The theme of the common fate of man and nature in modern prose. An essay on the theme of Nature and man in modern domestic prose (based on Prishvin's "Phacelia")

In the summer, there are a sea of flowers in the flowerbeds of the park ... In autumn, wild rose, hawthorn, barberry burn with ripe berries, spruces and pines turn green. Poplars grow along the roads. Many houses are surrounded by tall arborvitae, silver fir trees and shrubs. How I would like this beauty of nature to be eternal ... I have just read the story "And Thunder Crashed." I read it and thought deeply ... The heroes of this story from the present filled with prosperity in a time machine make a journey into the distant past. One of the prerequisites for such a movement is the categorical requirement not to touch anything, not to try to change anything, not to touch anything. One of the characters commits a seemingly insignificant sin: he steps on a butterfly, and it dies. It seems that nothing changes in the world around us, and life goes on. But after returning home, to the starting point of time, the travelers find their world completely different, unlike the one that was - "and thunder struck."

Fantastic? Good literary allegory? No and no again. Everything in our complex world is interconnected, nature is fragile and vulnerable, and the consequences of a rude, thoughtless attitude towards the animal and plant world can be catastrophic. But we have only one planet. One for all earthlings. And there won't be another. That's why you can't stomp on butterflies. The ecological situation is deteriorating, which poses a threat to all living things. Every year, our planet celebrates two special calendar days: Earth Day and Environment Day. People on this day talk about the problems of ecology (“Less environmental, more and more environment”). The ecological present and future of all peoples is common. A broken, fragile tree, trampled flowers, a dead frog, scattered garbage, oil pipeline breaks, gas leaks, industrial emissions, bad water we drink, bad air we breathe - all these are just supposed little things. Over the past thirty to forty years, many species of animals and plants have disappeared on the planet of people. Acid rains destroy the soil, tropical forests - the "lungs" of the planet - are cut down at a rate of 20 hectares per minute, water bodies are polluted, the protective ozone layer is destroyed; diseases caused by environmental problems claim hundreds of thousands of lives every year... Every state, every inhabitant of the planet Earth is responsible to all mankind for preserving nature for present and future generations.

The world is mysterious and mysterious ... For example, Chuck the turtle lives in our apartment. She is already four years old. We bought it in Donetsk at the market. She has a hard shell, the dorsal side of which is formed by ribs that have grown in width, and the ventral side fuses with the chest, reliably protecting the soft parts of the animal's body. When touched, she hides her head, paws and tail under the shield.

The outer parts of the turtle's paws and its head are reliably protected by horn shields. When she walks, you can hear the sound of her shell on the edge of the table. Her movements are heavy. Our tortoise doesn't swim, I read in Living Animals in School that bog turtles swim in the water using all four legs.

Cool turtles swim in the water using all four legs. In case of danger, the turtle draws its head, hind limbs and tail into the depths of the shell. She eagerly feeds on dandelion leaves, cabbage and the Bride flower. Light turtles are large. We love our miracle turtle very much. Now she sleeps in a box under the chiffonier. Currently, there are about two hundred species of turtles, most of which are found in tropical countries. Giant tortoises live on the islands of the Indian and Pacific Oceans, weighing up to three hundred kilograms. The swamp turtle lives in swamps and lakes, feeding on various aquatic animals. In school wildlife corners, students feed the turtles juicy grass, chopped cabbage, carrots, beets, watermelon and melon pulp. How many turtles are left on earth? I want to tell everyone: “Love turtles the way I do, they are the decoration of the earth, like diamonds,” according to the animal painter A. N. Komarov, who painted the painting “Flood”.

Let's recall the lines from the famous story by Antoine de Saint-Exupery: "Where do you advise me to go?" the Little Prince asked the geographer. “Visit planet Earth,” the geographer replied. She has a good reputation. Earth is the planet of animals and plants no less than the planet of people. And I want to warn: “People! Take care of all life on Earth!

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

"Phacelia" is a lyric-philosophical poem, a song about the "inner star" and about the "evening" star in the writer's life. In each miniature, true poetic beauty shines, determined by the depth of thought. The composition allows us to trace the growth of common joy. A complex range of human experiences, from melancholy and loneliness to creativity and happiness. A person reveals his thoughts, feelings, thoughts only by closely contacting nature, which appears independently, as an active principle, life itself. The key thoughts of the poem are expressed in the titles and in the epigraphs and phorisms of its three chapters. "Desert": "In the desert, thoughts can only be their own, which is why they are afraid of the desert, that they are afraid to be alone with themselves." “Rosstan”: “There is a pillar, and three roads go from it: go along one, along the other, along the third - everywhere the trouble is different, but there is one death. Fortunately, I am not going in the direction where the roads diverge, but back from there - for me, the disastrous roads from the pillar do not diverge, but converge. I am happy with the post and return to my home on the right single path, remembering my disasters at the Rostani. “Joy”: “Woe, accumulating more and more in one soul, may one day flare up like hay and burn everything with the fire of extraordinary joy.”

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

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

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

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

“I stand and grow - I am a plant.

I stand and grow and walk - I am an animal.

I stand, and grow, and walk, and think - I am a man.

I stand and feel: the earth is under my feet, the whole earth. Leaning on the ground, I rise: and above me is the sky - all my sky. And the Beethoven symphony begins, and its theme: the whole sky is mine. Detailed comparisons and parallelisms play an important role in the writer's artistic system. In the miniature "Old Linden", which concludes the second chapter, the main feature of this tree is revealed - selfless service to people. The third chapter is called "Joy". And joy is indeed generously scattered in the very names of the miniatures: “Victory”, “Smile of the Earth”, “Sun in the Forest”, “Birds”, “Aeolian Harp”, “First Flower”, “Evening of the Consecration of the Kidneys”, “Water and Love”, “Chamomile”, “Love”, A parable-consolation, a parable-joy opens this chapter: “My friend, there is no place for you either in the north or in the south if you yourself are struck ... But if victory, - but every victory is over oneself - if even the wild marshes alone witnessed your victory, then they will flourish with extraordinary beauty, and spring will remain with you forever, one spring, glory to victory.

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

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

The deceptive lightness of this topic can lead the student to empty discussions about the beauty and eternity of nature. It is necessary to understand that already in the "village" prose - the 60-70s of the XX century - one of the reasons for worrying about the village is the ecological crisis, the destruction of the close, traditional for the nation, ties between man and nature. That is why in the works of V. Belov, V. Astafiev, S. Zalygin, V. Rasputin there is a discussion that the degradation of modern man, the decline of his morality and leads to a violation of natural law, introduces

ecological crisis. The authors of the manual “Preparing for the Literature Exam” (SPSU, 1996) A. O. Bolshev and O. V. Vasilyeva indicate that the works of these authors are permeated by the thought: “Man, being an integral part of nature, must live according to natural law” (S. Zalygin), that is, the question is not only “about nature outside of us”, but also “about nature inside us”, about the nature of man himself.

Modern life, progress alienate a person from the natural world, form in him the psychology of a temporary worker, ruthlessly exploiting nature, which he feels is just an environment, not a “temple, but a workshop”,

Acting much tougher than Bazarov.

It is more productive for a graduate to focus on one work. These can be narratives in the stories “Tsar Fish” (1976) by V. Astafiev or V. Rasputin’s story “Farewell to Matera” (1976) or “Fire” (1985).

In Astafiev's work, which is characterized by open publicism, the center is environmental issues.

V. Astafiev draws a whole chain of pictures of poaching abuse of nature. He has poachers and government officials who ruthlessly destroy the great Yenisei in the name of victorious statistics. The researchers note that the writer manages not to fall into social romanticism, he understands that the past cannot be returned, even though each story ends with the obligatory punishment of the poacher.

“Lyrical Meditations” (N. L. Leiderman) by the author about the fragility and quivering of life make up the emotional, charming part of the story.

He compares modern life with winter, when people are only warmed by the dream of summer, warmth and sun. Hope warms, but whether the long-awaited harmony will come - the author does not give an answer to this question.

If the student turns to Rasputin's story "Fire", then here he will have to point out the publicism of the work, which indicates that the appeal to the topic of environmental and moral catastrophe does not give the author himself final answers. The questions remain unresolved. Will the new generation of writers, the next generation of Russian citizens, be able to offer their solution?

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RESPONSE PLAN

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

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

3. Young heroes of the story. Their position.

4. What will be left for posterity?

5. Cost of transformations.

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

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

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

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

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

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

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

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

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

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

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

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

I stand and feel: the earth is under my feet, the whole earth. Leaning on the ground, I rise: and above me is the sky - all my sky. And the Beethoven symphony begins, and its theme: the whole sky is mine. Detailed comparisons and parallelisms play an important role in the writer's artistic system. The miniature "Old Linden", which concludes the second chapter, reveals the main feature of this tree - selfless service to people. The third chapter is called "Joy". And joy is indeed generously scattered in the very titles of the miniatures: “Victory”, “Smile of the Earth”, “Sun in the Forest”, “Birds”, “Aeolian Harp”, “First Flower”, “Evening of the Blessing of the Kidneys”, “Water and Love”, “Chamomile”, “Love”, A parable-consolation, a parable-joy opens this chapter: “My friend, there is no place for you either in the north or in the south if you yourself are struck ... But if victory, — and after all, every victory is over oneself — if even the wild swamps were the only witnesses to your victory, then they will flourish with extraordinary beauty, and spring will remain with you forever, one spring, glory to victory.

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

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

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

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

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﻿ The theme of the common fate of man and nature in modern prose. An essay on the theme of Nature and man in modern domestic prose (based on Prishvin's "Phacelia")

Essays on topics:

The theme of the common fate of man and nature in modern prose. An essay on the theme of Nature and man in modern domestic prose (based on Prishvin's "Phacelia")