Immoral attitude towards nature, arguments from literature. Literary arguments for essay: Man and nature. Sample problem statements

Arguments for an essay on the Russian language.
Nature. Part 1.
The problem of nature, attitude towards nature, animals, struggle with the natural world, intervention in the natural world, the beauty of nature, the influence of nature on human character.

Is man the king of nature or a part? Why is consumerism towards nature dangerous? What can man's struggle with the natural world lead to? (V.P. Astafiev “Tsar Fish”)

Astafiev tells us an instructive story about a talented fisherman who has a natural flair that is useful for fishing. However, this hero also trades in poaching, exterminating countless fish. Through his actions, the hero causes irreparable damage to nature. The reason for these actions is not hunger. Utrobin acts this way out of greed.
During one of these forays, a poacher catches a huge fish on his hook. Greed and ambition prevent the fisherman from calling his brother for help; he decides to catch a huge sturgeon at any cost. Over time, Ignatyich begins to go under water along with the fish. A turning point occurs in his soul, where he asks for forgiveness for all his sins before his brother, before the bride whom he offended. Having overcome greed, the fisherman calls his brother for help.
Ignatyich changes his attitude towards nature when he feels like the fish “tightly and carefully pressed against him with its thick and tender belly.” He understands that the fish is clinging to him because he is afraid of death just like him. He ceases to see in this living creature only a tool for profit. When the hero realizes his mistakes, liberation and cleansing of his soul from sins awaits him.
At the end of the story we see that nature has forgiven the fisherman and given him a new chance to atone for all his sins.
The struggle between Ignatyich and the king fish is a metaphor for the battle between man and nature, which occurs every day. By destroying nature, man dooms himself to extinction. By causing harm to nature, a person deprives himself of the environment of existence. By cutting down forests and destroying animals, man dooms himself to extinction.
This work also poses the question: can a person consider himself the king of nature. And Astafiev gives the answer: no, man is a part of nature, and not always the best. Only caring for nature can maintain the balance of life, the countless destruction of what gives us the world, can only lead to death. The pride of a person who imagines himself to be the “king of nature” only leads to destruction.
We need to love the world around us, exist in peace and harmony with it, respecting every living creature.

This work is addressed to schoolchildren who are facing state final certification in the 11th grade in the Unified State Exam format.

The proposed material will help graduates in writing part C, namely: in the selection of arguments. In addition, the student will see that the problems raised by the authors of the texts may be different, and to express their opinion on them an argument taken from the same work can serve (the story by B. Vasilyev “Don’t Shoot White Swans”, the novel by I .S. Turgenev “Fathers and Sons”, poem by A.S. Pushkin “The forest is dropping its crimson attire...”).

In addition, such works as: the novel by M. Sholokhov “Virgin Soil Upturned”, the novel by N.G. Chernyshevsky “What to do?”, epic novel “War and Peace” by L.N. Tolstoy.

1. The problem of caring for nature: An argument from fiction (Boris Vasiliev’s story “Don’t Shoot the White Swans”): Boris Vasiliev’s story “Don’t Shoot the White Swans” depicts different people: thrifty owners of nature and those who treat it as consumptives, committing terrible acts: burning an anthill , exterminates 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. An argument from life: In life, unfortunately, there are the same heroes as in the story by B. Vasilyev. They cut down trees so as not to interfere with the construction of garages; they trample lawns to shorten the path; They do not keep city parks and surrounding forests clean, and thereby destroy nature and expose their “moral geology” by their actions. And only people like Yegor, every spring and autumn, increase green spaces, transform parks, and preserve forests.

2. The problem of happiness, the meaning of life: An argument from fiction (Boris Vasiliev’s story “Don’t Shoot the White Swans”): The problem of happiness and the meaning of life is revealed using the example of the hero Yegor Polushkin in Boris Vasiliev’s story “Don’t Shoot the White Swans.” Egor’s happiness and meaning in life is to protect nature for people. He said: “I want everyone to be kind, that’s it.” With what love he watched a pair of white swans on the Black Lake, which he bought in the regional city! He wanted “the lake to be called Swan back,” as it once was. He “acted not for reasons of reason, but as his conscience told him.” His conscience told him to live for people and protect nature for people too. An argument from life: It is wonderful that the Yegor Polushkins live in our ordinary life: they maintain nurseries for homeless animals, on their own initiative they improve playgrounds, and cultivate flower beds near houses. They do it not for themselves, but for others, and this makes them feel happy!

3. The problem of lack of spirituality, indifference, cruelty: Argument from fiction (Boris Vasiliev’s story “Don’t Shoot the White Swans”): Boris Vasiliev tells us about the lack of spirituality, indifference and cruelty of people in the story “Don’t Shoot the White Swans.” Tourists burned a huge anthill so as not to feel inconvenience from it, “they watched the giant structure, the patient work of millions of tiny creatures, melt before their eyes.” They looked at the fireworks with admiration and exclaimed: “Victory salute! Man is the king of nature." An argument from life: In life, unfortunately, more than once we have to deal with lack of spirituality, indifference, and cruelty both towards nature and towards people. All this leads to dire consequences: nature is dying, the number of orphanages is growing, the percentage of crime in the country is increasing. Scary…

4. The problem of the place and role of beauty in a person’s life: Argument from fiction (I.S. Turgenev’s novel “Fathers and Sons”): This problem is addressed in I.S. Turgenev’s novel “Fathers and Sons.” Nikolai Petrovich Kirsanov is a connoisseur of nature, art and literature. He listened with interest to the “ebullient speeches” of Yevgeny Bazarov, but could not understand how one could “reject poetry, not sympathize with art, nature?..” It is impossible to deny what makes our life more beautiful. An argument from life: Among my generation there are those who replaced books with a computer, do not know, for example, the name of the artist who painted the painting “The Rooks Have Arrived”, have a consumerist attitude towards nature... Their life, in my opinion, is uninteresting, poor, and they themselves, probably never experience spirituality.

5. The problem of education and upbringing in the development of personality: Argument from fiction (I.S. Turgenev’s novel “Fathers and Sons”): I.S. Turgenev did not avoid the problem of education and upbringing in the development of personality in the novel “Fathers and Sons” and solved it using the example of the life of N.P. Kirsanov , father of Arkady Kirsanov. Thoughtful, striving to fulfill his fatherly duty, he took Arkasha to St. Petersburg, to the University, and stayed with his son. He tried to get closer to Arkady's classmates, read the same books, was interested in the hobbies of young people, and followed modern life. Why? Yes, because he was worried not only about the material well-being of his son, but also about spiritual development as a result of education and upbringing during his growing up period. An argument from life: Education is unthinkable without upbringing, otherwise it will be difficult to form your own life position, become a harmonious person. Literature lessons gave us moral lessons in life, biology helped us gain health, history did not allow us to lose the connection of times... Education and upbringing are inseparable. There is a result: I have grown spiritually.

6. The problem of fidelity to the oath: An argument from fiction (A.S. Pushkin “The forest is dropping its crimson attire...”) An example of true friendship is the Lyceum Union of A.S. Pushkin’s comrades, about which the poet wrote in the poem “The forest is dropping its crimson attire...”: My friends! Our union is wonderful! He, like the soul, is indivisible and eternal. Lyceum students upon completion educational institution swore an oath to each other to gather at the Lyceum festival in 1825, but, unfortunately, only Alexander Gorchakov, who at that time became a diplomat and reached the post of Minister of Foreign Affairs, had this opportunity. Pushkin’s lyceum friends did not break the oath, they remembered it, but could not be at the meeting due to political reasons, for example, I. Pushchin, as a participant in the uprising on Senate Square, was exiled to Siberia, Pushkin himself, as a disgraced poet, was in exile in Mikhailovsky. An argument from life: I also have school friends. We are united by common interests: music, literature, sports. There is a common dream - to become certified specialists. We didn’t take an oath, but I’m sure it’s in our souls. This is a pledge of allegiance to school friendships. We must remember it and come to each other’s aid, no matter what.

7. Friendship Problem: An argument from fiction (A.S. Pushkin “The forest is dropping its crimson attire...”) An example of true friendship is the Lyceum Union of A.S. Pushkin’s comrades, about which the poet wrote in the poem “The forest is dropping its crimson attire...”: My friends! Our union is wonderful! He, like the soul, is indivisible and eternal. These lines sound like a hymn to the sacred feeling of friendship. An argument from life: I also have school friends. We are united by common interests: music, literature, sports. There is a common dream - to become certified specialists. We will try to maintain our school friendship, remember it and come to each other’s aid, no matter what.

8. The problem of maintaining honor and being true to your word: An argument from fiction (L.N. Tolstoy’s epic novel “War and Peace”): A man of honor and word is Nikolai Bolkonsky, the hero of L.N. Tolstoy’s epic novel “War and Peace.” He raised Andrei Bolkonsky in this spirit. Seeing his son off to war, his father strictly forbade him to serve out of mercy, because it was painful and shameful. Andrei did not promise anything, he was raised in the family of Nikolai Bolkonsky, where moral laws were observed, therefore he served the Fatherland faithfully, with dignity and honesty. An argument from life: The Bolkonskys live among us, you look up to them. We must be their successors in terms of morality: live honestly, remember honor, be true to our word. All this must have deep content and meaning. For example, I must successfully graduate from school, and, first of all, systematize knowledge in subjects and pass state exams with dignity in order to confidently hold a matriculation certificate in my hands.

9. The problem of forgetting parents as a mortal sin: An argument from fiction (A. Sholokhov’s novel “Virgin Soil Upturned”): The problem of forgetting parents as a mortal sin is considered in A. Sholokhov’s novel “Virgin Soil Upturned” using the example of the image of Yakov Lukich Ostrovny, who starved his own mother to death and kept her locked up for the sake of his salvation , to avoid reference. He waited for her death and waited: “The old woman was lying on the floor near the threshold, and the accidentally forgotten... mitten was chewed by her toothless gums...” Late he felt the severity of the loss he had suffered... Argument from life: The same problem sometimes sounds in modern life. Parents are forgotten: no calls, no letters, no financial assistance. They try to justify their children due to everyday worries and live in anticipation of a meeting... And adult children remember their father and mother too late and begin to atone for their sins in church... What is it, pain or fear?..

10. The problem of forming a person’s character: Argument from fiction (N.G. Chernyshevsky’s novel “What is to be done?”): The problem of forming a person’s character is considered by N.G. Chernyshevsky in his novel “What is to be done?” using the example of the image of Rakhmetov, a man of a “special breed”. He prepared himself to be a professional revolutionary and for this, first of all, he developed physical strength: he did gymnastics, “took a boxing diet,” “he was a plowman, a carpenter, he even walked the entire Volga as a barge hauler,” he believed that “this is useful, it might come in handy.” " Nikitushka Lomov (as his “comrades in the strap” dubbed him) not only developed physically, but also strengthened his character. According to Chernyshevsky, Rakhmetov is a special person. An argument from life: At the end of school, a graduate will receive a certificate of maturity, but the process of becoming a person and character formation will not end there. The main thing is ahead: do not stray from the right path, overcome difficulties and realize your potential. This will require strength, moral and physical. Life will more than once test his character for strength, which, according to R. Emerson, “is a completely educated will.”

Text from the Unified State Examination

(1) With recognition of the utmost importance global problems We're terribly late. (2) They took us by surprise. (3) While catching up, we began to multiply the number of these problems too quickly and chaotically. (4) I will list some. (5) This is the renunciation of wars, overcoming the backwardness of the “third world” countries, demography, natural resources, the world’s oceans, the environment, space exploration... (6) But let’s take a closer look. (7) Isn’t there really only one (and now eternal) problem - environmental? (8) And aren’t all the others, directly or indirectly, just its manifestation?

(9) Humanity has become the force that has threatened the very existence of life. (10) And now there is no such human action that would affect the whole life without a trace, that would not wound, kill it, or heal it, increase it, or improve it.

(11) “I am life that wants to live among life that also wants to live,” states A. Schweitzer. (12) This means that the environment, “the house in which we live” is nothing more than a living dwelling of living life. (13) And the law of this living dwelling is the increasing diversity of life forms. (14) And in relation to a person, the same law requires the identification and enhancement of his personal and national spiritual uniqueness. (15) The more diverse life is, the more alive it is, the more immortal it is.

(16) We came to the edge of the abyss primarily because we lost our love for life. (17) And what will save us is not so much repulsion from death as attraction to life, the revival of love for it.

(18) It is no coincidence that one hears from all sides: “ecology of culture”, “ecology of man”, “ecology of books”... (19) There are a lot of ecologies. (20) This means the revitalization of everything that surrounds us, or more precisely, the recognition of our “home” as living life, the recognition of the interdependence of all forms of life, the recognition of the endless living connections of life.

(21) In the global environmental problem, the main inseparable human and social aspects can be identified. (22) Firstly, it is the preservation, lengthening and improvement of the physical life of each person with the full realization of his unique personality, his spiritual potential. (23) Secondly, the preservation and spiritual development of every people, every nation. (24) And the most important thing is the concentration of the efforts of all humanity on the physical and spiritual development of children. (25) Without solving these eternal problems, we cannot survive. (26) These tasks inspire and infect not only with their clarity, realism and beauty (the combination of the physical and spiritual), but also with their lack of alternative in the face of the threat of non-existence.

(27) The absolute priority of ecology provides a truly objective basis for the new ethics: “Good is preserving life, evil is destroying life, harming life.” (28) Living life gave birth to man. (29) The man put her in danger of death. (30) Man is called to save lives. (31) Or was it released into the world only “in the form of an impudent test”?

(32) We and all future generations are threatened with oblivion. (33) This is the main thing that should unite people all over the world. (34) Let's try to comprehend the simple and deep thought of L. Tolstoy. “(35) Unity is the key that frees people from evil. (36) But in order for this key to fulfill its purpose, it is necessary that it be advanced to the end, to the place where it opens, and does not break itself or break the lock. (37) So is unity - in order for it to produce the beneficial consequences inherent in it, it must have as its goal the unity of all people in the name of a principle common to all people, equally recognized by all.”

(According to Yu. Karyakin)

Introduction

Over the past few decades, humanity has been increasingly thinking about the problem of preserving natural resources, environmental pollution and the disappearance of the last representatives of animals included in the Red Book.

In Russia, 2017 was declared the year of ecology to once again remind us all that we are responsible for what will happen to our planet in the future, whether our descendants will be able to enjoy the beauties of nature, as we do now.

But the concept of ecology is associated primarily with the concept of preserving life - life on the planet in general.

Problem

Yu. Karyakin raises the problem of the ecology of human living space, which it is man who is called upon to preserve for future generations.

A comment

The author argues that humanity is late in solving global problems, such as wars, the backwardness of the Third World countries, demography, and natural resources. The awareness of the need to solve these problems came to us quite late.

Karjakin defines only one really important problem– environmental, and everything that happens around is a consequence of this problem. Humanity began to threaten its own life with the process of increasing its greatness.

The ecology of life is designed, first of all, to increase the personal and spiritual growth of a person. The main environmental problem, according to the author, includes three aspects: improving the psychological and physical state of a person, preserving the culture and development of individual nations, special attention should be paid to the moral, spiritual and physical development of children.

Good is the preservation of life, evil is its destruction. The impending destruction of humanity should unite people all over the world. As an example, Karyakin cites the words of L.N. Tolstoy, who believes that only unity will save people from evil. But it will be effective only when all people can unite to achieve a common goal.

Author's position

The author calls on everyone to unite; he is very concerned about the situation in the world and worries about the future of generations. He is confident that the main goal should be the moral and physical development of children, each individual and entire nations.

Your position

I also believe that we must protect our planet, we must restore what we destroyed with our own hands. To bring back life where it had practically died out, so that our descendants could admire the beauties of nature and enjoy the delights of life.

Selfish destruction of natural resources can very soon lead to the death of all living things.

Argument No. 1

In the story “Farewell to Matera” by V. Rasputin, using the example of the small Siberian island of Matera, the intention of the authorities to sacrifice anything to achieve their own, often mercantile, goals is shown.

Matera is an island on which there was a small village inhabited by a small number of people. In order to build a new hydroelectric power station, the higher-ups had to flood the island, destroy all living things that were there - plants, animals, people’s homes. Of course, people were given the opportunity to move, but their hearts sank from the need to leave their native land, the homes that they had cherished for decades.

Argument No. 2

B. Vasiliev’s novel “Don’t Shoot White Swans” presents a dual attitude towards nature: some treat it as a consumer, not disdaining violence; others guard it reverently, fearing harm.

Fyodor Buryanov, a forester, takes advantage of his position to illegally cut down the forest. His son Vovka, without a shadow of pity, almost tortures the little puppy to death.

Buryanov's brother, Yegor Polushkin, loved nature so much that, while digging a trench, when he collided with an anthill, he went around it. At that moment he did not think that there were no crooked pipes.

For such a reverent attitude towards nature, Polushkin was subsequently appointed forester instead of the dishonest Buryanov.

Conclusion

Our life directly depends on how we treat ourselves and the nature that surrounds us. For the sake of the future, for the sake of our children, we must all strive together to achieve a common goal - solving environmental problems.

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 variety of books, on any topic, for great circle 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 accepts the most Active participation 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 no matter what. social system, any level of material well-being. Chekhov wrote: “A person needs not three arshins of land, not an estate, but the whole Earth, 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 they draw 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 mainly 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’ personalities, bring life-like 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 being 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 relationship 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 national image peace. 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 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 in 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; 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. WITH different sides The problem of the relationship between man and nature is highlighted.

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, it would seem, completely in a harmless way, an ignorant hunter can lead to the death of a tree. 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, Yegor 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.

Viktor 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 career. creative activity, long before the creation of the “Tsar 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. In the mouth of a man who has gone through all 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 the white-breasted marten, and she, mad with grief, takes revenge on the entire surrounding world, destroying poultry in two neighboring villages, until she herself dies from a rifle 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. A similar quality (dominant over other personal properties) is distinguished by main character stories 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 chaos social life, as a result of which she is transformed into Bios into Sphyros. 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 late XIX- the beginning of the 20th century even established a connection between national character and the way of life of a 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.

One more distinctive feature multidimensional man 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 bios, the craft invented by society becomes alien to Akim due to its biological nature. Actor the works of the author-natural philosopher grow 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 a person’s achievement of the Sfairos form.

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 a model of behavior that boils down to simplicity of being, an ingenuous approach 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 unique image 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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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 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 a renewed mind 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 this kind of 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.