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Man and nature in domestic and foreign literature

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

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

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

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

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

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

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

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

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

Human and nature

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

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

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

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

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

Direction:

What does nature teach man?

(Based on the work of V. Astafiev)

So that one day in that house

Before the big road

Say: - I was a leaf in the forest!

N. Rubtsov

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

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

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

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

Man and nature in domestic and world literature

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

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

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

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

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

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

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

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

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

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Man and nature in domestic and world literature

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

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

F. I. Tyutchev

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

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

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

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

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

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

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

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

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

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

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

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Man and nature in domestic and world literature

It is impossible to imagine a person without nature.

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

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

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

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

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

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

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

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

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

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

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

(376 words)

"The relationship between man and nature"

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

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

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

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Option 1. Unique and indescribably beautiful nature in autumn. Despite the fact that rain and fog are quite common, there are also clear, quiet days for a walk in the nearest forest. Sit down and admire golden robe of the forest, listen to the singing of birds, watch the birds fly away. Somewhere in the distance thunder roared. Drop by drop it began to rain. Hiding under a tree, he looked around. How beautiful it is all around I like autumn nature. The air is so fresh! I don't want to go home at all.

Option 2. Human and nature are closely related to each other. Nature creates all the conditions for human life, which is why it is so important to live in harmony with it. Beautiful landscapes of nature fill a person’s soul with delight, only this beauty is truly mesmerizing. Man's interest in nature is limitless; how many secrets and mysteries the forests and seas contain. There's a lot we don't know yet about nature. To enjoy the beauty of nature, you don’t need to travel far, just go to a park or forest. Nature is especially beautiful in the fall, when you want to sit on benches and absorb all its beauty and enjoy it. It is then that you feel how your soul is filled with new colors, how it is saturated with the beauty of the world around you. At these moments you realize how closely people are connected with nature.

The main character of a brilliant novel F.M. Dostoevsky, “Crime and Punishment” Rodion Raskolnikov asks the question: is it permissible to commit a small evil for the sake of a great good, does a noble goal justify a criminal means? The author portrays him as a magnanimous dreamer, a humanist, eager to make all humanity happy, who comes to the realization of his own powerlessness in the face of world evil and in despair decides to “transgress” the moral law - to kill out of love for humanity, to commit evil for the sake of good. However, a normal person, which the hero of the novel undoubtedly is, is alien to bloodshed and murder. To understand this, Raskolnikov had to go through all the circles of moral hell and visit hard labor. Only at the end of the novel do we see that the hero realizes the absurdity of his crazy idea and finds peace of mind.

In contrast to the doubting and rushing Raskolnikov, Dostoevsky paints in his novel the image of Svidrigailov, a man who does not think about the means of achieving his goals. Sinking into the abyss of depravity, losing faith, Svidrigailov commits suicide, thereby showing the dead end of Raskolnikov's theory.

Based on a true story, the novel by the American writer T. Dreiser “An American Tragedy” tells the story of the fate of an ambitious young manClyde Griffiths, who dreams of breaking out of the confines of his environment, quickly and persistently walking up the steps of his career, upward to the world of money and luxury. Having seduced an honest girl and being confident in his love for her, the hero soon realizes that this connection is the main obstacle on the way to high society. A classic love triangle is formed, the third “angle” of which is a girl from high society, opening up all sorts of ways for Clyde to gain material wealth. Unable to resist such a temptation, the young man carefully considers the possibility of getting rid of his first love, which interferes not only with his ambitious plans, but also simply interferes with living for his own pleasure. This is how a crime is committed - thoughtful, seriously prepared and cowardly. After the girl's death, the police trace Clyde and accuse him of premeditated murder. The jury sentences him to death and Clyde spends the rest of his life in prison." In the end, he confesses and admits his guilt. He is executed in the electric chair.

A good, kind, talented person, Ilya Oblomov, was unable to overcome himself, his laziness and promiscuity, and did not reveal his best traits. The absence of a high purpose in life leads to moral death. Even love could not save Oblomov.

In his late novel The Razor's Edge, W.S. Maughamdepicts the life path of the young American Larry, who spent half his life reading books, and the other half in travel, work, search and self-improvement. His image stands out clearly against the background of young people of his circle, wasting their lives and extraordinary abilities on the fulfillment of fleeting whims, on entertainment, on a carefree existence in luxury and idleness. Larry chose his own path and, not paying attention to the misunderstanding and reproach of loved ones, sought the meaning of life in hardships, wanderings and wanderings around the world. He devoted himself entirely to the spiritual principle in order to achieve enlightenment of the mind, purification of the spirit, and discover the meaning of the universe.

The main character of the novel of the same name by the American writer Jack London, Martin Eden, a working guy, a sailor, coming from the lower classes, about 21 years old, meets Ruth Morse, a girl from a wealthy bourgeois family. Ruth begins to teach the semi-literate Martin the correct pronunciation of English words and awakens his interest in literature. Martin learns that magazines pay decent fees to the authors who publish in them, and firmly decides to make a career as a writer, earn money and become worthy of his new acquaintance, with whom he has fallen in love. Martin is putting together a self-improvement program, working on his language and pronunciation, and reading a lot of books. Iron health and unbending will move him towards his goal. In the end, after going through a long and thorny path, after numerous refusals and disappointments, he becomes a famous writer. (Then he becomes disillusioned with literature, his beloved, people in general and life, loses interest in everything and commits suicide. This is just in case. An argument in favor of the fact that fulfilling a dream does not always bring happiness)

If a shark stops moving its fins, it will sink to the bottom like a stone; a bird, if it stops flapping its wings, will fall to the ground. Likewise, a person, if his aspirations, desires, goals fade away, will collapse to the bottom of life, he will be sucked into the thick quagmire of gray everyday life. A river that stops flowing turns into a stinking swamp. Likewise, a person who stops searching, thinking, striving, loses the “beautiful impulses of his soul”, gradually degrades, his life becomes aimless, miserable vegetation.

I. Bunin in the story “The Gentleman from San Francisco” showed the fate of a man who served false values. Wealth was his god, and this god he worshiped. But when the American millionaire died, it turned out that true happiness passed the man by: he died without ever knowing what life was.

The novel by the famous English writer W. S. Maugham, “The Burden of Human Passions,” touches on one of the most important and burning questions for every person - is there meaning in life, and if so, what is it? The main character of the work, Philip Carey, painfully searches for the answer to this question: in books, in art, in love, in the judgments of friends. One of them, the cynic and materialist Cronshaw, advises him to look at Persian carpets and refuses further explanation. Only years later, having lost almost all his illusions and hopes for the future, Philip understands what he meant and admits that “life has no meaning, and human existence is purposeless. Knowing that nothing makes sense and nothing matters, a person can still find satisfaction in choosing the various threads that he weaves into the endless fabric of life. There is one pattern - the simplest and most beautiful: a person is born, matures, gets married, gives birth to children, works for a piece of bread and dies; but there are other, more intricate and amazing patterns, where there is no place for happiness or the desire for success - perhaps some kind of alarming beauty is hidden in them.”

Writing an essay in the Unified State Exam is one of the most difficult stages for a future student. As a rule, testing part “A” does not present any problems, but many people have difficulties with writing an essay. Thus, one of the most common problems that are covered in the Unified State Exam is the problem of respect for nature. Arguments, their clear selection and explanation are the main task of a student taking an exam in the Russian language.

Turgenev I. S.

Turgenev’s novel “Fathers and Sons” is still very popular among both the younger generation and their parents. This is where the issue of caring for nature comes into play. Arguments in favor of the topic addressed are as follows.

The main idea of ​​the work in the field of environmental protection is: “People forget where they were born. They forget that nature is their original home. It was nature that allowed the birth of man. Despite such profound arguments, every person does not pay due attention to the environment. But all efforts should be aimed at preserving it first and foremost!”

Bazarov's attitude to nature

The main figure here is Evgeny Bazarov, who is not concerned about caring for nature. This man’s arguments sound like this: “Nature is a workshop, and man is a worker here.” It is difficult to argue with such a categorical statement. Here the author shows the renewed mind of modern man, and, as you can see, he succeeded perfectly! Nowadays, arguments in favor of protecting the environment are more relevant in society than ever!

Turgenev, in the person of Bazarov, presents to the reader a new man and his mind. He feels complete indifference to generations and all the values ​​that nature can give to humanity. He lives in the present moment, does not think about the consequences, and does not care about man’s caring attitude towards nature. Bazarov’s arguments boil down only to the need to realize one’s own ambitious desires.

Turgenev. The relationship between nature and man

The above-mentioned work also touches on the problem of the relationship between man and respect for nature. The arguments given by the author convince the reader of the need to show concern for Mother Nature.

Bazarov completely rejects all judgments about the aesthetic beauty of nature, about its indescribable landscapes and gifts. The hero of the work perceives the environment as a tool for work. Bazarov's friend Arkady appears in the novel as the complete opposite. He treats with dedication and admiration what nature gives to man.

This work clearly highlights the problem of caring for nature; arguments in favor of a positive or negative attitude towards the environment are determined by the behavior of the hero. Arkady, through unity with her, heals his spiritual wounds. Eugene, on the contrary, strives to avoid any contact with the world. Nature does not give positive emotions to a person who does not feel peace of mind and does not consider himself a part of nature. Here the author emphasizes a fruitful spiritual dialogue both with oneself and in relation to nature.

Lermontov M. Yu.

The work “Hero of Our Time” touches on the problem of caring for nature. The arguments that the author gives relate to the life of a young man named Pechorin. Lermontov shows the close relationship between the mood of the protagonist and natural phenomena, the weather. One of the paintings is described as follows. Before the duel began, the sky seemed blue, transparent and clean. When Pechorin looked at Grushnitsky’s dead body, “the rays did not warm” and “the sky became dim.” The connection between internal psychological states and natural phenomena is clearly visible here.

The problem of caring for nature is addressed here in a completely different way. The arguments in the work show that natural phenomena depend not only on the emotional state, but also become involuntary participants in events. So, a thunderstorm is the reason for the meeting and long meeting between Pechorin and Vera. Further, Grigory notes that “the local air promotes love,” meaning Kislovodsk. Such techniques show respect for nature. Arguments from the literature once again prove that this area is vital not only on the physical level, but also on the spiritual and emotional level.

Evgeny Zamyatin

Yevgeny Zamyatin’s vivid dystopian novel also shows a caring attitude towards nature. The essay (arguments, quotes from the work, etc.) must be supported by reliable facts. Thus, when describing a literary work called “We,” it is important to pay attention to the absence of a natural and natural beginning. All people give up a varied and separate life. The beauties of nature are replaced by artificial, decorative elements.

Numerous allegories of the work, as well as the suffering of number “O”, speak of the importance of nature in human life. After all, it is precisely such a beginning that can make a person happy, give him feelings, emotions, and help him experience love. It shows the impossibility of the existence of verified happiness and love using “pink cards”. One of the problems of the work is the inextricable relationship between nature and man, without which the latter will be unhappy for the rest of his life.

Sergey Yesenin

In the work “Go, my dear Rus'!” Sergei Yesenin touches on the problem of the nature of his native places. In this poem, the poet refuses the opportunity to visit paradise, just to stay and devote his life to his native land. Eternal bliss, as Yesenin says in his work, can only be found on his native Russian soil.

Here the feeling of patriotism is clearly expressed and the Motherland and nature are inextricably linked concepts that exist only in interrelation. The very realization that the power of nature can weaken leads to the collapse of the natural world and human nature.

Using arguments in an essay

If you use arguments from works of fiction, you must comply with several criteria for presenting information and presenting material:

• Providing reliable data. If you do not know the author or do not remember the exact title of the work, it is better not to indicate such information in the essay at all.
• Present information correctly, without errors.
• The most important requirement is the brevity of the material presented. This means that sentences should be as succinct and short as possible, providing a complete picture of the situation being described.

Only if all the above conditions are met, as well as sufficient and reliable data, you will be able to write an essay that will give you the maximum number of exam points.

Introduction

Image of nature, landscape in the work

1.1 Images of nature in literature of the 18th-19th centuries

2 Images of nature in the lyrics of the 20th century

3 Images of nature in 20th century prose

Natural philosophical prose of the second half of the twentieth century

1 Belov V.

2 Rasputin V.

3 Pulatov T.

2.4 Prishvin M.M.

2.5 Bunin I.A.

2.6Paustovsky K.G.

2.7 Vasiliev B.

2.8 Astafiev V.P.

3. Masculine and feminine principles in natural philosophical prose

Conclusion

Literature

INTRODUCTION

The 20th century brought great changes to human life. The creations of human hands were out of his control. Civilization began to develop at such a crazy pace that people were seriously scared. Now he faces death from his own creation. And nature began to show “who’s boss” - all kinds of natural disasters and disasters became more frequent. In this regard, a close study began not only of nature as a separate system with its own laws, but also theories emerged that considered the entire Universe as a single organism. This harmonious system cannot exist without the coordinated interaction of all its parts, which include each individual and human society as a whole. Thus, for the existence of the Universe, harmony is necessary, both in the natural and in the human world. And this means that people all over the planet must live in peace not only with their own kind, with plants and animals, but, above all, with their thoughts and desires.

Humanity naively thinks that it is the king of nature.

Meanwhile, in the film "War of the Worlds", based on the book H.G. Wells, the Martians were defeated not by the power of human weapons or reason, but by bacteria. Those same bacteria that we don’t notice, that create their little lives without our knowledge and are absolutely not going to ask whether we want this or that.

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

What is Motherland? Most of us will begin answering this question with a description of birch trees, snowdrifts and lakes. Nature influences our lives and mood. She inspires, pleases and sometimes gives us signs. Therefore, for nature to be our friend, we need to love and protect it. After all, there are many people, but nature is the same for everyone.

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

It was sometimes difficult for individual people, busy with their work, to notice how poor nature was, how difficult it was once to guess that the Earth was round. But those who are constantly connected with nature, people who observe and study it, scientists, writers, nature reserve workers, and many others have discovered that the nature of our planet is quickly becoming scarcer. And they began to talk, write, and make films about it, so that all people on Earth would think and worry. A wide variety of books, on any topic, for a wide range of readers can now be found on store bookshelves.

But almost every person is interested in books on a moral topic, which contain answers to the eternal questions of mankind, which can push a person to resolve them and give him accurate and comprehensive answers to these questions.

The first of the greatest monuments of ancient Russian literature that have come down to us "The Tale of Igor's Campaign"contains amazing episodes that testify to the tradition of depicting man in unity with the entire world around him. The unknown ancient author of the Lay says that nature takes an active part in human affairs. How many warnings does she give about the inevitable tragic ending of Prince Igor’s campaign: the foxes bark, and an ominous unprecedented thunderstorm rages, and the sunrise and sunset were bloody.

This tradition was brought to us by many masters of artistic expression. It would not be an exaggeration to say that many classical works, be it “Eugene Onegin” A.S. Pushkinor "Dead Souls" N.V. Gogol, "War and Peace" L.N. Tolstoyor "Notes of a Hunter" I.S. Turgenev, are completely unthinkable without wonderful descriptions of nature. Nature in them participates in people’s actions and helps shape the worldview of the heroes.

Thus, we can state the fact that, when speaking about Russian literature of previous centuries, including the 19th century, we primarily had in mind one or another degree of unity, the relationship between man and nature.

Speaking about the literature of the Soviet period, we should talk mainly about the environmental problems that arose on our planet.

It is noteworthy that A.P. Chekhov, reflecting on the reasons for man’s unhappiness and “incompetence,” believed that given the current relationship between man and nature, man is doomed to be unhappy under any social system, at any level of material well-being. Chekhov wrote: “A person needs not three arshins of land, not an estate, but the entire globe, all of nature, where in the open space he could demonstrate all the properties and characteristics of his free spirit.”

1. Image of nature, landscape in the work

The forms of the presence of nature in literature are varied. These are mythological embodiments of her powers, and poetic personifications, and emotionally charged judgments (whether individual exclamations or entire monologues). And descriptions of animals, plants, their, so to speak, portraits. And, finally, the landscapes themselves (French pays - country, area) - descriptions of wide spaces.

In folklore and in the early stages of the existence of literature, non-landscape images of nature prevailed: its forces were mythologized, personified, personified, and in this capacity they often participated in people’s lives. Comparisons of the human world with objects and natural phenomena were widespread: the hero with an eagle, falcon, lion; troops - with a cloud; the shine of a weapon - with lightning, etc. And also names in combination with epithets, usually constant: “tall oak forests”, “pure fields”, “wonderful animals”. The most striking example is "The Tale of the Massacre of Mamayev"", where for the first time in ancient Russian literature a contemplative and at the same time deeply interested view of nature is seen.

Nature has a very strong influence on a person: it gives him strength, reveals secrets, answers many questions. Creative people find inspiration by looking at simple, and at the same time, ideal pictures of nature. Writers and poets almost always turn to the problem of man and nature because they feel a connection with it. Nature is a constant part of almost every prosaic creation.

And it is not surprising that many writers paid so much attention to the theme of nature. Prose writers include P. Bazhov, M. Prishvin, V. Bianki, K. Paustovsky, G. Skrebitsky, I. Sokolov-Mikitov, G. Troepolsky, V. Astafiev, V. Belov, Ch. Aitmatov, S. Zalygin, V. Rasputin, V. Shukshin, V. Soloukhin and others.

Many poets wrote about the beauty of their native land, about caring for Mother Nature. This N. Zabolotsky, D. Kedrin, S. Yesenin, A. Yashin, V. Lugovskoy, A.T. Tvardovsky, N. Rubtsov, S. Evtushenkoand other poets.

Nature was and should remain man's teacher and his nurse, and not vice versa, as people imagined. Nothing can replace living, changeable nature for us, which means it’s time to come to our senses, in a new way, much more carefully, more caringly than before, to treat it. After all, we ourselves are also a part of it, despite the fact that we have fenced ourselves off from it with the stone walls of cities. And if nature becomes bad, it will certainly be bad for us too.

.1 Images of nature in literature of the 18th-19th centuries

This kind of imagery is also present in the literature of eras close to us. Let us remember Pushkin’s “The Tale of the Dead Princess and the Seven Knights,” where the prince Elisha, in search of a bride, turns to the sun, moon, and wind, and they answer him; or Lermontov’s poem “Heavenly Clouds,” where the poet not so much describes nature as talks with clouds.

Landscapes before the 18th century. are rare in the literature. These were exceptions rather than the “rule” of recreating nature. Writers, while depicting nature, still to a large extent remained subject to stereotypes, clichés, and commonplaces characteristic of a certain genre, be it travel, elegy or descriptive poem.

The character of the landscape changed noticeably in the first decades of the 19th century. In Russia - starting from A.S. Pushkin. Images of nature are no longer subject to the predetermined laws of genre and style, to certain rules: they are born anew each time, appearing unexpected and bold.

The era of individual author's vision and recreation of nature has come. Every major writer of the 19th-20th centuries. - a special, specific natural world, presented primarily in the form of landscapes. In the works of I.S. Turgenev and L.N. Tolstoy, F.M. Dostoevsky and N.A. Nekrasova, F.I. Tyutchev and A.A. Feta, I.A. Bunin and A.A. Blok, M.M. Prishvin and B.L. Pasternak nature is mastered in its personal significance for the authors and their heroes.

We are not talking about the universal essence of nature and its phenomena, but about its uniquely individual manifestations: about what is visible, audible, felt right here and now - about that in nature that responds to a given mental movement and state of a person or gives rise to it . At the same time, nature often appears as inescapably changeable, unequal to itself, existing in a variety of states.

Here are a few phrases from the essay by I.S. Turgenev “Forest and Steppe”: “The edge of the sky turns red; jackdaws wake up in the birch trees, awkwardly fly; sparrows chirp near the dark stacks. The air brightens, the road becomes clearer, the sky becomes clearer, the clouds turn white, the fields turn green. In the huts, splinters burn with red fire, and sleepy voices can be heard outside the gates. Meanwhile, the dawn flares up; now golden stripes stretch across the sky, steam swirls in the ravines; The larks sing loudly, the pre-dawn wind blows - and the crimson sun quietly rises. The light will just flow in like a torrent.”

It’s worth recalling the oak tree in “War and Peace” by L.N. Tolstoy, who changed dramatically in a few spring days. Nature is endlessly mobile in the lighting of M.M. Prishvina. “I look,” we read in his diary, “and I see everything different; Yes, winter, spring, summer, and autumn come in different ways; and the stars and the moon always rise differently, and when everything is the same, then everything will end.”

Over the past two centuries, literature has repeatedly spoken of people as transformers and conquerors of nature. This theme is presented in a tragic light in the finale of the second part of “Faust” by J.V. Goethe and in “The Bronze Horseman” by A.S. Pushkin (the Neva, dressed in granite, rebels against the will of the autocrat - the builder of St. Petersburg).

The same theme, but in different tones, joyfully euphoric, formed the basis of many works of Soviet literature:

The man said to Dnieper:

I'll wall you in

So that, falling from the top,

Defeated water

Moved cars quickly

And pushed trains.

.2 Images of nature in the lyrics of the 20th century

In the literature of the 20th century, especially in lyrical poetry, the subjective vision of nature often takes precedence over its objectivity, so specific landscapes and the definition of space are leveled out, or even disappear altogether. These are many poems A. Blok, where landscape specifics seem to dissolve in fog and twilight.

Something (in a different, “major” key) is noticeable in B. Pasternak1910-1930s. Thus, in the poem “Waves” from “The Second Birth” there is a cascade of vivid and heterogeneous impressions from nature, which are not formalized as spatial pictures (landscapes themselves). In such cases, the emotionally intense perception of nature triumphs over its spatial-species, “landscape” side. Subjectively significant situations of the moment are brought to the fore here, and the very objective filling of the landscape begins to play a secondary role. Based on the vocabulary that has now become familiar, such images of nature can rightfully be called “post-landscape”.

The poem is very characteristic of the first post-revolutionary years V.V. Mayakovsky“A third of the cigarette case went into the grass” (1920), where the products of human labor are given a status disproportionately higher than natural reality. Here the “ants” and “grass” admire the pattern and polished silver, and the cigarette case says contemptuously: “Oh, you’re nature!” The ants and the grass, the poet notes, were not worth “with their seas and mountains / before human affairs / anything at all.”

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

The same blurring of boundaries between nature and man in the poem “Songs, songs, what are you shouting about?”:

Nice willow tree along the road

To guard the dozing Rus'...

And in the poem “Golden Foliage Spun”:

It would be nice, like willow branches,

To capsize into the pink waters..."

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

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

Open your arms to me, nature,

So that I merge with your beauty!

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

Images of nature (both landscape and all others) have a deep and completely unique meaningful significance. The centuries-old culture of mankind has rooted the idea of ​​the goodness and urgency of the unity of man with nature, of their deep and indissoluble connection. This idea was artistically embodied in different ways. The motif of the garden - nature cultivated and decorated by man - is present in the literature of almost all countries and eras. The image of the garden symbolizes the natural world as a whole. “The garden,” notes D.S. Likhachev, “always expresses a certain philosophy, an idea of ​​the world, man’s relationship to nature, this is a microcosm in its ideal expression.”

.3 Images of nature in 20th century prose

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

The unique beauty of our native nature has always encouraged us to take up the pen. For writers, nature is not just a habitat, it is a source of kindness and beauty. In their ideas, nature is associated with true humanity (which is inseparable from the consciousness of its connection with nature). It is impossible to stop scientific and technological progress, but it is very important to think about the values ​​of humanity.

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

The natural world becomes a source of inspiration and artistic ideas for the writer. Pictures of nature that were once seen, felt, and then transformed by the author’s imagination organically fit into the fabric of his works, serve as the basis for many plots, participate in revealing the characters’ characters, bring vital authenticity to his prose and give the works a special, uniquely artistic and emotional flavor.

For the artist, the words nature and its elemental forces become the embodiment of Beauty, and “divine” and “earthly” beauty sometimes act as identical concepts.

In the second half of the 20th century, humanity was faced with the need to reconsider the existing relationship with nature. The romanticization of the confrontation between man and nature is being replaced by an awareness of the need for unity and a search for ways of unity.

The work of many writers of the 20th century is saturated with the philosophy of cosmic harmony: man is fused with nature, every event of his life - birth, death, love - is somehow connected with nature. In the hassle of everyday bustle, a person does not always realize his unity with the natural world. And only approaching the so-called borderline situations makes him take a new look at the world, come closer to comprehending the universal secrets, understand the meaning of merging with nature into a single whole and physically feel like a part of the great cosmic unity.

During this period, the moral and philosophical aspect in the disclosure of the theme of nature became increasingly stronger, bringing to the fore in creativity Prishvina and Leonova. In this regard, a landmark work was L. Leonov’s novel “Russian Forest” (1953), which became the “starting point” in the transformation of the theme “man and nature” in Russian literature of the mid-20th century.

In fiction, moral, philosophical and environmental issues are updated, especially in “village” prose, which is understandable, since while the peasants, occupying the traditional cells of society, were its center of gravity (its magnet), society was tumbler and he had no environmental problems.

The works of the 60-70s, in which the “philosophy of nature” became a semantic dominant, are grouped in three main areas: philosophy of nature - mythology of nature - poetics.

They are enrolled in different “departments”: village prose- with a thematic approach to its understanding, philosophical and ethical prose, when the specifics of the problem were taken into account.

The study of the “natural” foundations of life in literature testified, according to critics, not to a “retreat into nature,” but to a solution to the question of the organic development of society and man.

In the sixties, works appeared V. Astafieva, V. Belova, S. Zalygina, E. Nosova, V. Chivilikhina, V. Bocharnikova, Y. Sbitneva, in which there is a need to “restore” nature in its rights, to remind man of his original source.

The concept of “natural philosophical poetry and prose” is firmly included in literary circulation. The designation “natural philosophical prose” in relation to the literary process of the second half of the 20th century was one of the first to be used by critic F. Kuznetsov in his review of “The Tsar Fish” V. Astafieva.

2. Natural philosophical prose of the second half of the twentieth century

The problem of the relationship between man and nature has received coverage in world literature, but it began to play a dominant role in the structure and content of the artistic whole only within the framework of such a direction as natural philosophical prose of the second half of the twentieth century.

In fiction, a hero appears who is not concerned about the social side of people’s relationships, but about their desire for the harmony of nature, finding a natural path of development. A person who lives not according to social ideals, but according to the laws of bioethics, acquires its own specific features.

The essence of natural philosophical prose is a reflection of the world through the prism of the life-giving existence of everything that exists.Everything is subject to the thought of the inexhaustible and limitless power of physis (nature), of which homo sapiens is a product and particle. The question of the ways of human interaction with natura (nature) and the degree of their kinship becomes leading for this literary direction. Natural philosophical prose depicts man as “a creation of nature, her child,” whom she “teaches” to gain unity with existence.

The feeling of universal belonging, participation in the intelligent cosmos that brings vitality to Earth, equalizes the individual in ethical and biological rights with the kingdom of animals and plants. A similar perception of reality is also characteristic of the hero of other literary movements. This makes natural philosophical prose similar to philosophical prose. However, they differ from each other in their focus. Philosophical prose considers human existence from the position of anthropocentrism, natural philosophical prose, on the contrary, from the position of nature-centrism. Man becomes one of the manifestations of the life-giving basis of everything that exists.

Bioethical ideals are most fully reflected in a number of works S.P. Zalygina(“Paths of Altai”, “Commissar”, “After the Storm” and others), whose work can also be considered within the framework of historical and village prose. U C.T. Aitmatovanatural philosophical motives are inseparable from the national image of the world. In works A.G. Bitovathe urban principle determined the originality of his creative development of ideas about physis. The artistic heritage of these authors represents the core of prose about the life-giving existence of all things. Certain natural philosophical traits appeared in his creativity L.M. Leonova(“Russian Forest”, “Pyramid”); V.P. Astafieva(stories for children and “The King Fish”) and B .G. Rasputin(stories from the 80s and 90s) related to the rural trend in the art of words; Yu.P. Kazakova, whose stories are analyzed by literary scholars within the framework of meditative and lyrical prose; B.L. Vasilyeva("Don't shoot white swans")

Close to the natural philosophical direction and creativity IN AND. Belova. The images created by the writer are distinguished by apperceptive behavior, tribal consciousness, unity with nature and high spirituality.

Russian prose about the village of the 60-70s presented the reader with a peasant inscribed in the natural world order, who inherited centuries-old folk morality. She created a type of hero with whom the time had come to part with, as well as with the whole peasant world, to which they nostalgically said goodbye V. Belovin "Business as Usual" V. Rasputinin "Farewell to Matera", V. Astafievin "Last Bow".

Turning to the fundamentals of human existence, this prose could not help but think about the “eternal” questions: about life and death, about the meaning of human existence, about “who invented all this and why” (V. Belov), and about what awaits beyond the final limit. On the pages of prose about the village, an image of Nature as the Cosmos, holistic in its unity, going back to ancient times, was created.

The “naturalness” of the worldview of such writers as V. Belov and V. Rasputin is expressed in the fact that the most important, including tragic, events coincide with the natural annual cycle: awakening (spring), blossoming (summer) and fading (autumn ) nature. Human life finds itself inscribed in this cycle in its most important manifestations.

2.1 Belov V.

“... Rhythm explains the harmony, the harmonious world order...” (V. Belov). Rhythmically - in accordance with the natural “order” - the life of the heroes of the story by V. Belov is organized "Business as usual"(1966). This order was not created by man, and it is not for him to change it. The main character of the story, Ivan Afrikanovich, reflects while watching the sun rise: “It rises - it rises every day, it’s like that all the time. No one can stop, no one can overcome...” And he is surprised, thinking about the imminent awakening of nature, about the black grouse, that “in a week they will disperse, run wild... That’s how nature works.” And the sky in its immensity and height is incomprehensible to him: “Ivan Afrikanovich always stopped himself when he thought about this depth...”. V. Belov's hero is himself a part and continuation of the natural world. This ontogenetic property, which forms the basis of folk character, is a typological feature that unites the heroes of “village” prose.

In the story E. Nosova“And the ships sail away, and the shores remain” recreates a similar type of hero. Savonya “did not know how to separate himself from the existence of earth and water, rain and forests, fog and sun, he placed himself near and did not elevate himself above, but lived in a simple, natural and inseparable fusion with this world.”

The feeling of “dissolution” in the surrounding brings happiness to Ivan Afrikanovich, allows him to feel the world around him and himself in it as eternal (“time stopped for him” and “there was no end or beginning”). Criticism was ironic about the fact that Ivan Afrikanovich in his worldview is close to his newborn son and the cow Rogula, not seeing that he has not lost the ability to “identify” himself with nature, of which he feels himself an organic part.

For Ivan Afrikanovich, the sparrow he warms up is a brother, and a stranger after the grief he experienced - the death of Katerina - is also a brother (“Misha is a brother”). Through nature, with which a person feels a “family” connection, one can also feel his brotherhood with other people.

This idea is also close V. Astafievand finds a detailed embodiment in him (“Tsar Fish”), the Forest is familiar to Ivan Afrikanovich as a “village street” (this is a lived-in, native space). “Over the course of a lifetime, every tree has been stripped, every stump has been smoked, every undercut has been trampled.” This is also a property that characterizes a person inscribed in the natural world order.

Heroine of the story E. NosovaThe “noisy meadow fescue” perceives its mowing as a home, examining it as “an upper room that it has not been in for a long time.”

With the death of his “dearly” beloved wife Katerina, having lost his life’s guidelines, “indifferent to himself and the whole world,” Ivan Afrikanovich reflects on life and death: “We must go. We need to go, but where, why should we go now? It seems that there is nowhere else to go, everything has been passed, everything has been lived, and there is nowhere for him to go without her, and that’s okay... Everything remains, she is not alone, and there is nothing without her...” And the answer to the question of whether it is worth living further comes to him precisely in the forest, when he himself looked into the face of death. The mysterious forest acts as a kind of higher power that guides Ivan Afrikanovich in his wanderings and “leads” him out. The night forest also symbolizes a natural secret, eternal and mysterious, which man is not given the ability to penetrate. “... A minute later, suddenly, a vague, confused emptiness is again felt in the distance. Slowly, for a long time, a dull alarm arises, it gradually turns into an all-world and still ghostly noise, but then the noise grows, spreads, then rolls closer, and drowns everything in the world with a dark flood, and you want to shout, stop it, and now it will swallow the whole world... "

From this moment Ivan Afrikanovich’s struggle for life begins. The only star shining through “through the darkness from the dark peaks”, which then became “a detail of his dream”, leaving a mark in the subconscious, like Katerina’s soul, reminds him of life and salvation. Having not been afraid of death before, Ivan Afrikanovich experiences fear of it and thinks about it for the first time. “...No, there’s probably nothing there... But who, why, invented all this? Live this life... Where did it start, how will it end, why is it all?”

V. Belov’s hero rises to a philosophical understanding of life, realizing that just as he did not exist before birth, he will not exist after death, that “there is no end to either here or there,” finding himself consonant in his thoughts with the narrator in “Other Shores” V. Nabokov: “...Common sense tells us that life is just a crack of weak light between two perfectly black eternities. There is no difference in their blackness, but we tend to look into the pre-life abyss with less confusion than into the one towards which we fly at a speed of four thousand five hundred heartbeats per hour.”

The thought of the eternity of life helps Ivan Afrikanovich find the answer to the question: “Why was it necessary to be born?... It turns out, after all, that it was better to be born than not to be born.” The idea of ​​the cycle of life, the cyclical nature of the processes occurring in it, is expressed in a variety of ways in the story. The life of the Drynov family is inscribed in the circle of nature: the birth of the last, ninth, child, named after his father Ivan, and the death of Katerina, the life and death of the family’s wet nurse, the cow Roguli. H.L. Leiderman notes that in the life of Ivan Afrikanovich’s family, “the same general law of movement and continuity operates”: the ninth child is named Ivan, after her mother, daughter Katya makes her first birth, and for Katerina this was the last. The world of the Drynovs is integral, continuous and immortal.

In the context of the endless cycle of life captured in the story, its title “Business as Usual” is filled with philosophical meaning.

2.2 Rasputin V.

V. Rasputin’s favorite heroes, like Nikolai Ustinov, “from birth to death feel their kinship with nature.”

The artistic space of the story is closed: Matera is separated from the rest of the world by the borders of the island and the waters of the Angara. It has its own way of life, its own memory, its own passage of time, which is constantly emphasized by the author both in the rhythmically repeating signs of those changes that occur from the moment of the awakening of nature until its natural withering (it, by the will of man, was not allowed to take place on Matera), and and in the characters’ perception of time. Pavel, arriving in the village, “was amazed every time at how readily time closed in behind him,” as if there was no new village and he had never left Matera.

Matera’s “opposition” to another land is also revealed in the fact that she lives according to her own moral laws, the guardian and guardian of which is the main character of the story, the wise Daria. She constantly, slowly and intently reflects on where conscience has gone, why a person lives to old age, “to the point of uselessness”, “where does a person go if the place speaks for him”, “who knows the truth about a person, why does he live”, “What should a person for whose sake entire generations have lived feel?”

Daria has her own philosophy that helps her live, her own ideas about the world order: underground, earthly and heavenly levels, about the connection of times, she has her own view on the meaning of human existence. She finds answers to many questions, although she suffers from the fact that she does not understand what is happening: “...I don’t understand anything: where, why?” Daria is Matera's conscience. “Daria is an absolutely integral, complete type of consciousness, where word and deed are equal to conscience.”

She took upon herself the entire burden of the farewell ceremony with the land, with the house in which her family had lived for more than three hundred years. And having grown old, she follows “Tyatka’s” order: not to take on too much, but to take on the very first thing: “so that you have a conscience and endure from your conscience.” Daria blames herself for what is happening on Matera, tormented by the fact that it is she, the eldest of the family, who must prevent the flooding of her parents’ graves.

To understand the image of Daria, the words from the story are important: that in everyone there is a “true person” who “is revealed almost only in moments of farewell and suffering.” Such a moment has come for Matera and Daria, and throughout the story the heroine reveals herself as a true person.

"Farewell to Matera"" - a social and philosophical story. It was the heroine’s philosophy, consonant with the author’s thoughts and supplemented by them, that formed the basis of the artistic concept of the work, which is a slow-motion chronicle of farewell to Matera on the eve of her death: spring, three summer months and half of September. On the eve of Matera's disappearance, everything takes on a special meaning: the exact chronology of events, the attitude of the villagers towards Matera, the last haymaking, the last potato harvest.

The story begins with a solemn prologue: “And spring came again, its own in its endless series, but the last for Matera, for the island and the village that bear the same name. Again the ice rushed through with a roar and passion, piling up hummocks on the banks... Again on the upper cape the water rustled vigorously, rolling down the river on both sides, again the greenery on the ground and trees began to glow, the first rains fell, swifts and swallows flew in and croaked lovingly to life. in the evenings, frogs woke up in the swamp.”

This picture of the awakening of nature with repeated “again” is intended, on the one hand, to emphasize the eternity of the processes occurring in it, on the other, to contrast the unnaturalness of the fact that for Matera this is the last spring. In connection with the upcoming flooding of the island, discord has been introduced into human existence: “...The village has withered, it is clear that it has withered like a felled tree, it has become rooted, gone from its usual course. Everything is in place, but not everything is like that...”

In the story “Fire,” Rasputin’s voice sounds angry and accusatory against people who do not remember their kinship, their roots, the source of life. Fire as retribution, exposure, as a burning fire that destroys hastily built housing: Timber industry warehouses are burning in the village of Sosnovka . The story, according to the writer’s plan, was created as a continuation Farewells to Matera , speaks of the fate of those who betrayed their land, nature, and their very human essence.

Nature is merciless, it needs our protection. But how sometimes it’s a shame for a person who turns away, forgets about her, about everything good and bright that is in her depths, and seeks his happiness in the false and empty. How often do we not listen, do not want to hear the signals that she tirelessly sends us.

The tone of the theme of man and nature in literature changes sharply: from the problem of spiritual impoverishment it turns into the problem of the physical destruction of nature and man.

Russian natural philosophy prose lyrics

2.3 Pulatov T.

Among the works of natural philosophical prose is the story by T. Pulatov "Possessions"(1974) occupies a special place. Small in volume, it gives a holistic picture of the life of nature, appearing as something unified and ordered in its interconnection. S. Semenova, characterizing her, emphasized the author’s skill in creating the image of nature as a Whole: “A day in the desert, the moving existence of material forces, the play of the elements, the microcycle of life of a whole pyramid of creatures - and to us with the firm hand of an amazing master, some kind of all-seeing, all-hearing , the all-feeling mediator of natural life, its order of being is outlined, ringed by the law of Fate, the destiny of every creature - equally amazing and equivalent - to the natural Whole."

Space and time in the story are clearly delineated, space is limited by the boundaries of the possessions of “our kite”, time is closed in the circle of days: a full moon night with an “unnaturally red” moon and a day when the kite flies around its territory once a month “to the very dry lake with a lonely tree on the loose bank."

The night of the full moon in the story is a kind of temporary sign, a “reference point” that marks the beginning of a new microcycle. In the light of the full moon, the changes that have occurred in the desert over the past month are clear. The full moon is also a “signal” for the kite, which obeys the natural “call” (“the unspoken law of birds”): “Instinct commands the kite to fly on this very day...”. The natural clock, which has counted down the month, “notifies” this on the night of the full moon; it is not for nothing that it is not like other nights. Life in the desert comes to a standstill, “there is no growth and gains, but many losses” on this night, summing up the natural microcycle. For a kite, the full moon is the night before a test of its strength, endurance, and right to own territory. He cannot break this “unspoken law of birds” and flies around his possessions on the appointed day. Life in the territory of the kite, as in the entire desert, is subject to a certain order, which cannot be changed or violated even by the kite, the owner of the domain. He himself is “inscribed” in this order and obeys it.

So, the natural world in the image of T. Pulatov is orderly, cyclical and harmonious. Everything in it is interconnected and interdependent, in motion. This movement is the basis of life, thanks to it changes occur in the biosphere, and time is the measure that allows not only to record the transformation of space, but also to identify the pattern, the natural expediency of this movement. Not only the living creatures of the desert, not only its plant and animal worlds, but cosmic and terrestrial processes are interconnected. If “wormwood is a connection between people and animals” (the human world is only “assumed” in the story, there is no place for it in the domain of the kite), then “dew, pure and transparent,” smells of “the heights of the universe, where star dust flies.” The light brings the scent of wormwood. T. Pulatov in poetic form captures the picture of the water cycle in nature (impeccable from a scientific point of view) in order to once again emphasize the interconnection of the earthly and cosmic. “In the spring, and often in the summer, at a time like now, short but heavy rain pours, instantly fills the lakes, quickly gets absorbed into the sand, penetrating into holes and driving animals out of their homes. And just as quickly, then the rain passes, the water evaporates, rising in a heavy cloud over the desert, a cloud not dense, but from layers between which the air shines through in the rays of the sun; layers of clouds descend towards each other, the heated air between them bursts - the sound is dull and not scary - the clouds break and throw a few large drops of water, not rain, onto the ground as a farewell, but this water, before reaching the sand, evaporates.”

The general “movement” in nature is carried out by common efforts. The basis of movement is transformation, “transformation”. The story contains a description of morning in the desert that captures this movement and “coordination” of effort. T. Pulatov creates a holistic picture of the processes occurring in the Earth's biosphere, based on the interaction of natural phenomena, on the relationship between the earthly and cosmic, manifested, in particular, in the geological transformation of the face of the Earth. IN AND. Vernadskyemphasized this relationship: “The face of the Earth... is not only a reflection of our planet, a manifestation of its matter and its energy - it is at the same time the creation of external forces of the cosmos.”

A.L. Chizhevskyin his famous work “The Terrestrial Echo of Solar Storms” (1936), he wrote that life, “to a much greater extent” than is commonly thought, “is a cosmic phenomenon than a living one. It was created by the influence of the creative dynamics of space on the inert material of the Earth. She lives by the dynamics of these forces, and every beat of the organic pulse is coordinated with the beat of the cosmic heart - this grandiose collection of nebulae, stars, the Sun and planets."

T. Pulatov’s story reveals the relationship between a captured moment in the life of the desert (one day) and the entire previous course of time, which cannot be measured and absorbs the evolutionary process of living matter. Noteworthy in the story is the description of some natural phenomena. Thus, it is said about moss: “It contains, perhaps, an equal share of stones, plants and animals, for moss is the basis of things in the desert. From it, three branches later developed and separated - sand, grass and shrubs, as well as birds and animals.”

2.4 Prishvin M.M.

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

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

Even in the first work "In the land of unafraid birds"Prishvin is worried about man’s attitude towards forests “...You only hear the word “forest”, but with an adjective: sawn, drill, fire, wood, etc.” But that's not so bad. The best trees are cut down, only equal parts of the trunk are used, and the rest "... is thrown into the forest and rots. The entire dry-leaved or fallen forest also rots and goes to waste..."

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

IN "Forest Drop""Prishvin writes about the bird cherry tree, which during flowering is so foolishly broken by the townspeople, carrying away armfuls of white fragrant flowers. The bird cherry branches will last a day or two in the houses and go to the trash cans, and the bird cherry tree has died and will no longer please future generations with its flowering.

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

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

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

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

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

2.5 Bunin I.A.

Bunin achieved wide fame thanks to his prose. Story "Antonov apples"is a hymn to nature, filled with uncontrollable joy. In the story" Epitaph"Bunin writes with bitterness about the deserted village. The surrounding steppe ceased to live, all nature froze.

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

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

2.6 Paustovsky K.G.

One of the successors of Prishvin’s traditions in literature was Konstantin Georgievich Paustovsky. Paustovsky's story Telegram"begins like this: “October was unusually cold, insatiable. The plank roofs turned black. The tangled grass in the garden died down. there were loose clouds. Rain poured out of them annoyingly. It was no longer possible to walk or drive along the roads, and the shepherds stopped driving their flock into the meadows."

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

Another story by Paustovsky " Rainy dawn“overflowing with pride, admiration for the beauty of his native land, attention to people who are in love with this beauty, who subtly and strongly feel its charm.

Paustovsky knew nature very well, his landscapes are always deeply lyrical. The peculiarity of the writer is his manner of not saying anything, not drawing enough, he leaves the reader to complete this or that picture in his imagination. Paustovsky had an excellent command of words, being a true connoisseur of the Russian language. He considered nature to be one of the sources of this knowledge: “I am sure that in order to fully master the Russian language, in order not to lose the feeling of this language, you need not only constant communication with ordinary Russian people, but also communication with pastures and forests, waters, old willows, with the whistling of birds and with every flower that nods from under the hazel bush."

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

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

2.7 Vasiliev B.

It is impossible not to note the work of Boris Vasiliev " Don't shoot white swans"in which every page, every line is imbued with great love for our native nature. The main character Egor Polushkin, a forester, found his calling by becoming a guardian of nature. Being a simple, unpretentious person, he shows all the beauty and richness of his soul in his work. Love for his work helps Polushkin to open up, take initiative, and show his individuality. For example, Egor and his son Kolya wrote the rules of conduct for tourists in verse:

Stop, tourist, you have entered the forest,

Don't joke with fire in the forest,

The forest is our home

If there is trouble in him,

Where will we live then?

How much this man could have done for his land if not for his tragic death. Yegor defends nature until his last breath in an unequal battle with poachers.

Shortly before his death, Polushkin says wonderful words: “Nature, it endures everything as long as it endures. She dies silently before her flight. And no man is the king of her, nature... He is her son, her eldest son. So be reasonable, don’t drive her into "Mama's coffin."

2.8 Astafiev V.P.

Victor Astafiev, whose thoughts are constantly focused on the “painful points” of time, turned to the problem of the relationship between man and nature at an early stage of his creative activity, long before the creation of “The King Fish”, which is, in fact, natural philosophical manifesto of the writer, summing up his thoughts about the place of man in nature. Astafiev’s favorite heroes live in the natural world, which is close and understandable to them. This is their cradle and home, a source of joy, inspiration and happiness. In line with the classical tradition, the writer develops his views on the harmonious unity of man and nature, on its healing and renewing effect. His heroes are not outside nature, but “inside” the processes occurring in it, being its natural particle and continuation. Astafiev continues the humanistic traditions of Russian classics with a cycle of stories “ Horse with a pink mane".

Story " Why did I kill the corncrake?? autobiographical. This is an adult’s recognition of an old childhood crime: a stupid and cruel boyish pastime - hunting for living things with a stick, slingshot, whip. This game must be passed down to boys with the blood of distant ancestors, countless generations of whom obtained food by hunting animals and birds. Instinct, once saving for the human race, has now lost its meaning and has become the enemy of nature and man himself. Submitting to him, the hero of the story once in childhood caught up and killed a wounded, poorly running bird, which is not even customary to eat. But his heart was enough to understand the senseless cruelty of his act, albeit belatedly, to be horrified at himself, recklessly beating a defenseless tiny living body with a rawhide whip. This belated horror haunts him throughout the rest of his life with the painful question posed in the title of the story. Coming from the mouth of a man who went through the entire great war, who was on the verge of death many times and shot at enemies, this question sounds especially demanding. Because morality lies precisely in the answer to the question: why violent death?

A real hunter will never raise his hand to a female capercaillie if she feeds and warms her unfledged chicks and her belly is plucked bare, because when hatching eggs, she must give them more warmth, and feathers interfere with this (“ Kapaluh"). The story is not directed against the extraction of marten fur, but against stupid indifference to nature.” Belogrudka"- how the children destroyed the brood of a white-breasted marten, and she, mad with grief, takes revenge on the entire surrounding world, exterminating poultry in two neighboring villages, until she herself dies from a gun charge.

« Haircut Creak"- in form, in genre - a naturalistic fairy tale. But, reading how the swift’s dad was killed by mischievous boys with a slingshot, we involuntarily remember that part from the story “The Horse with a Pink Mane,” which says how Sanka and Vitka hit the swift with a stone and he, choking on blood, died in their arms.

3. Masculine and feminine principles in natural philosophical prose

Nature, from a natural philosophical point of view, has endowed individuals of different sexes with specific forms of perception and motivation for actions. With a certain similarity in the characteristics of comprehension of space and existence in bios, the masculine and feminine principles differ in the behavioral models inherent in them physis.

The masculine principle in natural philosophical prose of the second half of the 20th century is represented by several main images (hunter, wanderer, sage, artist, righteous man and God-seeker) . Each of them is endowed with specific personality traits and a propensity for a certain type of activity.

Man-hunterdistinguished by a somewhat, at first glance, hostile attitude towards nature. He chooses for himself the role of its conqueror, but such domination of natura turns out to be a way of creating vital energy in the world. A male hunter in natural philosophical prose of the second half of the 20th century chooses for himself the role of breadwinner and breadwinner. Such, for example, are the heroes of the story C.T. Aitmatova"A piebald dog running by the edge of the sea." For them, hunting is not an act of conquering nature with the goal of destroying it, but a way of overcoming death, a kind of transition to eternity, an opportunity to realize oneself as Sphairos.

Another embodiment of the masculine principle in natural philosophical prose of the second half of the 20th century is wanderer. The hero spends his life in constant proximity to nature. However, he does not conquer her, but merges with her in his movement. This happens, for example, with the hero of the story Yu.P. Kazakova"Wanderer". His path, sometimes forced rather than voluntary, runs into infinity. Not knowing the final point of his arrival, a male wanderer learns on the road a subtle sense of nature and finds the meaning of life. At the same time, he sometimes gets stuck in some intermediate form of existence of a multidimensional personality (the heroes of Yu.P. Kazakov), without reaching the form of Sfairos.

Forced wandering (heroes A.A. Kima, L.M. Leonovaand other natural philosopher authors), on the contrary, helps a person in acquiring this status.

Comprehension of the existence of everything that exists through the prism of reason is realized in natural philosophical prose of the second half of the 20th century in the archetype sage. If for a hunter the conquest of nature is important, albeit in its creative basis, and for a wanderer, merging with physis in motion on the path to infinity, then for a thinker; The main way to achieve the form of Sfairos is to understand the world of flora and fauna. The unity and diversity of all things is revealed to him in the course of intense reflection. The main character of the story is distinguished by a similar quality (dominant over other personal properties). A.G. Bitova"Birds, or new information about man." The consciousness of the natural philosophical sage contains all the rationality of the world, which guarantees the preservation of vitality. Cognizing reality, the atomic personality of the thinker is endowed with all-permeability. In other words, he comprehends the essence of phenomena and the course of things at the level of a biologized mind. Consequently, the image of the natural philosophical thinker recreates the archetype of the sage K.G. Jung, with a predominance in the ontological aspect of being of the organic category of comprehension of the world.

For, male artistthe aesthetic transformation (more precisely, the reflection) of reality becomes dominant. The cult of reason gives way to creativity. In this case, the multidimensionality of man creates art. The act of creativity introduces the individual to cosmic life. For example, the hero of the novel speaks about this B.L. Vasilyeva“Don’t shoot white swans” Egor Polushkin. Art, through admiration and knowledge of the beauty of nature, leads a person to comprehend the idea of ​​eternity and the infinity of the Universe. The act of creative transformation of reality turns the natural-philosophical artist into Sfairos.

The religious aspect of existence in prose, reflecting the structure of the world according to the laws of logos, is embodied in the appearance of a man righteous and/or God-seeker. In this case, the method of interaction with nature is based on the fact of ethical improvement of the individual himself, but not through reason, creativity, dynamics, power, but in the spiritualization of the nature of being of everything that exists. The righteous and God-seeker sees, or rather feels, the moral foundations in the organization of the world. He understands the source of life as the divine principle revealed to man in nature. From the blissful contemplation of the world, the heroes turn to the deepest facets of their personality, at the same time being transformed spiritually.

In the process of acquiring the status of Sphairos, they are tested (tempted), make a choice between Good and Evil, and are finally initiated into sacred knowledge. All these steps are overcome, for example, by the hunchback Alyosha, the hero of the novel. L.M. Leonova"Pyramid". In other words, in natural philosophical prose, a person seeking piety and observing the highest spiritual precepts of existence (nature - God), makes a choice between the absolute truth and the chaos of social life, as a result of which she is transformed by bios into Sphairos. The heroes find themselves in situations where it is necessary to go either to the side of spirituality or to the side of a society that destroys the vitality. The dominant feature of a multidimensional personality in such an incarnation becomes ethical asceticism through natural influence.

The feminine principle in natural philosophical prose of the second half of the 20th century absorbs images endowed not only with a sense of kinship with nature, but also with the desire for further perfection of the world . In any of their incarnations (foremother Eve, the Savior, the “unreal-real” Beautiful Lady) they are distinguished by their endless desire to merge with world harmony, the cosmos - only the ways of their interaction with the bios are differentiated. Moreover, all the heroines of natural philosophical prose of the second half of the 20th century are already marked with signs of the world soul, the Universe. They are not only a part of nature, but a good and perfect manifestation of it. In other words, in these images of natural philosophical prose the ideal of the “eternally feminine” is recreated on organic grounds.

Foremother Evebecomes the embodiment of the source of being. The image of woman nature contains the creative essence. The basis is its naturalness, pristineness, and ability to perceive reality. Next to such a woman, a man realizes his destiny, therefore, the image of Eve is a designation of the fullness of being, its unity and infinity. Nina Vsevolodovna, the heroine of the novel, has a similar omnipresence. S.P. Zalygina"After the Storm" The woman Eve gives immortality to humanity, from a natural philosophical point of view. In this desire to create life, one can discern an attempt to resolve the contradiction between society and bios. Thus, the ancestress Eve takes on the role of reconciliator. In her desire for vitality one can discern a natural-philosophical recognition of the value of bios (the moral criterion for the development of man-Sphairos).

Already in this embodiment of the feminine principle of the prose about physis, the cult of feeling is manifested. A certain rationalism prevailed in the images of men. Hence the greatest closeness of women to nature, the rationality of which can be logically explained from the standpoint of the value of bios. Purposefulness in natura is not the result of a long evolution, but the source of being, therefore, a mystery.

A natural embodiment of the “unreal-real” appears Beautiful Lady, in the image of which admiration for the perfection of physis, the aesthetic value of the existence of man-Sphairos, is expressed. The harmony of an inspiring woman stems not so much from ethics as from the laws of the organic world. The heroine has secret knowledge, but it is incomprehensible due to her inaccessibility. One can only admire her in such a beautiful physical form, like a shaman from a story in a story. V.P. Astafieva"Tsar Fish". Having once appeared in the imagination of a man, the “unreal-real” Beautiful Lady teaches him a sense of nature, introduces him with her perfection to a spiritual understanding of the phenomena of existence of everything that exists, inspires him to search for the good principle in organic matter, and directs him to adore him.

Role SaviorsThis world is already taken over by other heroines of natural philosophical prose of the second half of the 20th century. They appear in two incarnations of the feminine principle, depending on the way they interact with nature. Righteouscomes to the salvation of the world through his holiness. The benefit contained in the laws of vitality conservation helps the Eternal Virgin to find God in the affirmation of life. The preservation and continuation of existence brings it closer to the maternal essence of nature. This is the heroine of the novel C.T. Aitmatova“And the day lasts longer than a century” Altun.

Unlike the righteous wise womangrants salvation to the world through reason. However, from the Eternal Maiden she inherits boundless sacrifice. Just as the good beginning of the world for a righteous woman, so its rationality for a wise woman stems from bios. Only a deep understanding of it leads to the preservation of the second life. Starting from love, like the righteous woman, the wise woman affirms her spirituality in it, but only then realizes the role of the Savior, gaining unity with the world.

The preservation of the existence of everything that exists stems from the ethical-biological feeling (holiness) and awareness of reality (wisdom) by the heroines of natural philosophical prose of the second half. XX century-righteous and wise woman. In these two incarnations the role of the Savior is revealed.

Conclusion

All our classics wrote and spoke about the fact that man and nature are connected by inextricable threads in the last century, and philosophers of the late 19th and early 20th centuries even established a connection between the national character and the way of life of the Russian person, the nature among which he lives.

Evgeny Bazarov, through whose lips Turgenev expressed the thought of a certain part of society that nature is not a temple, but a workshop, and man is a worker in it , And Doctor Astrov, one of Chekhov’s heroes, planting and growing forests and thinking about how beautiful our land is - these are the two poles in posing and solving the problem Human and nature.

And in modernist and, especially, postmodernist literature, alienation from nature occurs; it takes on a radical character: “nature is no longer nature, but “language,” a system of modeling categories that preserve only the external similarity of natural phenomena.”

The weakening of the ties of literature of the 20th century. with “living nature” can be rightfully explained not so much by the “cult of language” in the writing community, but by the isolation of the current literary consciousness from the larger human world, its isolation in a narrow professional, corporate circle, and purely urban circle. But this branch of the literary life of our time does not exhaust what has been done and is being done by writers and poets of the second half of the 20th century: images of nature are an irreducible, eternally vital facet of literature and art, filled with the deepest meaning.

The basis of the artistic reality of natural philosophical prose is the unity and diversity of existence of everything that exists. The world of society, as a product of the artificial, unnatural and chaotic, is alien to the environment that was formed naturally. Here everything is subordinated to the BIOS, organized logically; and harmonious. Each of its elements, even in the smallest modification, carries within itself the features of universal unity. All segments of reality, reflecting the structure of the universe, are aimed at creating existence. The planetary scale of bios absorbs technosociety, destroying the generated ecosystem, bringing chaos to the life of flora and fauna, as well as man as its representative.

And ominous images appear in Russian literature Arkharovites , poachers , transistor tourists , which vast expanses have become subject to control . In the vastness They are frolicking so much that behind them, like after Mamaev’s troops, are burnt forests, a polluted shore, fish dead from explosives and poison. These people have lost touch with the land on which they were born and raised.

Having absorbed the endless metamorphoses of existence, their rationality and expediency, reality, in natural philosophical prose of the second half of the 20th century, began to be understood as natural. Creativity of C.T. Aitmatova, V.P. Astafieva, A.G. Bitova, B.L. Vasilyeva, S.P. Zalygina, Yu.P. Kazakova, A.A. Kima, L.M. Leonova, V.G. Rasputin reflects the natural order: the coexistence of the Universe and personality, where the latter is forced to obey the laws of logos, otherwise it may die.

In their works, natural philosophers create an image of a multidimensional person, going back to ancient origins. Taking as a basis the doctrine of the universal harmony of the Universe and the useful (unified) beauty of the existence of everything that exists, they depicted a person achieving perfect unity with nature.

This is the state of the ancient Greek philosopher Empedoclesin his work “On Nature” he defined it as Sfairos (Spheros). In turn, man, as a particle of existence, also acquired its features. Consequently, the apogee of the existence of the individual was the achievement of the form of Sfairos. The natural philosophical understanding of reality determined the path of development of natural man and endowed him with special features. Hence his biological intelligence, increased ability to reflect on the planetary level, a sense of kinship with the universal WE, a sense of the infinity of the cycle of things and events, through which immortality is comprehended. The spherical shape of Sfairos allows the individual to touch nature and endows it with all-permeability, which helps to discover within the limits of one’s own physicality one’s atomic structure - a particle of the cosmos.

Another distinctive feature of a multidimensional person is his relationship with other representatives of flora and fauna. From admiring the perfection of everything living, a person comes to realize equal rights between manifestations of being. Thus, a number of value aspects of reality are affirmed, in agreement with which a person lives. They relate to the ontological, religious, moral and aesthetic essences of the reality of a multidimensional personality.

Man-Sphairos is trying to comprehend the mystery of nature and determine the expediency of his existence. Understanding the natural development of the existence of all living things, he creates a personal concept of worldview; for example, Vadim from the novel L.M. Leonova"Pyramid".

The cult of reason becomes the driving force of vitality for a multidimensional person. Natural thought acts as a constructive element in the consciousness of a natural philosophical personality. It also shows the essence of a person’s existence, the result of his life. Far from Hamlet's in content, the reflections of the homeomeric personality acquire ontological value. This is directly stated in the works of natural philosophers, for example, in the story V.G. Rasputin“Live forever, love forever.” Ontological value becomes one of the leading ones on the way for a person to realize his idea - the atom. The planetary scale of reflection allows the individual to reach the level of Sfairos, realizing himself as a microcosm of the Universe.

The essence of existence for the hero of natural philosophical prose of the second half of the 20th century lies not only in an attempt to comprehend the mind of nature, but also in reverent admiration for it. It does not come down to fanatical admiration, but evokes in the individual a reverent attitude towards the imperishable. Eternity, which distinguishes the peculiarity of the existence of everything that exists, is understood by a multidimensional person as the divine beginning of the world. Nature and the creative source of vitality are identified. Thus, a person gains immortality not only in thought, but also in the existence of everything that exists. This happens, for example, with the heroes of the novel A.A. Kima"Onlyria".

Religion, the embodiment of goodness and faith in it becomes a measure of the value of human life in relation to nature. The existence of everything that exists in the form of the Almighty contains in the multidimensional personality a certain good potential aimed at improving the immortal soul of the Universe, the diverse unity of WE.

The criteria of bioethics in the understanding of man-Sfairos are also expressed through the attitude towards nature. Ecological values ​​affirm the connection between the moral aspects of human existence and his attitude to bios. Nature becomes defenseless against the manifestations of society. A technically armed man, born in an artificial social consciousness, destroys the existence of everything that exists.

Natural resources are perceived by people as material wealth, for example, in the work S.P. Zalygina"Ecological novel". This attitude towards bios leads to the death of the person himself, attracted by social reality.

The hero of the story in the stories “Tsar Fish” V.P. Astafievarealizes the vital orientation of the bios, the craft invented by society becomes alien to Akim due to its biological nature. The protagonist of the work of the author-natural philosopher grows morally. The environmental values ​​of the individual are expressed through the attitude towards nature. The moral aspect of existence - bioethics, designated as a dilemma between bios and society, becomes another segment of reality that contributes to the achievement of the Sfairos form by man.

In the natural philosophical prose of the second half of the 20th century, the antipode of man-Sfairos appears. Their main opposite is the choice of life path. In one of his stories Yu.P. Kazakovdesignated such a hero as a person striving for an “easy life.” The image is distinguished by the adoption of such a model of behavior, which boils down to simplicity of being, unsophisticated appeal to others. The hero is a natural product of a society that allows lightness in feelings and relationships. For example, Goga Gertsev (“Tsar Fish” V.P. Astafieva) changes the medal from Kiryaga the Wooden Man for his own benefit.

Natural philosophical prose of the second half of the 20th century sets off such simplicity of perception of reality with the hero’s indifferent and even consumerist attitude towards nature. The existence of everything that exists becomes for a person of an “easy life” a way of acquiring material wealth. A superficial perception of reality destroys nature. Consequently, the depth of feelings in relation to the biologized reality, a particle of which the person himself is, becomes another moral criterion that distinguishes the essence of Sfairos.

At the same time, natural philosophical prose of the second half of the 20th century creates images of children whose moral development at an early age influenced the further growth of the homeometric personality. The child-perfection, performing the functions of the Savior, appears in the works A.A. Kima, Yu.P. Kazakovaand other natural philosopher authors. The time of childhood is depicted as the period of greatest closeness of man to nature. In the feeling of his kinship with her, the child learns the basic moral guidelines of existence not just in the world of people, but also in the universal unity of WE, as Arina does in the fairy tale novel of the same name A.A. Kima. A child in natural philosophical prose draws moral purity from nature and with such baggage goes into adulthood. It is important that the child-perfection has already achieved the form of Sphairos.

Cognition, feeling, moral experience of events in natural reality, admiration for its perfection turn for a multidimensional personality into an act of aesthetic admiration. The beautiful in bios becomes an integral part of a person’s consciousness when he acquires the status of Sfairos. The beauty of the world is filled with a deep meaning for the hero of natural philosophical prose of the second half of the 20th century: it reflects the perfect structure of organic matter and the usefulness of everything that exists. In it there is a unity of form and content, harmony, which is so lacking for a person in society.

Aestheticism in the vision of the real world is a necessary component in the improvement of personality, from a natural philosophical point of view. The mystery of nature is understood by a multidimensional personality as a mystery of beauty. Even a person’s physical attractiveness becomes a manifestation of the perfection and harmony of the bios. Therefore, in aesthetic admiration the path of comprehension of the organic world is traced, a feeling of kinship with it is born, as happens with the main character of the story A.A. Kima"Utopia of Turin". The universe is impossible without harmony and beauty. Consequently, in the formation of a man-Sfairos, a large role is given to aesthetic values.

Natural philosophical prose of the second half of the 20th century creates a unique image of a multidimensional person creating his existence in nature. He is not only close to her, but also feels like a particle of her - an atom. The typological features of Sfairos's model of human behavior make it possible to attribute him to one or another characterological group depending on his value essences, taking into account the manifestations of masculinity and femininity. Created in the works of authors of the second half of the 20th century (Ch.T. Aitmatov, V.P. Astafiev, A.G. Bitov, B.L. Vasilyev, S.P. Zalygina, Yu.P. Kazakova, A.A. Kim, L. M. Leonova, V.G. Rasputina ) the concept of personality makes it possible to consider natural philosophical prose as an independent direction in Russian literature, distinguishing it, for example, from village prose.

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