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Nature and man in modern Russian prose (based on the novel by V.V.

I. Man is the master and protector of nature.

II. The problem of the relationship between man and nature in the works of Russian writers.

1. Man and nature in the works of V. Astafiev and Ch. Aitmatov.

2. Attitude to the land and father's house in the works of V. Rasputin.

III. The harmony of man and nature is a prerequisite for life.

All of us, living today, are responsible for nature before our descendants, before history. As early as the beginning of the twentieth century, our compatriot V. I. Vernadsky argued that humanity was becoming a geological and, possibly, cosmic force. These prophetic words were not immediately understood and appreciated. But now each of us can be convinced of their fidelity: humanity is “shaking” the Earth, like geological cataclysms. The scale of human influence on nature is constantly growing. The consequences of his actions are also growing.

Nuclear war, ecological catastrophe, spiritual unconsciousness - these are three sides of the same process of self-destruction of mankind, a process that can still be stopped. Therefore, it is no coincidence that many modern prose writers and poets are sounding the alarm, trying to warn people that man is a part of nature and, destroying it, he destroys himself.

Back in the last century, Russian publicists for the first time spoke about the symptoms of that phenomenon, which today has been called the "ecological crisis" and which now poses a serious danger to human existence. So, for example, it is known that now on the planet up to a dozen animal species and one plant species per week are disappearing irrevocably. There is no doubt that the material losses resulting from the barbaric treatment of nature can be calculated. It is much more difficult to calculate the spiritual losses that affect the character of people, their thinking, attitude towards the world around them and towards their own kind. Only art can speak of this.

The problems of the relationship of man with nature, the role of man on Earth constantly worried famous writers. In many works by V. Rasputin and V. Astafiev, V. Belov and Ch. Aitmatov, F. Abramov and D. Granin, the idea that our nature is a house that a person destroys with his own hands is heard. So, in his work “Tsar-Fish”, V. Astafiev painfully asks the question: “Who and how will eradicate this long-standing terrible habit of managing in the forest, as if in his own yard? Why do people like Goga Gortsev appear?” Goga Gortsev, a "tourist", never considered people to be friends or comrades, was, by his own admission, " free personality". People like Goga seem to be strong personalities. They are characterized by a thirst for something new, the desire to see the world and people. "Tourists" like Goga Gortsev at first glance can even cause sympathy. But for them the main thing is to snatch their piece, for the sake of which they are ready to sacrifice someone else's life. An unspiritual attitude to life (“even a flood after us”), selfishness, self-conceit leads such heroes to a sense of the absurdity of existence, to spiritual degradation and physical death.

Accidentally slipping, dies in the taiga " strong personality» Goga Gortsev, thus confirming the idea that chance is a manifestation of regularity. Vanity and pride make Astafiev's hero related to Orozkul from Ch. Aitmatov's story "The White Steamboat". It is always sweet for Orozkul to hear how they call him "the big master of big forest". He brutally deals not only with this forest, but also with the Horned Mother Deer, whose children considered themselves the old man Momun and his grandson.

What happens to a person? This question worries many people. The inner essence of a person is revealed not only in the relationship with each other. Each of us has what we call shrines: Father's house, Mother…

If a person does not feel sorry for his home, where is the guarantee that he may someday regret mother? V. Rasputin thought about this in the stories “ Deadline”,“ Farewell to Matera ”. And in the story with symbolic name"Fire" the writer talks about a fire that engulfed the trading warehouses of the timber industry village. Instead of jointly fighting misfortune, people one by one, competing with each other, take away the good snatched from the fire. Fire in the village, fire in the souls of people ...

The idea that man should not be at war with nature, that she is not his enemy, for he himself is a part of it, has now become obvious. The harmony of man and nature is a prerequisite for the continuation of life on Earth.

M. M. Prishvin refers to those happy writers, which can be discovered at any age: in childhood, in youth, as a mature person, in old age. And this discovery, if it takes place, will truly be a miracle. Of particular interest is the deeply personal, philosophical poem "Phacelia", the first part of the "Forest Chapel". There are many secrets in life. And the biggest secret, in my opinion, is your own soul. What depths lie hidden in it! Where does the mysterious longing for the unattainable come from? How to satisfy her? Why is the possibility of happiness sometimes frightening, frightening, and suffering almost voluntarily accepted? This writer helped me discover myself, my inner world and, of course, the world around.

"Phacelia" is a lyric-philosophical poem, a song about the "inner star" and about the "evening" star in the writer's life. In each miniature, true poetic beauty shines, determined by the depth of thought. The composition allows us to trace the growth of common joy. A complex range of human experiences, from melancholy and loneliness to creativity and happiness. A person reveals his thoughts, feelings, thoughts in no other way than

How closely in contact with nature, which appears independently, as an active principle, life itself. The key thoughts of the poem are expressed in the titles and in the epigraphs and phorisms of its three chapters. "Desert": "In the desert, thoughts can only be their own, which is why they are afraid of the desert, that they are afraid to be alone with themselves." Rosstan: “There is a pillar, and three roads go from it: go along one, along the other, along the third - everywhere the trouble is different, but the death is one. Fortunately, I am not going in the direction where the roads diverge, but back from there - for me, the disastrous roads from the pillar do not diverge, but converge. I am happy with the post and return to my home on the right single path, remembering my disasters at the Rostani. “Joy”: “Woe, accumulating more and more in one soul, may one day flare up like hay and burn everything with the fire of extraordinary joy.”

Before us are the steps of the fate of the writer himself and of any creatively minded person who is able to fulfill himself, his life. And in the beginning there was a desert... loneliness... The pain of loss is still very strong. But the approach of unprecedented joy is already felt. Two colors, blue and gold, the color of heaven and sun, begin to shine for us from the first lines of the poem.

The connection between man and nature in Prishvin is not only physical, but also more subtle, spiritual. In nature, what happens to him is revealed to him, and he calms down. “At night, some kind of obscure thought was in my soul, I went out into the air ... And then I found out in the river my thought about myself, that I, too, am not guilty, like the river, if I can’t call to the whole world, closed from him with dark veils of my longing for the lost Phacelia. The deep, philosophical content of miniatures determines their original form. Many of them, saturated with metaphors and aphorisms that help to thicken thoughts to the utmost, resemble a parable. The style is concise, even strict, without any hint of sensitivity, embellishment. Each phrase is unusually capacious, informative. “Yesterday this river open skies echoed with the stars, with the whole world. Today the sky was closed, and the river lay under the clouds, as if under a blanket, and the pain did not echo with the world, no! In just two sentences, two different pictures are visibly presented. winter night, and in the context - two different mental states person. The word carries a rich semantic load. So, by repetition, the impression is strengthened by association: “... all the same, it remained a river and shone in the darkness and fled”; "... fish ... splashed much stronger and louder than yesterday, when the stars shone and it was very cold." In the final two miniatures of the first chapter, the motif of the abyss appears - as a punishment for omissions in the past and as a test that must be overcome.

But the chapter ends with a life-affirming chord: "... and then it may happen that a person will conquer even death with the last passionate desire of life." Yes, a person can overcome even death, and, of course, a person can and must overcome his personal grief. All components in the poem are subject to the internal rhythm - the movement of the writer's thought. And often the thought is honed to aphorisms: “Sometimes strong man poetry is born from the pain of the soul, like resin from trees.

The second chapter, Rosstan, is devoted to revealing this hidden creative force. There are a lot of aphorisms here. “Creative happiness could become the religion of mankind”; “Uncreative happiness is the contentment of a person who lives behind three castles”; "Where there is love, there is the soul"; “The quieter you are, the more you notice the movement of life.” The connection with nature is getting closer. The writer seeks and finds in it "the beautiful sides of the human soul." Does Prishvin humanize nature? There is no consensus in the literature on this matter. Some researchers find anthropomorphism in the writer's works. Others hold the opposite view. In a man get a sequel the best sides the life of nature, and he can rightfully become its king, but a very clear philosophical formula about the deep connection between man and nature and about the special purpose of man:

“I stand and grow - I am a plant.
I stand and grow and walk - I am an animal.
I stand, and grow, and walk, and think - I am a man.

I stand and feel: the earth is under my feet, the whole earth. Leaning on the ground, I rise: and above me is the sky - all my sky. And the Beethoven symphony begins, and its theme: the whole sky is mine. IN art system The writer plays an important role in detailed comparisons and parallelisms. The miniature "Old Linden", which concludes the second chapter, reveals the main feature of this tree - selfless service to people. The third chapter is called "Joy". And the joy is really generously scattered already in the very names of the miniatures: “Victory”, “Smile of the Earth”, “Sun in the Forest”, “Birds”, “Aeolian Harp”, “First Flower”, “Evening of the Blessing of the Kidneys”, “Water and Love ”, “Daisy”, “Love”, Parable-consolation, parable-joy opens this chapter: “My friend, neither in the north nor in the south there is no place for you if you yourself are struck ... But if victory, and after all, any victory - it is over yourself - if even the wild swamps alone were witnesses to your victory, then they will flourish with extraordinary beauty, and spring will remain with you forever, one spring, glory to victory.

The world around appears not only in all the splendor of colors, but voiced and fragrant. The range of sounds is unusually wide: from the gentle, barely perceptible ringing of icicles, the aeolian harp, to the powerful beats of the stream in the steep. And the writer can convey all the various smells of spring in one or two phrases: “Take one kidney, rub it between your fingers, and then for a long time everything smells like fragrant resin of birch, poplar or a special recollective smell of bird cherry ...”.

Inalienable building blocks V landscape sketches Prishvin are artistic time and space. For example, in the miniature “The Evening of the Consecration of the Kidneys”, the onset of darkness and the change of scenery of the evening summer are conveyed very clearly, visibly, with the help of words - color coding: "it began to get dark ... the buds began to disappear, but the drops on them glowed ...". The perspective is clearly outlined, space is felt: “The drops shone ... only drops and the sky: the drops took their light from the sky and shone for us in the dark forest.” Man, if he has not violated the agreement with the outside world, is inseparable from it. The same tension vitality, as in a blossoming forest, and in his soul. The metaphorical use of the image of a blossoming bud makes this felt in its entirety: “It seemed to me that I was all gathered into one resinous bud and I want to open up towards the only unknown friend, so beautiful that, just waiting for him, all the obstacles to my movement crumble into insignificant dust.”

In philosophical terms, the miniature "Forest Stream" is very important. In the world of nature, Mikhail Mikhailovich was especially interested in the life of water, in it he saw analogues with human life, with the life of the heart. “Nothing is hidden like water, and only a person’s heart sometimes hides in the depths and from there it suddenly shines like a dawn on a large calm water. The heart of a person hides, and therefore the light, ”we read the entry in the diary. Or here's another: “Do you remember, my friend, the rain? Each drop fell separately, and there were innumerable millions of drops. While these drops were carried in a cloud and then fell, it was our human life in drops. And then all the drops merge, the water is collected in streams and rivers into the ocean, and evaporating again, the water of the ocean gives rise to drops, and the drops again fall, merging. Recorded October 21, 1943 in Moscow.

“Forest Brook” is truly a symphony of a running stream, it is also a reflection human life, eternity. The stream is the “soul of the forest”, where “herbs are born to the music”, where “resinous buds open to the sounds of the stream”, “and tense shadows of the jets run along the trunks”. And a person thinks: sooner or later, he, too, like a stream, falls into big water and will be there also first. Water gives life to all. Here, just as in the "Pantry of the Sun", there is a motif of two different paths. The water parted and, running around big circle, reunited happily. There are no different roads for people who have a warm and honest heart. These roads lead to love. The soul of the writer embraces everything living and healthy that is on earth, and is filled with the highest joy: “... my desired minute came and stopped, and the last person from the earth I first entered the blooming world. My stream has come to the ocean."

And in the sky the evening star is lit. A woman comes to the artist, and he tells her, and not his dream, about love. Mikhail Mikhailovich attached special importance to love for a woman. “Only through love can one find oneself as a person, and only through a person can one enter the world of human love.”

We are now very far from nature, especially city dwellers. For many, the interest in it is purely consumer. And if all people treated nature in the same way as M. M. Prishvin, then life would be more meaningful and richer. And nature would be preserved. The poem "Phacelia" shows a person the way out of life's impasse, out of a state of despair. And it can help not only to stand on solid ground, but to find joy. This is a work for every person, although Mikhail Mikhailovich said that he does not write for everyone, but for his reader. Prishvin just needs to learn to read and understand.

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In the 70s and 80s. of our century, the lyre of poets and prose writers sounded powerfully in defense of surrounding nature. Writers went to the microphone, wrote articles for newspapers, postponing work on works of art. They defended our lakes and rivers, forests and fields. It was a reaction to the rapid urbanization of our lives. Villages were ruined, cities grew. As always in our country, all this was done on a grand scale, and chips flew in full. The gloomy results of the harm done to our nature by those hotheads have now been summed up.

Writers - fighters for the environment were all born near nature, they know and love it. These are such well-known prose writers here and abroad as Viktor Astafiev and Valentin Rasputin.

Astafiev calls the hero of the story "Tsar-Fish" the "master". Indeed, Ignatich knows how to do everything better and faster than anyone. He is distinguished by frugality and accuracy. “Of course, Ignatich fished better than anyone and more than anyone, and this was not disputed by anyone, it was considered legal, and no one envied him, except for the younger brother of the Commander.” The relationship between the brothers was complicated. The commander not only did not hide his dislike for his brother, but even showed it at the first opportunity. Ignatich tried not to pay attention to it. Actually, he treated all the inhabitants of the village with some superiority and even condescension. Of course, the protagonist of the story is far from ideal: he is dominated by greed and a consumerist attitude towards nature. The author brings the main character one on one with nature. For all his sins before her, nature presents Ignatich with a severe test. It happened like this: Ignatich goes fishing on the Yenisei and, not content with small fish, is waiting for the sturgeon. “And at that moment the fish declared itself, went to the side, the hooks clicked on the iron, blue sparks were carved from the side of the boat. Behind the stern, the heavy body of a fish boiled up, turned, rebelled, scattering water like rags of burnt, black rags. At that moment, Ignatich 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, as it were, split in two: one half prompted to release the fish and thereby save himself, but the other did not want to release such a sturgeon in any way, because the king-fish comes across only once in a lifetime. The passion of the fisherman takes over prudence. Ignatich decides to catch the sturgeon at all costs. But through negligence, he finds himself in the water, on the hook of his own tackle. Ignatich feels that he is drowning, that the fish is pulling him to the bottom, but he cannot do anything to save himself. In the face of death, the fish becomes for him a kind of creature. The hero, who never believes in God, at this moment turns to him for help. Ignatich recalls what he tried to forget throughout his life: a disgraced girl, whom he doomed to eternal suffering. It turned out that nature, also in a sense a “woman”, took revenge on him for the harm done. Nature took revenge on man cruelly. Ignatich, “not owning his mouth, but still hoping that at least someone would hear him, intermittently and raggedly began to hoarse: ..” And when the fish releases Ignatich, 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 she absolved him of sin. The author leaves hope for a life without sin not only to his hero, but to all of us, because no one on earth is immune from conflicts with nature, and therefore with his own soul.

In his own way, the writer Valentin Rasputin reveals the same theme in the story "Fire". The heroes of the story are engaged in logging. They "as if wandered from place to place, stopped to wait out the bad weather, and got stuck." The epigraph of the story: "The village is on fire, the native is on fire" - sets the reader in advance for the events of the story. Rasputin revealed the soul of each hero of his work through a fire: “In everything how people behaved - how they ran around the yard, how they lined up chains to pass packages and bundles from hand to hand, how they teased the fire, risking themselves to the last, - in all this was something unreal, foolish, done in excitement and disorderly passion. In the confusion at the fire, people were divided into two camps: those who do good and those who do evil. Main character story Ivan Petrovich Egorov - a citizen of the law, as the Arkharovites call him. The author christened careless, hard-working people Arkharovtsy. During a fire, these Arkharovtsy behave in accordance with their usual everyday behavior: “Everyone is dragging! Klavka Strigunova stuffed her full pockets with small boxes. And in them, go, not irons, in them, go, something like that! ... They push in the shank, in the bosom! And these bottles, bottles!” It is unbearable for Ivan Petrovich to feel his helplessness in front of these people. But disorder reigns not only around, but also in his soul. The hero realizes that “a person has four props in life: a house with a family, work, people and the land on which your house stands. Some one limps - the whole world is tilted. IN this case the earth was "limp". After all, the inhabitants of the village had no roots anywhere, they “wandered”. And the earth silently suffered from this. But the moment of punishment has come. In this case, the role of retribution was played by fire, which is also a force of nature, a force of destruction. It seems to me that it was no coincidence that the author ended the story almost according to Gogol: “What are you, our silent land, how long are you silent? And are you silent? Perhaps these words will serve our country in good stead even now.

RESPONSE PLAN

1. Love for a small homeland. "Farewell to Matyora" by V. Rasputin.

2. Parting of the old people with Matera; their pain and suffering.

3. Young heroes of the story. Their position.

4. What will be left for posterity?

5. Cost of transformations.

1. Each person has his own small homeland, that land, which is the Universe and all that Matera has become for the heroes of the story by Valentin Rasputin. All the books of V. Rasputin originate from love for a small homeland. It is no coincidence that in the story "Farewell to Matyora" one can easily read the fate of the writer's native village - Atalanka, which fell into the flood zone during the construction of the Bratsk hydroelectric power station.

Matera is both an island and a village of the same name. Russian peasants settled in this place for three hundred years. Slowly, without haste, life goes on on this island, and for more than three hundred years, Matera has made many people happy. She accepted everyone, became a mother to everyone and carefully nursed her children, and the children answered her with love. And the inhabitants of Matera did not need either comfortable houses with heating, or a kitchen with a gas stove. They did not see happiness in this. There would only be an opportunity to touch the native land, to heat the stove, to drink tea from a samovar, to live all my life next to the graves of my parents, and when the time comes, to lie down next to them. But Matyora leaves, the soul of this world leaves.

2. They decided to build a powerful power plant on the river. The island is in the flood zone. The whole village must be relocated to a new settlement on the banks of the Angara. But this prospect did not please the old people. Grandmother Daria's soul bled, because not only she grew up in Matera. This is the home of her ancestors. And Daria herself considered herself the keeper of the traditions of her people. She sincerely believes that “we were only given Matyora for support ... so that we would take care of her with benefit and feed ourselves.”

And the mothers stand up to defend their homeland, they try to save their village, their history. But what can the old men and women do against the almighty chief, who gave the order to flood Matera, wipe it off the face of the earth. For strangers, this island is just a territory, a flood zone. First of all, the newly-minted builders tried to demolish the cemetery on the island. Reflecting on the causes of vandalism, Daria comes to the conclusion that a sense of conscience has begun to be lost in people and society. “There are a lot more people,” she reflects, “but the conscience, I suppose, is the same ... And our conscience has grown old, the old woman has become, no one looks at her ... What about the conscience, if such a thing is happening!” The heroes of Rasputin connect the loss of conscience directly with the separation of man from the earth, from his roots, from centuries-old traditions. Unfortunately, only old men and women remained faithful to Matyora. Young people live in the future and calmly part with their small homeland.

3. But the writer makes one think whether a person who has left his native land, broken with his roots, will be happy, and, burning bridges, leaving Matera, will he not lose his soul, his moral support? Pavel, the eldest son of Daria, is the hardest of all. It is torn into two houses: it is necessary to equip life in a new village, but the mother has not yet been taken out of Matera. Soul Paul on the island. It is difficult for him to part with his mother's hut, with the land of his ancestors: “It does not hurt to lose this only for those who did not live here, did not work, did not water every furrow with their sweat,” he believes. But Paul is not able to rebel against the resettlement. Andrey, Daria's grandson, is feeling better. He's already tasted something new. He is drawn to change: “Now time is so alive ... everything, as they say, is in motion. I want my work to be visible, so that it remains forever ... ”In his view, the hydroelectric power station is eternity, and Matera is already something outdated. Andrei is cheating historical memory. Leaving to build a hydroelectric power station, he voluntarily or involuntarily makes room for his other like-minded people, "newcomers", who do what it is still inconvenient for a native of Matera to do - to force people to leave the cultivated land.

4. The result is deplorable... A whole village disappeared from the map of Siberia, and with it - unique traditions and customs that for centuries formed the soul of a person, his unique character. What will happen to Andrey now, who dreamed of building a power plant and sacrificed his happiness small homeland? What will happen to Petrukha, who is ready to sell his house, his village, to renounce his mother for money? What will happen to Pavel, who rushes about between the village and the town, between the island and the mainland, between moral duty and petty fuss, and remains at the end of the story in a boat in the middle of the Angara, without landing on any of the shores? What will happen to that harmonious world, which for every person becomes a holy place on earth, like on Matyora, where the royal foliage has survived, where the inhabitants - the old women of the righteous welcome Bogodum, a wanderer, holy fool, "God's man" unrecognizable anywhere, persecuted by the world? What will happen to Russia? Rasputin connects the hope that Russia will not lose its roots with his grandmother Daria. It carries those spiritual values that are lost with the impending urban civilization: memory, loyalty to the family, devotion to one's land. She took care of Matera, inherited from her ancestors, and wanted to pass it into the hands of her descendants. But the last spring for Matera comes and there is no one to transfer the native land to. And the earth itself will soon cease to exist, turning into the bottom of an artificial sea.

5. Rasputin is not against changes, he does not try in his story to protest against everything new, progressive, but makes you think about such transformations in life that would not destroy the human in a person. It is in the power of people to save their native land, not to let it disappear without a trace, to be on it not a temporary resident, but its eternal keeper, so that later you do not experience bitterness and shame before your descendants for the loss of something dear, close to your heart.

In the 70s and 80s. of our century, the lyre of poets and prose writers sounded powerfully in defense of the surrounding nature. Writers went to the microphone, wrote articles in newspapers, postponing work on works of art. They defended our lakes and rivers, forests and fields. It was a reaction to the rapid urbanization of our lives. Villages were ruined, cities grew. As always in our country, all this was done on a grand scale, and chips flew in full. The gloomy results of the harm done to our nature by those hotheads have now been summed up.

Writers - fighters for the environment were all born near nature, they know and love it. These are such well-known prose writers here and abroad as Viktor Astafiev and Valentin Rasputin.

In his own way, the writer Valentin Rasputin reveals the same theme in the story "Fire". The heroes of the story are engaged in logging. They "as if wandered from place to place, stopped to wait out the bad weather, and got stuck." The epigraph of the story: "The village is on fire, the native is on fire" - sets the reader in advance for the events of the story. Rasputin revealed the soul of each hero of his work through a fire: “In everything how people behaved - how they ran around the yard, how they lined up chains to pass packages and bundles from hand to hand, how they teased the fire, risking themselves to the last, - in all this was something unreal, foolish, done in excitement and disorderly passion. In the confusion at the fire, people were divided into two camps: those who do good and those who do evil. The protagonist of the story, Ivan Petrovich Egorov, is a legal citizen, as the Arkharovites call him. The author christened careless, hard-working people Arkharovtsy. During a fire, these Arkharovtsy behave in accordance with their usual everyday behavior: “Everyone is dragging! Klavka Strigunova stuffed her full pockets with small boxes. And in them, go, not irons, in them, go, something like that! ... They push in the shank, in the bosom! And these bottles, bottles!” It is unbearable for Ivan Petrovich to feel his helplessness in front of these people. But disorder reigns not only around, but also in his soul. The hero realizes that “a person has four props in life: a house with a family, work, people and the land on which your house stands. Some one limps - the whole world is tilted. In this case, the earth "limped". After all, the inhabitants of the village had no roots anywhere, they “wandered”. And the earth silently suffered from this. But the moment of punishment has come. In this case, the role of retribution was played by fire, which is also a force of nature, a force of destruction. It seems to me that it was no coincidence that the author ended the story almost according to Gogol: “What are you, our silent land, how long are you silent? And are you silent? Perhaps these words will serve our country in good stead even now.

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