Let us consider the evolution of landscape in Russian literature and its functions at the present stage. The role of landscape in literary works (from work experience) The main features of space in a literary work

Landscape in the novel "War and Peace" is one of the main artistic means. The writer’s use of pictures of nature enriches the work in ideological and artistic terms.

For Tolstoy, nature is the highest wisdom, the personification of moral ideals and true values. A “natural” person, close to nature, was the writer’s ideal. Therefore, one of the important characteristics of Tolstoy’s heroes is their attitude towards nature. She organically enters the life of L.N.’s “searching” heroes. Tolstoy, intertwined with their thoughts and experiences, sometimes helps to rethink, reconsider their life and even change it.

Tolstoy often uses landscape to analyze the state of mind of Prince Andrei. The spiritual beauty of Natasha Rostova and the poetry of her nature are manifested in the heroine’s relationship with the natural elements. How beautiful and spontaneous Natasha is, admiring the beauty of the night in Otradnoye: “Sonya, Sonya! - the first voice was heard again. - Well, how can you sleep! Look what a beauty it is! Oh, what a beauty!.. - After all, such a charming night has never, never happened... - No, look what a moon!..”

The description of the moonlit night in Otradnoye, which Prince Andrei and Natasha admire at the same time, is emotionally and romantically elevated. A large number of epithets in a relatively short passage convey shades of contrasting colors: black, white and silver; play of light and shadows - a still-bright night, black trees on one side and silver-lit on the other, vegetation with silvery leaves and stems here and there, a roof shiny with dew, a tree with a bright white trunk, a full moon on a light, almost starless sky. Night, moon, light and shadows - everything amazes with unforgettable beauty.

Nature often helps heroes recognize their condition, understand everything (the sky over Austerlitz, the description of the Danube, the image of an oak tree), and show the meaninglessness of dreams of glory and heroism. On the battlefield in the face of death, Prince Andrei realized that idols and glory are far from the true meaning of life. “There was nothing above him anymore except the sky - a high sky, not clear, but still immeasurably high, with gray clouds quietly creeping across it... Yes! everything is empty, everything is deception, except this endless sky. There is nothing, nothing, except him. But even that is not there, there is nothing but silence, calm. And thank God!" Now seeing his idol Napoleon so closely, Prince Andrei understands the insignificance of this “little man” whom he imitated. All this is small and insignificant compared to what happens between his soul and this high sky. Andrey finds the true meaning of life in serving his family and raising his son. Prince Bolkonsky believes that his life is over. There is no hope for happiness.

As if echoing his thoughts, an old powerful oak tree stands in a blossoming birch grove. Its branches stick out in different directions, ugly against the background of young birch trees. The oak seems to say: “Spring, and love, and happiness! And how can you not get tired of the same stupid, senseless deception!.. There is no spring, no sun, no happiness...” “Yes, he is right, this oak tree is right a thousand times,” thought Prince Andrei, “let others, young people, again succumb to this deception, but we know life, our life is over!” And Andrei decides to live quietly and calmly, to live out his life, doing no harm to anyone, taking care of his loved ones, fulfilling his fatherly duty.

But after visiting Otradnoye and meeting Natasha, Prince Andrei’s way of thinking changes. Natasha's night conversation with Sonya, accidentally overheard by the prince, reveals to him the soul of this girl. Her enthusiasm and admiration for life are involuntarily transferred to Bolkonsky. He begins to understand the value of life, every moment of it. On the way back, he sees the same oak tree, but different. “The old oak tree, completely transformed, spread out like a tent of lush, dark greenery, swayed slightly in the rays of the evening sun. No gnarled fingers, no sores, no old grief and mistrust - nothing was visible. “Yes, this is the same oak tree,” thought Prince Andrei, and suddenly an unreasonable spring feeling of joy and renewal came over him.”

A remarkable description of autumn nature is associated with a picture of a hunt in Otradnoye: “The greenery has already turned away and the bright green has separated from the stripes of browning, cattle-killed, winter and light yellow spring stubble with red stripes of buckwheat. The peaks and forests... became golden and bright red islands in the midst of bright green winter fields.” This Russian late autumn awakens some kind of inner spiritual strength in a person. In addition, it is in tune with people’s passion for hunting, music, and dancing, which Tolstoy portrays in the novel with great skill.

It should be noted that only Tolstoy’s best heroes are close to nature and feel their connection with it. Negative characters are far from nature, from everything natural and beautiful. They not only do not notice nature with its grandeur and calm beauty, but it is as if they are not even aware of its existence. In the novel "War and Peace" the reader will never see Helen, Anna Pavlovna, Julie Karagina, Prince Vasily in the lap of nature, since this is not their element. They don’t like nature and don’t understand its higher meaning. Spiritually devastated, morally ugly, if they speak about nature, it is in a strained and false way. But the main characters of the novel perceive this harmonious world completely differently, close to the ideal of the writer - the “natural man”. These are spiritually beautiful people, seeking happiness, internally close to the people, dreaming of useful activities. Their life path is a path of passionate quest leading to truth and goodness. Tolstoy reveals the richness of the inner world of these heroes through their perception of nature.

The picture of nature recreates the situation that characterizes the beginning of the Battle of Borodino: the sun, splashing onto the fields due to the fog, served as a signal for Napoleon to set out. The landscape in the coverage of wars, battles, battles carries the main ideological load for Tolstoy, reveals the nature of the war, reflects the author’s point of view on what is happening.

Tasks and tests on the topic "The role of landscape in revealing the ideological and artistic content of the novel"

The role of soft and hard signs - Spelling of vowels and consonants in significant parts of words, grade 4
Lessons: 1 Assignments: 9 Tests: 1
Nominative case of nouns. Role in the sentence of nouns in the nominative case - Noun 3rd grade

The role and functions of the artistic landscape of nature in a literary work are very important. Landscape may be necessary to mark the location geographically; to describe the area so that readers can become better acquainted with the natural living conditions of people, with exotic beauties, etc.; for a dynamic description of the changing scenes of travel; to capture various natural phenomena, etc. A landscape can carry both a background and a semantic load, revealing something new in a person. An appeal to nature leads the writer to philosophical considerations, which, on the one hand, characterize the features of the author’s worldview, and on the other, the character of the heroes of the work.

Landscape components usually act as a backdrop that characterizes the scene. The introduction of landscape elements is necessary in cases where, without these expressive means, it is impossible to convey the atmosphere of what is happening, to penetrate into the essence of human perception of the world, to find out a person’s attitude to the world around him, etc. In this case, the landscape becomes a meaning-forming element.

Landscape can also be used as a contrasting comparison between the internal state of the hero and the nature surrounding him; as a means of revealing human character; as a background for a portrait of a hero; as a technique for revealing the hero’s ideological positions, etc.; as an artistic means in posing socially significant problems; to recreate the social life of people.

The landscape in works is used not only as decoration or a kind of background. Its “service” functions are very wide. A landscape can be used to describe a place and setting, a life situation, relieve a tense narrative, pose socially significant problems, convey a certain mood to readers and show the internal state of the hero of a work, and finally, as a compositional element. The forms and methods of using landscape descriptions largely depend on the goals and objectives facing the writer.

Landscape, depending on its functional purpose, can have various forms of manifestation in literary texts. In literary criticism, landscape descriptions, landscape images, landscape-preliminaries, landscape strokes, psychological and epic landscape parallels are quite well known. An addition to the established terminological scheme can be landscape details, so often considered in connection with the work of A.P. Chekhov; dotted landscape lines, landscape strokes. In connection with the role of landscape in the artistic world of a work, researchers propose a functional classification of landscape descriptions. The following functions of nature paintings are highlighted: designating the scene of action, creating a certain atmosphere, revealing the character of the hero. In accordance with these functions, we can talk about a background landscape, an emotional landscape and a psychological landscape.

In general, the landscape can perform a huge number of very diverse functions: it is indispensable for a subtle analysis of the psychological state of the characters, for enhancing the pictures of any events, for vividly characterizing the situation in which the action unfolds. Pictures of nature can serve to express any thought of the author or his feelings and experiences, fulfill an ideological and compositional role, that is, help reveal the idea of the work.

Landscape is one of the means of plot and compositional construction. From this point of view, landscape can represent a static or dynamic description. The static description is not included in the temporal development of the action. Dynamic description is included in the event and does not pause the action (for example, the landscape is given through the prism of the hero’s perception as he moves). The landscape also represents emotional and evaluative content in the text. In an artistic description of nature, the characteristics of the described object are usually assessed by the author in the form of personifications, epithets, metaphors, and comparisons. The landscape plays a special role in the formation of the emotional and evaluative level of the style of a work of art.

We can outline some principles for the classification of the compositional speech form “description” (portrait, landscape, interior), developed in modern linguistics. Descriptions are classified by function when transmitting text information. It is planned to highlight the following functions:

- modeling or coordinating function (introduces the three main coordinates of the conditional world: time, space, subject);
- signaling function (indicates a transition from one compositional speech form to another);
- aesthetically adjusting function (attracts the reader’s attention to the information being communicated);
- symbolic function (transforms the description into a sign-symbol of the object of the description).

Summarizing all the above opinions, we can state that there are basically three main functions of the landscape:

1) nature can act as an objective reflection of reality and at the same time serves as the background of the narrative;
2) landscape plays the role of a specific means in revealing the character of the characters;
3) nature can be depicted as the main character of a literary work.

The role of the landscape is:

1) in expressing the author’s attitude towards nature;
2) in depicting the characteristic features of a locality, region, country (creating local color);
3) in using it as an additional means for more expressively reflecting the character of the characters through contrast; by matching natural phenomena with the character’s feelings and thoughts;
4) in a symbolic meaning;
5) in understanding nature as the main character of a work of art.

Comparing these last two definitions of the functions and role of landscape in literature, we can conclude that in the second definition the role of landscape is defined in more detail, not only the main, but also auxiliary functions of describing nature are identified. Particular attention is paid here to the principle of psychological parallelism, which was widespread in all areas of literature. This principle is based on a contrastive comparison or likening the internal state of a person to the life of nature. The technique of personification in this case is the main one.

There are two trends in the history of landscape that justify its different interpretations: 1) landscape - the world in general, outside of man; 2) landscape - an expression of a person’s inner world through the image of nature.

Ministry of General and Professional Education of the Sverdlovsk Region

Department of Education of Leninsky District

MBOU Gymnasium No. 161

The role of landscape in “The Tale of Igor’s Campaign”

Performer: Tyurina Irina,

student of grade 9 "B"

Head: Vera Aleksandrovna Tyapugina,

teacher of Russian language and literature

Ekaterinburg

INTRODUCTION

CHAPTER 2. “THE WORD ABOUT IGOR’S CAMPAIGN” IN THE LITERATURE AND LIFE OF MAN IN ANCIENT Rus'

1 “The Tale of Igor’s Campaign” in ancient Russian literature

2.2 Union of nature and man

2.3 Images-symbols and the image of the Russian Land in the “Word...”

CONCLUSION

LIST OF REFERENCES

INTRODUCTION

About eight centuries ago, in 1187, the “Tale of Igor’s Campaign” was created - a monument of ancient Russian culture. “The Tale of Igor’s Campaign” is one of the first lyric-epic works that have come down to us, unique in its poetic level. This story is a historical narrative, the main characters are real people from our history: Prince Igor, Yaroslav the Wise, Svyatoslav, Vsevolod and others.”

The passing centuries have not muffled its poetic sound or erased its colors. Interest in “The Word and Igor’s Campaign” not only has not diminished, but is becoming more and more widespread, more and more profound.

“The Tale of Igor’s Campaign” is imbued with great human feeling - a warm, gentle and strong feeling of love for the homeland. This feeling is reflected in the emotional excitement with which the author of the Lay speaks about the defeat of Igor’s troops, and in the way he conveys the words of Russian wives crying for the killed soldiers, and in the joy of Igor’s return, and in the broad picture of Russian nature . The cultural value of this work is invaluable: after all, without knowledge of the past of our people, we have no future, and history repeats itself all the time, and the main idea of the work, it seems to me, is always relevant. This idea is a call for an end to civil strife, for the unity of a great people.

The author of “The Lay of Igor’s Campaign” embodied his call for unification, his sense of the unity of his homeland in a living, concrete image of the Russian land.

Reading “The Word ...”, you understand that the people of the 12th century were closely connected with nature. In various natural phenomena they saw predictions of fate or messages from God. Based on various natural signs, people often decided what and how best to do tomorrow, which things needed to be postponed, and which ones needed to be done urgently. The conclusion about the close connection of our ancestors with nature can also be drawn from the fact that the author of “The Word ...” shows the feelings of the heroes through images and pictures of nature. Nature plays a direct and not an indirect role in the work, it is eventful, it is alive - its changes are described, its influence on humans, it is included in the very course of the narrative and the development of the plot.

For modern readers, undoubtedly, consideration of the issue of depicting nature in this ancient Russian work will be of great value. Usually the features of the genre, style, the issue of authorship, etc. are discussed in detail. However, the above-mentioned side of the “Word...” is not sufficiently analyzed. But it is precisely this that deserves special attention and consideration from researchers of ancient Russian literature and readers.

Purpose of the study: to determine the role of landscape in the work “The Tale of Igor’s Campaign.”

· study the theory about the role of landscape in a work of art;

· get acquainted with literary works on “The Tale of Igor’s Campaign”;

· find descriptions of nature or its phenomena in the text;

· analyze how descriptions of nature are related to the plot of the work;

· determine what role the description of nature plays in the work.

Hypothesis: the landscape in “The Tale of Igor’s Campaign” is not just a background against which events unfold; it conveys the author’s assessment of events and the feelings of the characters, and is an organic component of the image of the Russian land.

Object of study: “The Tale of Igor’s Campaign.”

Subject of research: the role of landscape in the work “The Tale of Igor’s Campaign” and the interaction of nature and man.

CHAPTER 1. LANDSCAPE AND ITS FUNCTIONS IN A WORK OF ART

Analyzing the role of landscape in “The Tale of Igor’s Campaign,” it is necessary to understand what landscape is and what its functions are in works of art. A brief dictionary of literary terms gives the following definition of the term “landscape”:

LANDSCAPE (French Paysage, from pays - country, area) is a picture of nature that has different artistic significance depending on the style of the author, the literary direction or movement with which he is associated. In lyric poetry, landscape can have an independent meaning: the perception of nature by the lyrical hero. In prose, the landscape is associated with the nature of the narrative and correlates with the mood of the characters.

For the first time, landscape plays an important role among sentimentalists, who depict man against the backdrop of nature, opposed to the civilized world, and the picture of nature is presented in an emphatically emotional way.

In contrast to the landscape of the sentimentalists, designed in calm, light colors, the landscape in romanticism presents pictures of powerful, stormy nature (the sea and rocks in Byron’s eastern poems) or majesticly rich (the prairie in Cooper’s novels). The romantic landscape is part of the local color and serves as one of the means of creating an unusual, sometimes fantastic hero, melanchonic-dreamy or restless, rebellious.

In a realistic work, the meaning of the landscape is more diverse: it is interesting in itself, as part of the real environment in which the action takes place; it emphasizes or shades the mental state of the characters, the nature of the events taking place (an episode from the novel “War and Peace”: Prince Andrei on the road to Otradnoye).

Sometimes the landscape has symbolic content (“Song of the Petrel” by M. Gorky, “The Cliff” by M. Lermontov)

While in painting the landscape in some cases has independent significance as a complete work of art, in literature the landscape is usually included in the general system of images of the work, occupying a place in it specific to a given style and characterized by specific features. Hence the different quality of landscape in different literary styles

The theory and history of literary landscape has no special literature. In general works on the theory of literature, several lines are devoted to the landscape, sometimes under the title of description. In the literature about the idyll, about the descriptive poem, about the sentimental and romantic styles, one can find scattered characteristics of the landscape of different styles. In monographs dedicated to individual writers, one can often find special chapters analyzing the landscapes of a given writer, for example, on the Byronic landscape.

<#"justify">1. In “The Tale of Igor’s Campaign” there are no descriptions of nature, which serve only as a background to what is happening.

There is no such landscape in “The Lay...”, but the image of the Russian land is woven from “landscape strokes”, elements of the landscape.

3. The landscape of “The Word...” is closely connected with man; Russian nature takes part in the joys and sorrows of the Russian people.

2.3 Images-symbols in “The Tale of Igor’s Campaign.” The image of the Russian land in the work

landscape artistic word ancient Russian

The modern reader gets an idea of how people of the Middle Ages perceived nature not only from the landscapes given in the work. Images-symbols, the meaning of which is very great, also tell about the picture of the world of medieval man. For the author of “The Lay...” the sun, rivers, birds, grass are direct participants in the events. Without them, a true, convincing narrative about the campaign of the Russian squad is impossible for a writer of the 12th century.

It is known that the sun as a symbol was widely used in ancient Russian literature and art. At the very beginning of Igor’s campaign, solar symbolism is necessary for the author to condemn Igor by showing a solar eclipse. “It is known that a solar eclipse actually occurred in early May 1185, however, according to the chronicle, Igor saw it in the wrong place. The author deliberately rearranged the time of the solar eclipse. The artistic and ideological logic of this symbol is quite transparent: from the very beginning the author stands on the side of the opponents of the campaign.”

On the third day after the heavy defeat, the “Tale of Igor’s Campaign” says: “two suns were eclipsed by a shadow, two red pillars disappeared.” This symbol expresses sorrow and condemnation.

When Igor was freed from captivity and peace was established in Rus': “The sun is shining in the sky, Igor is a prince in the Russian land.”

In the poem, the author talks about the sun many times. Sometimes it is bright, sometimes it blocks the Russians’ path with darkness, sometimes its light fades. It is nature itself that lives with the concerns of people, grieves and rejoices with them, being a symbol of life. In addition, the sun is a symbol of princely power; “The Lay...” speaks of danger when “four suns” are under threat: Igor Vsevolod, Igor’s son Vladimir and Igor’s nephew Svyatoslav. Or when “two suns darkened... Oleg and Svyatoslav.”

Another important symbol of the poem are birds and animals. When Igor went on a hike, the author spoke about jackdaws, crows, eagles, wolves, foxes as symbols of evil and mystery. He is so creates the impression of a terrible danger awaiting Igor.

“...Wolves howl menacingly through the ravines,

Eagles howl at the bones of animals,

Foxes rush onto scarlet shields.”

In general, in works of oral folk art, jackdaws and crows symbolize dark forces. They foreshadow death, trials, and help the forces of evil seeking to destroy a person.

“Then on Russian soil

Rarely did the plowmen shout

but often the crows crowed,

dividing corpses among themselves.

And the jackdaws spoke their speech -

wanted to fly for feeding - uedie.”

And at the end of the work, the author talks about nightingales as symbols of goodness, victory and triumph. Igor won and joy returned to Russian soil. This bird personifies good, victorious evil. It’s not for nothing that the author calls Boyan the nightingale of old times:

Nightingales with cheerful songs

the dawn is heralded

Those. all nature rejoices at the prince’s return with victory.

The image of swans in “The Lay...” and in oral folk art is also beautiful. They are mentioned several times, for example, “a herd of swans”, “the swans are scared away”, etc.

The symbolism of light and color is presented in a variety of ways in “The Tale of Igor’s Campaign.” In particular, it is of interest how the author uses these symbols. Everything good in him is painted in light colors and brightly illuminated, everything evil and disastrous is associated with the color black and is immersed in darkness. The color black, both in “The Lay...” and in ancient Russian art, is usually associated with sinister forces, with anger and sadness. Polovtsy - “black clouds” and “black crows”.

The color blue is also close to black in some definitions: “blue sea”, “blue lightning”, “blue haze”, “blue wine mixed with grief”. The epithet blue also means an ominous omen, sadness and grief.

And the white color has the opposite meaning - goodness and joy are associated with whiteness. Crimson, as well as silver and gold, are favorites in the author’s color palette. A white banner on a red (scarlet) pole, scarlet shields of Russian soldiers, silver gray hair, a golden stirrup and a golden princely table, a pearl soul - all this is associated with various shades of human kindness and beauty.

Much is said in “The Tale of Igor’s Campaign” about rivers, their names are given: Don, Volga, Donets, Danube, Sula, Nemiga, Dnieper, Kanina, Dvina, Velikiy Don, Maly Donets, Stugna. The author, describing each of them, selects an epithet for it, for example, Dnieper Slovutich, on the bloody bank of Nemiga, Sula flows with silver streams, etc. He draws each river in a special way, giving it some role in the work. However, almost each of them has such qualities as silver streams, green banks, chilly dew on the grass.

O Donets! And much glory to you.

You cherished the prince on the waves,

The grass was covered with green

On your silver shores,

Dressed him in warm darkness,

The shade of a green tree,

Gogol guarded on the water,

Thus, the rivers, grasses, fields and forests surrounding them are an integral part of “The Tale of Igor’s Campaign”, which plays a huge role in the image of the Russian land.

The considered figurative system allows us to see more clearly in “The Lay...” the main image of the work - the Russian land. The author of the poem paints a living image of the Russian land. In his work, the writer covers it entirely. According to D.S. Likhachev: “The author of “The Lay...” paints a surprisingly vivid image of the Russian land. Creating “The Word...”, he was able to look at all of Rus' as a whole, uniting in his description both Russian nature, Russian people, and Russian history. The image of the Russian land is an essential part of the “Word...” as a call for its protection from external enemies.”

Thus, reading “The Tale of Igor’s Campaign” we note that:

1.The main image of the work is the image of the Russian land.

2.The main images-symbols: the sun, birds and animals.

.The symbolism of light and color plays a significant role, determining the author’s attitude to what is depicted.

CHAPTER 3. COMMENTARY ON THE PICTURES OF NATURE IN “THE TALK OF IGOR’S CAMPAIGN”

The first lines of “The Tale of Igor’s Campaign” begin with the words of Boyan:

...For Boyan is prophetic,

if you wanted to sing a song to someone,

then the thought spread throughout the tree,

like a gray wolf on the ground,

blue eagle under the clouds

In the “Word...” there are a lot of comparisons with various birds and animals. Russian wars - falcons; Polovtsians - crows, jackdaws, a brood of pardus. Vseslav of Polotsk is repeatedly compared to a wolf, Yaroslavna - to a cuckoo, Igor - to a falcon, an ermine, and a wolf. Vsevolod, Igor’s brother, bears the nickname “bui tur”. Svyatoslav Kyiv compares himself to a faded falcon. Gzak runs like a gray wolf. The brave squads of Rurik and Davyd “roar like wounded aurochs,” Roman flies towards the subspecies like a soaring falcon, etc. These comparisons from the animal world are very characteristic of folk poetry.

The plot narrative begins with a description of the prophetic eclipse. The work speaks about him twice: after the introduction:

...Then Igor looked

in the bright sun

and saw his soldiers covered with darkness...

and after addressing Boyan and Vsevolod’s speech:

...The prince stepped into the golden stirrup

And I drove across an open field

The sun blocked his path with darkness

The night was awakened by thunderous moans of birds,

An animal whistle rose.

Div calls from the top of the tree,

He tells the unknown land to listen,

And Pomoria, and Posulia,

And Surozh and Korsunia,

And you, Tmutorokan idiot.

This landscape amazes with the combination of the opposite: “bright sun” and “warriors covered in darkness.” On the one hand there is joy, and on the other there is sadness and fear. The author ensures that a bright, impressive picture appears before the reader, a variety of feelings appear, complex, sometimes mutually exclusive.

For the author, the sun is always bright, regardless of natural conditions: weather, time of day. It always brings life to a person. The feeling of life and light is emphasized by the words “golden stirrups”, “across an open field”, “sun”, Vsevolod’s address to Igor - “bright light”. However, in order to emphasize the feeling of impending disaster, increase the reader’s excitement, and draw special attention to the episode, the writer uses words that depict night in broad daylight. It is worth paying attention to their sequence: “with darkness,” “blocked,” “the night, with a groan, threatened the unknown land.” A picture unfolds before the reader in which the sun, animals, birds, forests are all sad, united in anticipation of terrible trials.

The plot narrative continues with a description of the night before the battle between the Russians and the Polovtsians:

...The night has been darkening for a long time.

The dawn has dropped the light,

The fields were covered in darkness.

The nightingale's tickle fell asleep,

The chatter of the jackdaws awoke.

“...The night has been darkening for a long time...” Igor’s army expected battle the next morning and spent an anxious night. The author of “The Lay…” correctly noted that a sleepless night on the eve of a decisive day always seems tedious and long. After these words, it is described how night gradually descended, and then morning. This narrative description of how night came and then morning conveyed a sense of the duration of the night. Russian wars did not sleep and could observe the change of night phenomena - from evening to morning:

...The tickle of the nightingale fell asleep, the chatter of the jackdaws awakened.

The nightingale is a nocturnal bird, the jackdaw is a daytime bird. Here, therefore, it figuratively says that night gave way to morning. The metaphors in this place are interestingly chosen. It is said about the nightingale’s tickling that he “fell asleep”, and about the “talk” of the jackdaws - that he “awakened”: after all, we are talking about the change of night and morning, this is what the metaphors remind us of.

Another ominous omen in “The Lay...” is the picture of an approaching thunderstorm. This landscape is more gloomy and scary than the previous one. The epithets used by the author emphasize the severity of the landscape, for example: “bloody dawns”, “clouds on four princely tents”, “blue lightnings are trembling”, etc.

Early the next day

Bloody dawns herald the light;

Black clouds are coming

They want to cover the four suns,

And blue lightning flutters in them.

To be a great thunder

Let it rain arrows from the great Don!

Here the spears will break,

There's a fight with sabers here

About Polovtsian helmets

On the Kayala River,

Don has the great!

This was the second severe omen for Igor's troops. According to D. Likhachev, “the landscape of “The Tale of Igor’s Campaign” is distinguished by its grandeur, always concrete and taken as if in motion: before the battle with the Polovtsians, bloody dawns will tell the light, black clouds are coming from the sea... there will be great thunder, it will rain like arrows from the Don great... The earth is humming, rivers are flowing muddy, dust is rushing over the fields.”

This is how scary the author of “The Lay…” paints us a picture of an approaching storm. But Igor disobeyed this omen. On the one hand, it was easier for him to overcome this obstacle, because he had already coped with one similar to this, which means he could cope with the second. On the other hand, his fear increased even more at the thought of impending disaster.

It is very important for the author to draw the reader’s attention to the power of this natural phenomenon. Analyzing this passage, you notice, first of all, adjectives that convey color sensations: “bloody dawns,” “blue ... lightning,” “black clouds.” Thus, adjectives were chosen that name rich, dark colors. This helps create contrasting, impressive pictures of future troubles. Despite the fact that the “four suns” are not yet covered by darkness, darkness has already won in the reader’s mind. Death already threatens Igor’s army.

Describing the approaching thunderstorm, the author shows us the power and strength of Perun: “the thunder will be great,” “black clouds want to eclipse the four suns.” So in “The Lay...” Igor goes to foreign lands not only against reason and the will of the squad, but also against the will of Nature itself.

Nature sympathizes and empathizes with the Russian troops:

The grass will fade with pity,

And the tree bowed to the ground with grief...

And, brothers, Kyiv groaned with grief,

And Chernigov from misfortunes...

Longing spread across the Russian land;

Abundant sadness flowed in the middle of the Russian land.

A menacing omen in “The Lay...” is the picture of an approaching thunderstorm. This landscape is more gloomy and scary than the previous one. The epithets used by the author emphasize the severity of the landscape, for example: “bloody dawns”, “clouds on four princely tents”, “blue lightnings are trembling”, etc.

And another day a bloody stripe

They announce the day of bloody dawn...

Dark clouds are coming from the sea,

The four suns want to be eclipsed by darkness...

Blue lightning flutters in them...

There will be thunder, there will be great thunder!

Pour down the rain with red-hot arrows!

Spears breaking on chain mail,

Let the sabers rest on the helmets,

O filthy sheloms of the Polovtsians!

(Translation by Maykov A.)

This was the second severe omen for Igor's troops. According to D. Likhachev, “the landscape of “The Tale of Igor’s Campaign” is distinguished by its grandeur, constantly concrete and taken as if in motion: before the battle with the Polovtsians, bloody dawns will tell the light, dark clouds are coming from the sea... there will be great thunder, it will rain like arrows from the Don great... The earth is humming, the rivers are flowing muddy, the remains are rushing over the fields.”

This is how scary the author of “The Lay…” paints us a picture of an approaching storm. But Igor disobeyed this omen. On the one hand, it was easier for him to overcome this obstacle, because he had already dealt with one similar to this, which means he could deal with the second. On the other hand, his horror increased even more at the thought of the impending disaster.

It is absolutely important for the author to direct the reader’s attention to the power of this natural phenomenon. Analyzing this passage, you notice, first of all, adjectives that convey color feelings: “bloody dawns,” “blue ... lightning,” “black clouds.” Thus, adjectives were chosen that name saturated, gloomy colors. This helps to create contrasting, impressive pictures of future troubles. Despite the fact that the “four suns” are not yet covered by darkness, darkness has already won in the reader’s mind. Death already threatens Igor’s army.

Describing the approaching thunderstorm, the author shows us the power and strength of Perun: “the thunder will be great,” “dark clouds want to eclipse the four suns.” So in “The Lay...” Igor goes to foreign lands not only against reason and the will of the squad, but also against the will of Nature itself.

When he encountered the Polovtsians in battle, his squad became so weak that they simply could not fight the great Polovtsians and fell in battle. And Igor was captured.

Nature is presented to us in a completely different way at the very end of the poem. The final landscape, which is contrasted with a solar eclipse and a thunderstorm, is a description of nature when Igor returns from captivity. It consists of three parts: a night escape, a conversation with the river and a satisfied return.

And the sea burst out at midnight.

Tornadoes caught up with the darkness.

The evening dawns have faded.

The earth rumbled, the grass rustled,

The Polovtsian towers moved.

In this episode, the author does not paint such a colorful picture as, for example, in a solar eclipse or thunderstorm. It is important for him to tell about the actions of nature, its help to Igor in escaping. Therefore, the writer uses a variety of verbs: “sprinkled”, “caught up”, “went out”, “knocked”, “made a noise”, “moved”. That is, nature protects Igor from the Polovtsians.

And Donets said:

“Hello, Prince Igor.

Much glory to you,

Russian land - fun,

And Konchak is annoyed.”

And the fugitive answered the river:

O Donets! And much glory to you.

You cherished the prince on the waves,

the grass was greenish

On our own silver shores,

Dressed him in warm darkness,

The shade of a greenish tree,

Gogol guarded on the water,

Seagulls on the waves, black creatures in the winds.

In this episode, Igor thanks Donets. He says that not only did he rescue the Russian land from the Polovtsians, but the Donets also played an extraordinary role in this.

In this landscape, the author uses a huge number of adjectives to highlight all the beauty of the river: “green grass”, “silver banks”, “warm darkness”, “shade of a greenish tree”, etc. The writer knows about her help to the prince and thanks her for it. Here the acts of nature are described and thanks are given for them.

The sun obscures the prince's path with darkness and warns him of threats. The Donets lays out a greenish bed for Igor, who is escaping from captivity, on its own silver banks, clothes him with warm fog, guards him with goldeneyes and wild ducks,” according to D.S. Likhacheva.

That is, everything around: nature, Yarilo, Svarog, Perun, birds, animals - everything helps Igor return home.

Where will Igor go?

there are no crows cawing there,

there the magpies subside,

there the jackdaws are silent.

only nuthatches crawl.

only woodpeckers knock -

They show the way to the river.

Yes joyful songs

the nightingales sing,

the light of dawn is announced.

the sun is shining in the sky -

Igor is a prince in Russian soil.

In this episode we feel fun, contentment, triumph. Happiness and contentment returned to the Russian land. The author emphasizes this by changing symbolism: the crows no longer caw, the magpies have died down, the jackdaws have fallen silent. That is, everything bad disappeared, because these birds, personifying evil, fell silent, and the time had come for the nightingales to sing. Reading the work, we ourselves rejoice for Igor and are happy for him. The work ends with a chanting of glory to the princes.

Thus, the analysis of pictures of nature showed that nature is alive and it is eventful, it participates in the lives of individual characters. Nature is on the side of the Russian people. She empathizes with him and supports him. This relationship is similar to the relationship between a mother and child. Nature, like a mother, warns the Russian people and empathizes with them.

CONCLUSION

The author pays great attention to pictures of nature in “The Tale of Igor’s Campaign,” using them as a means of expressing his emotions, as well as to give the work greater detail and value. The landscape in the work “The Tale of Igor’s Campaign” is a form of emotional characterization, emphasizes the author’s state of mind, and also acquires symbolic meaning.

Since ancient times, nature has been the object of attention of ancient literature. But every historical era it was understood differently. The author of “The Word…” pays special attention to the story of natural phenomena. The landscape of “The Word...” is closely connected with man; Russian nature takes part in the joys and sorrows of the Russian people. It is impossible not to notice that some descriptions of nature in the “Word ...” are quite detailed and detailed, and some are brief.

In expanded ones, a variety of natural phenomena are described in detail, and the feelings of the people who observe them are conveyed. people, restless behavior of animals and birds.

On the other hand, images - symbols in “The Word...” are also important to the writer. The main image of the work is the image of the Russian land, the main images-symbols: the sun, birds and animals. The symbolism of light and color plays a significant role, determining the author’s attitude to what is depicted. The author uses them because they help express the world in which the author of the work lives, they reflect his views on life. Without image-symbols, an accurate and convincing narrative is impossible for a writer of the 12th century. Through symbolism in the work we learn the author’s world, his perception of the environment, his worldview and faith. This is the most important source of establishing the identity of the author and his lifestyle. The author’s image is introduced into The Lay... lyrical element and socio-political pathos, and lyricism is largely associated with natural images.

“The Tale of Igor’s Campaign” is a very small work, but at the same time unusually monumental in its plot, images, and spatial boundaries. His hero is the entire Russian land.

In the work, the author put together a stunning image of the Russian land from brief and detailed descriptions of nature. It reveals to us the world of man of the 12th century, talks about the close connection between man and nature. This is what gives the work great artistic value. The image of the Russian land is woven from “landscape touches”, elements of the landscape.

“The Tale of Igor’s Campaign” is a work of amazing integrity. The artistic form of the “Word...” very accurately corresponds to its ideological concept, the images of the “Word...” help to identify the main goal - the idea of the unity of Rus'.

The hypothesis of my essay was confirmed, and we can claim that the landscape in “The Tale of Igor’s Campaign” is not just a background against which events unfold; it conveys the author’s assessment of events and the feelings of the characters, and is an organic component of the image of the Russian land.

Bibliography

1 Bursov, B.I.. On the national identity and global significance of Russian classical literature. / B. I. Brusov // Russian literature. - 1958, No. 1, pp. 28-29

Children's encyclopedia "Religions of the World" volume 6, part 1. M.: 1996.

Likhachev, D.S. A Word about Igor’s Campaign / D. S. Likhachev, N. V. Belyakova, N. Z. Levinskaya // M.: 1980

Likhachev, D. S., Oral origins of the poetic system “The Tale of Igor’s Campaign” / D. S. Likhachev//- “The Tale of Igor’s Campaign”, research and articles,”

Prokofiev, N.I. “The Tale of Igor’s Campaign” / N.I. Prokofiev, L. A. Chernichenko // - A Word about Igor’s Campaign.” - M.: 1997.

A brief dictionary of literary terms / ed. L. I. Timofeeva, S. V. Turaeva, 1985. - 208 p.

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Landscape functions	Example from a work of fiction
Illustrative (creates a background against which various events take place in the work)	"This happened in the fall. Gray clouds covered the sky: a cold wind blew from the reaped fields, carrying red and yellow leaves from oncoming trees. I arrived in the village at sunset and stopped at the post office. In the entryway (where poor Dunya once kissed me) a fat woman came out and answered my questions that the old caretaker had died a year ago, that a brewer had settled in his house, and that she was the brewer’s wife. (A.S. Pushkin “The Station Agent”)
Psychological (conveys the internal state of the characters, their experiences)	“Looking around, listening, remembering, I suddenly felt a secret uneasiness in my heart... I raised my eyes to the sky - but there was no peace in the sky either: speckled with stars, it kept stirring, moving, shuddering; I leaned towards the river... but there, and in this dark, cold depth, the stars also swayed and trembled; An alarming revival seemed to me everywhere - and anxiety grew within me." (I. S. Turgenev "Asya")
Lyrical (creates a certain mood for the hero; sets the overall tone of the story)	"Below are lush, densely green, flowering meadows, and behind them, along the yellow sands, flows a light river, agitated by the light oars of fishing boats or rustling under the helm of heavy plows., which sail from the most fertile countries of the Russian Empire and provide greedy Moscow with bread. On the other side of the river one can see an oak grove, near which numerous herds graze; there young shepherds, sitting under the shade of trees, sing simple, sad songs... On the left side you can see vast fields covered with grain, small forests, three or four villages and in the distance the high village of Kolomenskoye with its high palace. I often come to this place and almost always see spring there; I come there and grieve with nature on the dark days of autumn." N. M. Karamzin "Poor Liza"
Symbolic (acts as an image-symbol)	In the evenings above the restaurants the hot air is wild and deaf, and the spring and pernicious spirit rules over the drunken shouts... And every evening, behind the barriers, wringing their bowlers, among the ditches, proven wits walk with the ladies. Rowlocks creak over the lake, And a woman’s squeal is heard, And in the sky, accustomed to everything, the disk is senselessly bent. (A. A. Blok "Stranger")

Artistic space and time (chronotope)- space and time depicted by the writer in a work of art; reality in its space-time coordinates.

The main features of space in a literary work:

1. Does not have immediate sensory authenticity, material density, or clarity.

2. It is perceived by the reader associatively.

The main signs of time in a literary work:

1. Greater specificity, immediate reliability.

2. The writer’s desire to bring artistic and real time closer together.

3. Ideas about movement and immobility.

5. Correlation between past, present and future.

Images of artistic time	A brief description of	Example
1. Biographical	Childhood, youth, maturity, old age	"Childhood", "Adolescence", "Youth" L.N. Tolstoy
2. Historical	Characteristics of the change of eras, generations, major events in the life of society	"Fathers and Sons" by I.S. Turgenev, “What to do” N.G. Chernyshevsky
3. Space	The idea of eternity and universal history	"The Master and Margarita" M.A. Bulgakov
4. Calendar	Change of seasons, everyday life and holidays	Russian folk tales
5. Daily allowance	Day and night, morning and evening	"The Bourgeois in the Nobility" J.B. Moliere

Artistic detail- a component of subject expressiveness, expressive detail in a literary work, which has a significant semantic emotional load.

Part functions	A brief description of	An example from art. works
excretory	With the help of detail, the writer distinguishes an event, artistic image, phenomenon from a number of similar ones	"And Belikov also tried to hide his thoughts in a case. For him, only circulars and newspaper articles were clear in which something was prohibited..." (A.P. Chekhov "The Man in a Case")
Psychological	The detail is a means of psychological characterization of the hero, helps to reveal the character’s inner world	"...Have you ever seen eyes as if sprinkled with ashes, filled with such inescapable mortal melancholy that it is difficult to look at them? These were the eyes of my random interlocutor.." (M. A. Sholokhov “The Fate of a Man”
Factual	The detail characterizes this fact of reality	"School photo still alive. It turned yellow and broke off at the corners. But I recognize all the guys on it. Many of them died in the war. The whole world knows the famous name Siberian..." (V. P. Astafiev "Photograph in which I am not present")
Naturalistic	The detail externally accurately, dispassionately, objectively depicts an object or phenomenon	“When the procession passed the place where I was standing, I caught a glimpse of the back of the one being punished between the rows. It was something motley, wet, red, unnatural that I did not believe that it was a human body..." (L. N. Tolstoy "After the Ball")
Symbolic	The detail acts as a symbol - an independent multi-valued artistic image that has an emotional and allegorical meaning based on the similarity of life phenomena	“Now I often remember this dark river, shadowed by rocky mountains, and this living light. Many lights, both before and after, attracted more than one me with their proximity. But life still flows on the same gloomy banks, and the lights are still far away. And again I have to lean on the oars... But still... still there are lights ahead!..” (V. G. Korolenko “Lights”)
Impressionistic	A detail taken by the writer arbitrarily and not always clear to him, but internally coinciding with his thought, reflecting his feelings, experiences, mood	White swan, pure swan, Your dreams are always silent, Serenely silvery, You glide, giving birth to waves, Beneath you is a silent depth, Without greeting, without answer, But you glide, drowning, In the abyss of air and light. (K. D. Balmont "White Swan")

Episode- part of a work of art (epic or dramatic) that has a relatively independent meaning; artistic paintings closed in space and time.

Name of the versification system	A brief description of	Example
Syllabic	A system of versification in which rhythm is created by repeating verses with the same number of syllables, and the arrangement of stressed and unstressed syllables is not ordered; obligatory rhyme	From one country thunder, from another country thunder, Vaguely in the air! Terrible in the ear! Clouds rushed in, carried water, closed the sky, clouded them with fear! (V.K. Trediakovsky)
Syllabic-tonic	A system of versification, which is based on the equalization of the number of syllables, the number and place of stress in poetic lines	“Do you want to know what I saw in freedom? - Lush fields, Hills covered with a crown of Trees growing all around, Noisy with a fresh crowd, Like brothers, dancing in a circle” (M. Yu. Lermontov)
Tonic	A system of versification, the rhythm of which is organized by the repetition of stressed syllables; the number of unstressed syllables between stresses varies freely	The street winds like a snake. Houses along the snake. The street is mine. The houses are mine. (V.V. Mayakovsky

Name	A brief description of	Example
Trochee	Two-syllable foot with stress on the first syllable in	The Terek howls, wild and angry, Between the rocky masses, Its cry is like a storm, Tears fly in splashes. (M. Yu. Lermontov)
	Two-syllable foot with stress on the second syllable in syllabic-tonic addition system	There is a hustle and bustle in the front hall; In the living room there is a meeting of new faces, Mosek barking, girls smacking, Noise, laughter, crush at the threshold... (A. S. Pushkin)
Dactyl	Three-syllable foot with stress on the first syllable in syllabic-tonic addition system	No matter who calls, I don’t want to exchange hopelessness for fussy tenderness And, withdrawing, I remain silent. (A. A. Blok)
Amphibrachium	Three-syllable foot with stress on the second syllable in syllabic-tonic addition system	It is not the wind that rages over the forest, It is not the streams that run from the mountains - Frost, the governor, patrols his possessions. (N. A. Nekrasov)
Anapaest	Three-syllable foot with stress on the third syllable in syllabic-tonic addition system	I will perish from melancholy and laziness, Lonely life is not sweet, My heart aches, my knees weaken, A bee crawls into every carnation of fragrant crap, singing. (A. A. Fet)

Some useful tips on how to remember poetic meters

The two-syllable is easy to remember: Iambic- I the last letter, and the stress on the second syllable, and the trochee, respectively, already on the first.

To remember the three-syllable meters of poems, you need to learn the word LADY. LADY deciphered like this: D - d actil, means stress on the first syllable, AM - am fibrachium on the second syllable, fourth letter A - A nastiness, means the emphasis is on the third.

Rhyme(Greek rhythmos - proportionality, rhythm, consistency) - sound repetition in two or more poetic lines, mainly in poetic endings.

Features of the stanza of poetic text

Stanza(Greek strophe - circle, circle) - a group of a certain number of verses (poetic lines), repeated in a work, united by a common rhyme and representing a rhythmic-syntactic whole, sharply separated from adjacent poems by a long pause.