as if there’s nothing, but it’s ringing. It seemed as if someone had shouted for a long, long time under the very horizon, and someone else seemed to respond to him in the forest with a thin, sharp laugh. and a weak, hissing whistle rushed along the river.”

And here’s how fun and noisily Turgenev wakes up on a clear summer morning: “Everything moved, woke up, sang, made noise, spoke... the sounds of a bell came towards me, clean and clear, as if... washed by the morning cool.”

Turgenev also loves to talk about the smells of the nature he depicts. The writer is not at all indifferent to the smells of nature. Thus, in his essay “Forest and Steppe” he talks about the warm smell of the night,” that “the whole air is filled with the fresh bitterness of wormwood, the honey of buckwheat and porridge.” Also, describing a summer day in “Bezhin Meadow”, he notes:

“The dry and clean air smells of wormwood, compressed rye, and buckwheat; even an hour before night you don’t feel damp.”

Depicting the night, the writer also talks about its special smell:

“The dark, clear sky stood solemnly and immensely high above us with all its mysterious splendor. My chest felt sweetly ashamed, inhaling that special languid and fresh smell - the smell of a Russian summer night.”

Turgenev depicts nature in motion: in shifts and transitions from morning to day, from day to evening, from evening to night, with a gradual change in colors and sounds, smells and winds, sky and sun. Depicting nature, Turgenev shows the constant manifestations of its full-blooded life.

As a realist writer, Turgenev portrays nature deeply truthfully. His description of the landscape is psychologically based. Thus, to describe a clear summer day, Turgenev preferably uses a visual epithet, because the author sets himself the goal of showing the richness of the colors of sunlit nature and expressing his strongest impressions of it. When depicting the coming night, the character and meaning of the visual means are completely different. This is understandable. Here the author sets the goal of showing not only pictures of the night, but also the growth of nighttime mystery and the feeling of increasing anxiety that arose in him in connection with the onset of darkness and the loss of the road. Therefore, there is no need for a bright figurative epithet. A thoughtful artist, Turgenev uses in this case an emotional, expressive epithet that well conveys the anxious feelings of the narrator. But he is not limited to them either. The author manages to convey the feeling of fear, anxiety and anxiety only with a complex set of linguistic means: an emotionally expressive epithet, a comparison, a metaphor, and personification:

“The night was approaching and growing like a thundercloud; It seemed that, along with the evening couples, darkness was rising from everywhere and even pouring from above... approaching with every moment, gloomy darkness rose in huge clouds. My steps echoed dully in the frozen air... I desperately rushed forward... and found myself in a shallow hole. a plowed ravine all around. A strange feeling immediately took possession of me. The hollow had the appearance of an almost regular cauldron with gentle sides; at the bottom of it several large white stones stood upright - it seemed that they had crawled there for a secret meeting - and it was so mute and dull in it, the sky hung so flat, so sadly above it that my heart sank. Some animal squeaked weakly and pitifully between the stones.”

The writer in this case is not so much concerned with depicting nature as expressing his restless feelings that it evokes in him.

The picture of the onset of night in the figurative means of language

Comparison	Metaphor	Personification
“The night was approaching and growing like a thundercloud”; “the bushes seemed to suddenly rise out of the ground right in front of my nose”; “gloomy darkness rose in huge clouds”	“The darkness rose from everywhere and even poured from above”; “with every moving moment, gloomy darkness rose in huge clouds”; “My heart sank”	“At the bottom of it (the ravine) several large white stones stood upright - it seemed that they had crawled there for a secret meeting.”	“The night bird timidly dived to the side”; “a gloomy darkness rose up”; “my steps echoed dully”; “I desperately rushed forward”; in the ravine “it was mute and deaf, the sky hung so flat, so sadly above it”; “some animal squeaked weakly and pitifully”

The examples given are quite enough to finally convince students of how thoughtfully Turgenev selected visual arts language. It should be especially emphasized that the picture of the approaching night is revealed through the perception of a worried, alarmed person who has finally become convinced that he is lost. Hence the darkening of colors in the description of nature: to a troubled imagination everything appears in a gloomy light. This is the psychological basis of the picture of night in its initial stage.

Summer night at Turgenev's

Signs of the night

Pictures of the night

Visual images

Mysterious sounds

“The dark, clear sky stood solemnly and immensely high above us with all its mysterious splendor”; “I looked around: the night stood solemnly and royally”; “Countless golden stars seemed to flow quietly, twinkling in competition, along the direction of the Milky Way...”

“Almost no noise was heard all around... Only occasionally in a nearby river a large fish would splash with sudden sonority, and the coastal reeds would rustle faintly, barely shaken by the oncoming wave... Only the lights crackled quietly.”

“Suddenly, somewhere in the distance, a drawn-out, ringing, almost moaning sound was heard...”; “it seemed... someone else seemed to respond to him in the forest with a thin, sharp laugh, and a weak, hissing whistle rushed along the river”; “a strange, sharp, painful cry suddenly rang out twice in a row over the river and a few moments later was repeated further”

“My chest felt sweetly ashamed, inhaling that special, languid and fresh smell - the smell of a Russian summer night”; in the morning “there was no longer a strong smell in the air; dampness seemed to be spreading in it again”

“The picture was wonderful!”

“Look, look, guys,” Vanya’s childish voice suddenly rang out, “look at God’s stars, the bees are swarming.”

“The eyes of all the boys rose to the sky and did not fall soon.”

“The boys looked at each other and shuddered”; “Kostya shuddered. -- What is this? “It’s a heron screaming,” Pavel objected calmly.”

Full of mysterious sounds, the nature of the night instills in boys a feeling of unaccountable fear and at the same time enhances their heightened, almost painful curiosity for stories about the mysterious and terrible.

Thus, nature is shown by Turgenev as a force that actively influences both the author and his heroes. And for the reader, we will add on our own behalf.

I. S. Turgenev is an insightful and perspicacious artist, sensitive to everything, able to notice and describe the most insignificant, small details. Turgenev perfectly mastered the skill of description. All his paintings are alive, clearly presented, filled with sounds. Turgenev's landscape is psychological, connected with the experiences and appearance of the characters in the story, with their way of life.

Undoubtedly, the landscape in the story “Bezhin Meadow” plays an important role. We can say that the entire story is permeated with artistic sketches that determine the state of the hero, emphasize his mood, feelings, and determine internal tension. “Bezhin Meadow”, in fact, begins with landscape sketches. The author describes a beautiful July day, when “all the colors are softened, light, but not bright,” when the “touching meekness” of nature is felt, the air is dry and clean. These pictures appear before your eyes and the smells of wormwood, compressed rye, and buckwheat, which the author mentions, are felt.

It's a wonderful day! The hero is happy with the grouse hunt. However, the feeling of calm and harmony did not last long. Evening came and it began to get dark. The hero lost his way, got lost, and was overcome by inner restlessness. Using the description of nature, the author manages to show his confusion. The hero was immediately overcome by an unpleasant, motionless dampness, which made him feel eerie. The bats were already “rushing”, and the belated birds were hurrying to their nests. As the hunter realized that he was seriously lost and would no longer be able to get out of the forest in the darkness today, “the night approached and grew like a thundercloud,” and “darkness poured out” from everywhere. And so, when the hero finally abandoned the hope of getting home, he went out to Bezhin meadow, where the village children were sitting around the fire. They were herding a herd of horses. In this romantic setting, they told each other different stories. The hunter joined them. Gradually, the feeling of anxiety went away and was replaced by new feelings: calm, peace. He began to admire the sky, the river, the crackling fire, and enjoy the special, languid and fresh “smell of a Russian summer night.”

The narrator listened to the guys' stories with curiosity. At the most intense moments of the stories, nature, as if listening to them, sent small surprises. Every time, at the most terrible moment, something happened. After Kostya’s story about the meeting of the carpenter Gavrila with the mermaid, the guys hear a “lingering, ringing, almost moaning sound” that suddenly arose from the silence and slowly spread through the air. The story told by Ilyusha about how the huntsman Ermil met evil spirits in the form of a lamb, scares the children even more because suddenly the dogs got up and, with convulsive barking, rushed away from the fire and disappeared into the darkness. The story about the dead and the prediction of death makes the children thoughtful. Appeared white dove, flying up to the fire out of nowhere, circling in one place and dissolving in the darkness of the night, makes them wonder if this is not a righteous soul flying to heaven. “The strange, sharp, painful cry of a heron,” heard in the silence, serves as a transition to a conversation about mysterious and terrible sounds: this is how a soul can “complain” or a goblin scream. All these pictures convey the anxiety, fear, tension of the children, emphasizing their mood. “God's stars,” to which little Vanya attracts attention, helps all children see the beauty of the night sky.

Turgenev's landscape is psychological, connected with the experiences and appearance of the characters in the story, with their way of life.

The story also ends with a description of nature. “Everything moved, woke up, sang, rustled, spoke,” a new day, unusually beautiful, sunny and bright, combined with the sounds of a bell and invigorating freshness, serves as the final chord of this wonderful work.

The skill of I. S. Turgenev helps readers feel the beauty of their native nature, pay attention to what happens in it every minute, every hour.

“Notes of a Hunter” is a book about the Russian people, the serf peasantry. However, Turgenev's stories and essays also describe many other aspects of Russian life at that time. From the first sketches of his “hunting” cycle, Turgenev became famous as an artist with an amazing gift for seeing and drawing pictures of nature. Turgenev's landscape is psychological, it is associated with the experiences and appearance of the characters in the story, with their everyday life. The writer was able to translate his fleeting, random “hunting” encounters and observations into typical […]
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Tolstoy in his novel “War and Peace” presents us with many different heroes. He tells us about their lives, about the relationship between them. Almost from the first pages of the novel one can understand that of all the heroes and heroines, Natasha Rostova is the writer’s favorite heroine. Who is Natasha Rostova, when Marya Bolkonskaya asked Pierre Bezukhov to talk about Natasha, he replied: “I don’t know how to answer your question. I absolutely don’t know what kind of girl this is; I can't analyze it at all. She's charming. Why, [...]
The disputes between Bazarov and Pavel Petrovich represent the social side of the conflict in Turgenev’s novel “Fathers and Sons.” Here, not just different views of representatives of two generations collide, but also two fundamentally different political points of view. Bazarov and Pavel Petrovich find themselves on opposite sides of the barricades in accordance with all parameters. Bazarov is a commoner, coming from a poor family, forced to make his own way in life. Pavel Petrovich is a hereditary nobleman, guardian of family ties and [...]
Ivan Sergeevich Turgeny is a famous Russian writer who gave Russian literature works that have become classics. The story “Spring Waters” belongs to the late period of the author’s work. The writer's skill is manifested mainly in revealing the psychological experiences of the characters, their doubts and searches. The plot is based on the relationship between a Russian intellectual, Dmitry Sanin, and a young Italian beauty, Gemma Roselli. Revealing the characters of his heroes throughout the narrative, Turgenev brings [...]
Duel test. Bazarov and his friend again drive along the same circle: Maryino - Nikolskoye - parental home. The situation outwardly almost literally reproduces that on the first visit. Arkady enjoys summer vacation and, barely finding an excuse, returns to Nikolskoye, to Katya. Bazarov continues his natural science experiments. True, this time the author expresses himself differently: “the fever of work came over him.” The new Bazarov abandoned intense ideological disputes with Pavel Petrovich. Only rarely does he throw enough [...]
Kirsanov N.P. Kirsanov P.P. Appearance A short man in his early forties. After a long-term broken leg, he walks with a limp. The facial features are pleasant, the expression is sad. A handsome, well-groomed middle-aged man. He dresses smartly, in the English manner. Ease of movement reveals a sporty person. Marital status Widower for more than 10 years, was very happily married. There is a young mistress Fenechka. Two sons: Arkady and six-month-old Mitya. Bachelor. In the past he was successful with women. After […]
The most prominent female figures in Turgenev's novel “Fathers and Sons” are Anna Sergeevna Odintsova, Fenechka and Kukshina. These three images are extremely different from each other, but nevertheless we will try to compare them. Turgenev was very respectful of women, which is perhaps why their images are described in detail and vividly in the novel. These ladies are united by their acquaintance with Bazarov. Each of them contributed to changing his worldview. The most significant role was played by Anna Sergeevna Odintsova. It was she who was destined [...]