Composition

(1 option)

Nature helps the writer to penetrate deeper into the depicted event, to characterize the hero, to more accurately determine the time and place of action.

In his works, I.S. Turgenev more than once uses descriptions of nature, which make the literary text more expressive, colorfully richer. For example, the name of one of the stories in the cycle "Notes of a Hunter" is based on the precisely indicated place, Bezhin Meadow, where the main events of the work unfold. Having lost his way, the narrator went to Bezhin Meadow, where he met peasant children who spoke about folk beliefs, signs, people's belief in good and evil spirits.

The story "Bezhin Meadow" begins with a description of a beautiful summer day in July. Here I.S. Turgenev uses epithets: “the dawn ... spreads with a gentle blush”, “the sun is not fiery, not red-hot”, “purple ... fog”, “the color of the sky, light, pale purple”, metaphors: “the sun ... peacefully rises”, “clouds ... almost do not move", "the colors are all softened", comparisons: "the clouds disappear ... like smoke", "like a carefully carried candle ... an evening star", which convey the beauty spilled in nature. Landscape sketches reflect the excellent mood, wonderful impressions of the narrator. The state of serene peace, silence, emanating from nature, is also transmitted to the reader, who becomes, as it were, an accomplice of events and feels, like the narrator, all the facets of the July day and the coming evening: both “the scarlet radiance ... over the darkened earth”, and “the seal some touching meekness," and "accumulated heat," and the smell of wormwood, rye, and buckwheat.

The change of landscape conveys the changing mood of the narrator, his anxiety, excitement. Instead of the bright colors of a summer day, dark and black colors appear: “dark and round brown”, “gloomy darkness”, “blackening”, “bluish air void”. Nature reflects the state of the hunter, so the epithets and metaphors used by the writer create an atmosphere of fear: in the hollow “it was mute and deaf”, “places almost completely drowned in darkness”, “a light did not flicker anywhere, no sound was heard”, “I found myself above a terrible abyss." Together with the narrator, the reader also feels fear and excitement.

Thus, the landscape in the story "Bezhin Meadow" helps the reader to more deeply convey the changing mood of the narrator. I.S. Turgenev is a master of landscape sketches, so the nature of the writer is the artistic image that reveals the psychological state of the characters.

(Option 2)

In the story of I.S. Turgenev's "Bezhin Meadow" nature is a source of inspiration, mystery for adults and children, but this is not its only role.

The story begins with a description of a July day, from the morning dawn to the evening star, this day passes before us. Turgenev often said that nature speaks its own language, only it does not have a voice. The author of the story gives her the opportunity to talk to us: the conversation is carried on by squeaking bats, the rustle of the wings of hawks, the cries of quails, the sounds of footsteps, the splashing of fish, the noise of the reeds, some "animal squeaked weakly and plaintively between the roots." The real sounds of day and night are being replaced by mysterious sounds, creating an atmosphere of fabulousness: “It seemed that someone shouted for a long, long time under the very sky, someone else seemed to respond to him in the forest with a thin, sharp laughter, and a weak, hissing whistle rushed down the river".

Each fragment of the landscape is an artistic canvas: the clouds are like islands scattered along the river, which flows around them with transparent sleeves of even blue.

Probably, at the horizon, the earthly river and the heavenly river converge.

Nature in the work is not only a background, but also a hero who empathizes, reflecting the feelings of other heroes of the story. The hunter got lost, got nervous - and he was seized by unpleasant dampness, the road was gone, the bushes were “some kind of unmowed”, the darkness was “gloomy”, the stones seemed to have slipped into the hollow “for a secret meeting”. But then he found a lodging for the night and calmed down near the fire, now "the picture was wonderful." Nature comes to life in the stories of the children, they inhabit it with living creatures: a brownie lives in a factory, a wood goblin and a mermaid live in the forest, and a merman lives in the river. They explain the incomprehensible through comparisons (the mermaid is white, “like a gudgeon”, her voice is plaintive, “like that of a toad”) and through simple interpretations of complex things (Gavrila fell asleep, Yermil was drunk), although the simple does not arouse their interest. Nature, as it were, participates in a dialogue with the children. We talked about mermaids - someone laughed, they talked about lambs and the dead - the dogs barked. Stones, rivers, trees, animals - everything around is alive for the guys, everything causes fear and admiration. Not everyone is superstitious, but even the realist Pavel hears the voice of the drowned Vasya and believes in the merman.

Together with the hunter and the guys from the story "Bezhin Meadow" we see, hear, talk with nature, understand how and why once the ancestors "populated" nature with spirits.

Other writings on this work

Nature helps the writer to penetrate deeper into the depicted event, to characterize the hero, to more accurately determine the time and place of action.

In his works, I.S. Turgenev more than once uses descriptions of nature, which make the literary text more expressive, colorfully richer. For example, the name of one of the stories in the cycle "Notes of a Hunter" is based on the precisely indicated place, Bezhin Meadow, where the main events of the work unfold. Having lost his way, the narrator went to Bezhin Meadow, where he met peasant children who spoke about folk beliefs, signs, people's belief in good and evil spirits.

The story "Bezhin Meadow" begins with a description of a beautiful summer day in July. Here I.S. Turgenev uses epithets: “the dawn ... spreads with a gentle blush”, “the sun is not fiery, not red-hot”, “purple ... fog”, “the color of the sky, light, pale purple”, metaphors: “the sun ... peacefully rises”, “clouds ... almost do not move", "the colors are all softened", comparisons: "the clouds disappear ... like smoke", "like a carefully carried candle ... an evening star", which convey the beauty spilled in nature. Landscape sketches reflect the excellent mood, wonderful impressions of the narrator. The state of serene peace, silence, emanating from nature, is also transmitted to the reader, who becomes, as it were, an accomplice of events and feels, like the narrator, all the facets of the July day and the coming evening: both “the scarlet radiance ... over the darkened earth”, and “the seal some touching meekness," and "accumulated heat," and the smell of wormwood, rye, and buckwheat.

The change of landscape conveys the changing mood of the narrator, his anxiety, excitement. Instead of the bright colors of a summer day, dark and black colors appear: “dark and round brown”, “gloomy darkness”, “blackening”, “bluish air void”. Nature reflects the state of the hunter, so the epithets and metaphors used by the writer create an atmosphere of fear: in the hollow “it was mute and deaf”, “places almost completely drowned in darkness”, “a light did not flicker anywhere, no sound was heard”, “I found myself above a terrible abyss." Together with the narrator, the reader also feels fear and excitement.

Thus, the landscape in the story "Bezhin Meadow" helps the reader to more deeply convey the changing mood of the narrator. I.S. Turgenev is a master of landscape sketches, so the nature of the writer is the artistic image that reveals the psychological state of the characters.

(Option 2)

In the story of I.S. Turgenev's "Bezhin Meadow" nature is a source of inspiration, mystery for adults and children, but this is not its only role.

The story begins with a description of a July day, from the morning dawn to the evening star, this day passes before us. Turgenev often said that nature speaks its own language, only it does not have a voice. The author of the story gives her the opportunity to talk to us: the conversation is carried on by squeaking bats, the rustle of the wings of hawks, the cries of quails, the sounds of footsteps, the splashing of fish, the noise of the reeds, some "animal squeaked weakly and plaintively between the roots." The real sounds of day and night are being replaced by mysterious sounds, creating an atmosphere of fabulousness: “It seemed that someone shouted for a long, long time under the very sky, someone else seemed to respond to him in the forest with a thin, sharp laughter, and a weak, hissing whistle rushed down the river".

Each fragment of the landscape is an artistic canvas: the clouds are like islands scattered along the river, which flows around them with transparent sleeves of even blue.

Probably, at the horizon, the earthly river and the heavenly river converge.

Nature in the work is not only a background, but also a hero who empathizes, reflecting the feelings of other heroes of the story. The hunter got lost, got nervous - and he was seized by unpleasant dampness, the road was gone, the bushes were “some kind of unmowed”, the darkness was “gloomy”, the stones seemed to have slipped into the hollow “for a secret meeting”. But then he found a lodging for the night and calmed down near the fire, now "the picture was wonderful." Nature comes to life in the stories of the children, they inhabit it with living creatures: a brownie lives in a factory, a wood goblin and a mermaid live in the forest, and a merman lives in the river. They explain the incomprehensible through comparisons (the mermaid is white, “like a gudgeon”, her voice is plaintive, “like that of a toad”) and through simple interpretations of complex things (Gavrila fell asleep, Yermil was drunk), although the simple does not arouse their interest. Nature, as it were, participates in a dialogue with the children. We talked about mermaids - someone laughed, they talked about lambs and the dead - the dogs barked. Stones, rivers, trees, animals - everything around is alive for the guys, everything causes fear and admiration. Not everyone is superstitious, but even the realist Pavel hears the voice of the drowned Vasya and believes in the merman.

Together with the hunter and the guys from the story "Bezhin Meadow" we see, hear, talk with nature, understand how and why once the ancestors "populated" nature with spirits.

Night landscape in the story "Bezhin Meadow"

The story of I. O." Turgenev's "Bezhin Meadow" occupies a special place in the composition of the "Hunter's Notes", but it was he who "was most subject to distortion in criticism." Interpretations of this story are different and often opposed to each other. According to modern researchers, this a work in which "the Russian peasant world - peasant children - is shown not only in its deprivation, but also in its giftedness with spiritual beauty. " But the great role of nature in this story should also be noted. Nature under the pen of I. S. Turgenev rises as alive in all its visual clarity; the writer sensitively notices and subtly notes the various shades of visual, auditory sensations perceived from natural phenomena at different moments of the day and night; nature in the image of Turgenev is organically connected with human experiences, adjusts at night to the sensations of some kind of mystery combined with some fear and fear of incomprehensible night sounds, rustles, darkness, flashing stars, etc. encourages creative imagination in teenagers who are just coming into life and everyone is interested. But they, like the writer, not only subtly notice, but also love nature.

The story opens with a landscape of a summer day. The colors used to describe nature by the author amaze with their sophistication and variety: welcoming radiant, lilac, shimmer of forged silver, golden gray, pale lilac. Nature is regal and benevolent... There is no man in the landscape, he has no power to control this power and beauty, but only gazes with delight at God's creation. . The abundance of light is like opposition to darkness. Light gradates, increases from morning to noon and decreases towards evening. There is an abundance of vegetation (bushes, thick, tall grass, buckwheat, sagebrush, compressed rye), birds and animals (pistachios, dogs, horses, hawks, quails, doves, herons), familiar sounds and smells that are associated with the living world (voices , living sounds, quails were screaming, the sounds of a bell, they sang, rustled, spoke, it smells of wormwood, compressed rye, buckwheat). .

There is also an abundance of antitheses here (day-night, light-darkness, life-death, peace-alarm). In the semantic composition of the work, he is opposed to "darkness", "darkness" ("darkness fought with light"). It is the night landscape that plays a special role in creating the figurative and symbolic plan of the work. The system of speech means transmitting the onset of darkness is dynamic. The first comparisons are of a household nature:

“I was immediately seized by an unpleasant, motionless dampness, as if I had entered a cellar; dense high, whitened with an even tablecloth».

The role of means that convey the emotional tension of the narrator and the mystery of the surrounding nature gradually increases ( somehow terribly, mysteriously circling, oxymoron cloudy clear sky and so on.).

Metaphorical word usage acts as the leading principle of the lexico-semantic organization of this text fragment:

“Meanwhile, the night was approaching and growing like a thundercloud; it seemed that together with the evening vapors, darkness rose from everywhere and even poured from above.

Metaphors and comparisons create a certain emotionally expressive halo around neutral units of the context. The night landscape in the story "Bezhin Meadow" is characterized by a special depiction of realities, which are abstract, partly hyperbolic. This is not so much a description of the forest of central Russia as a generalized rendering of the most characteristic natural elements of the expanding space:

“I quickly pulled back my raised leg and, through the barely transparent twilight of the night, I saw a huge plain far below me. A wide river curved around it in a semicircle going away from me... The hill on which I was, suddenly descended in an almost sheer cliff; its huge outlines separated, blackening, from the bluish airy void ... "

At the same time, the duality of the narrator deepens: on the one hand, his objectivity is emphasized, on the other hand, his assessments become more emotional and subjective:

• A) ... with every moment approaching, gloomy darkness rose in huge clubs. My footsteps reverberated through the freezing air.
• B) the sky hung so high, so despondently over her, that my heart sank.

The words of one lexico-semantic group gloom, darkness, haze, twilight are regularly repeated in this description, which are characterized by a stable symbolic halo. The description ends with the image of a "terrible abyss".

Such a movement of speech means is not accidental - in this fragment of the text it is a form of expression of a figurative and symbolic plan: the external, daytime world hides the “nameless abyss” of the night, in front of which the narrator finds himself. The human "I" in this compositional part is opposed to nature - the eternal Isis.

And in fact, the night nature plays a very important role in the story. It does not give the inquisitive thought of a person complete satisfaction, it supports the feeling of unresolved mysteries of earthly existence. Turgenev night is not only creepy and mysterious, it is also regally beautiful with its “dark and clear sky, which “solemnly and immensely high” stands above people, “languishing smells”, sonorous splashes of large fish in the river.

It spiritually liberates a person, cleanses his soul from petty everyday worries, disturbs his worldview with the endless mysteries of the universe: “I looked around: the night stood solemnly and regally ... Countless golden stars seemed to flow quietly, vying with each other, flickering, in the direction of the Milky Way, and right, looking at them, you yourself seemed to vaguely feel the impetuous, non-stop running of the earth ... "

Nature, taking place in the darkness of its night life, pushes the children around the fire to beautiful, fantastic plots of legends, dictates their change, offers children one riddle after another, and itself often suggests the possibility of solving them. The story about the mermaid is preceded by the rustling of reeds and mysterious splashes on the river, as well as the flight of a shooting star - the human soul, according to peasant beliefs. The image of the mythical mermaid is surprisingly pure and, as it were, woven from a wide variety of natural elements. She is bright and white, like a cloud, silver, like the light of the moon poured the sparkle of a fish in the water. And "her voice ... she has such a thin and plaintive", like the voice of that mysterious "animal", which "weakly and plaintively squeaked among the stones."

So, after short-term fears, the summer night brings glimpses of hope to the hunter and peasant children, and then a peaceful sleep and calm. Omnipotent in relation to man, the night itself is only a moment in the living breath of the cosmic forces of nature, restoring light and harmony in the world: “A fresh stream ran down my face. I opened my eyes: the morning was beginning... Before I had gone two miles away, I was already pouring around me... first scarlet, then red, golden streams of young hot light... Everything stirred, woke up, sang, rustled, spoke. Large drops of dew blushed everywhere like radiant diamonds; towards me, clean and clear, as if also washed by the morning coolness, the sounds of a bell came, and suddenly a rested herd rushed past me ... "..

The world of the boys in the story "Bezhin Meadow" is a poetic world and in many ways attractive to the narrator. The attitude of children to nature differs significantly from the position of the hunter at the beginning of the story. For peasant boys, nature is a single whole, each point of which is connected to the rest. The views of the heroes are commented on, comprehended and in some cases refuted by both the narrator and the characters themselves, are refracted in different subjective spheres and appear in double illumination. The principle of correspondence between two plans - real and fantastic - acts as the leading compositional principle of this part of the work. The descriptive contexts framing the children's stories create the impression of inexhaustible explanation, approximate motivations, which is enhanced by the use of attributive series such as an incomprehensible night sound, a strange, sharp, painful sound, etc. “The world, approaching from all sides to the faint light of a night fire, does not lose its poetic mystery, depth, inexhaustibility ... Night nature does not give self-satisfaction to a person’s inquisitive thought, supports the feeling of unresolved mysteries of earthly existence.” At the same time, the image of the night is associated with the motif of revelation, an irrational approach to the truth: it is no coincidence that the boys' night stories contain elements of prospects - tragic references to the fate of other heroes of the Hunter's Notes (Akulina, Akim the Forester), thus, "Bezhin Meadow" really acts as the "center of the poetic line" of the cycle. .

The sunrise of the mighty luminary opens and closes Bezhin Meadow - one of the best stories about Russian nature and its children. In "Notes of a Hunter" Turgenev created a vivid poetic image of Russia, which was crowned with a life-affirming sunny nature. In the peasant children living in close union with her, he saw “the germ of future great deeds, great national development, giving the picture of nature a vivid poetic imagery, consistent with the spirit of those folk legends that peasant children tell on a mysterious night around the fire.

We see the onset of evening, the sunset. Night shadows thicken, the area becomes ghostly, the exhausted hunter and dog go astray, lose self-control, experiencing an acute sense of loneliness and loss. The mysterious and enigmatic life of nocturnal nature comes into its own, over which man is by no means omnipotent. The silent flight of frightened birds reminds him of this, the gloomy, swirling darkness, weak and plaintive squeak of some animal between the stones.

It is unlikely that in this story we will find someone who is commonly called the "protagonist." Because the people themselves, adults and children, who are described in the work, are not “main” in relation to everything that surrounds them. “More important” than them is the night, the fire of a fire, the stars in the sky, the sky itself in its unimaginable and disturbing infinity. Finally, the planet Earth, rushing in the cosmic void in its inescapable circle - the narrator experiences a vague feeling of this movement. And if we talk about the dominant position of representatives not of the human, but of the cosmological series, then it should be recognized that the real protagonist of the story is the Sun. The description of the rising sun "frames" the story, although all of its nightly events and incidents.

The action of the story begins in the evening, after sunset (“evening dawn has already gone out”), but in the introductory part the author gives a description of the passing day, clearly fixing its shares: “ From the very early morning ... Around noon ... By evening ..." The most important element of this description is the sunrise: " The sun - not fiery, not dull-purple, as before a storm, but bright and welcomingly radiant - peacefully rises above a narrow and long cloud, shines freshly and plunges into its lilac fog ... But here again the playing rays gushed, - and cheerfully I majestically, as if taking off, a mighty luminary rises.. At the end of the story, the hunter, leaving the fire, is, apparently, with his back to the rising sun. But the effect of "solar presence" does not weaken from this, it's just that the observer's gaze is not directed upwards, but "around". The narrator supplements the invisible part of the sun-drenched space of the earth with imagination: Before I had gone two versts, they were already pouring all around me over a wide, wet meadow, and in front, along the green hills, from forest to forest, and behind along a long dusty road, along sparkling, crimson bushes, and along a river bashfully blue from - under a thinning fog, - first scarlet, then red, golden streams of young, hot light poured..

Arousing superstitious feelings first in the soul of a hunter, and then in the minds of peasant children, Turgenev's night gives only hints of the possibility of a realistic explanation of its mysteries and mysteries. She is omnipotent and omnipotent, she protects the final word of the solution from a person in her dark depths.

The main stages in the development of an artistic idea correspond in the semantic composition of the work to the opposition "light" - "darkness" - "light", and in the external composition - its three-part structure. In the first part of the story, as already noted, the image of light is dominant, the lexical means used in it are characterized by common semantic features “meek”, “peaceful” (mild blush, friendly radiant sun, even blue, peacefully emerges, calmly set, touching meekness). These “overtones of meaning” (B. A. Larin) interact in the introduction with other units generated by “hot drought”, “fire”, “storm”, “thunderstorm” - the image of a serenely bright nature turns out to be internally contradictory, which prepares the system images of the central part of the story. It is dominated by images of Darkness, gloom, night, opposed to the image of light. The fantasy of the story introduces dark features into nature, which usually scare people away, instill a sense of fear, which is inherent when darkness comes. The stories of the boys are far from reality, but, nevertheless, they are impressive and evoke terrible thoughts. And fear comes only because everything happens at night, at the most mysterious time of the day, which in itself does not attract people, but, on the contrary, scares them away. Therefore, the legends that the boys tell each other look even more impressive and memorable. But in the last part of the work, "darkness" recedes, "light" wins:

... poured first scarlet, then red, golden streams of young, hot light. Everything stirred, woke up, sang, rustled, spoke. .

Descriptions of the night and morning landscapes reveal a system of echoes and correspondences. (the motionless, dark mirror of the river, the river bashfully blue from under the thinning fog), and sound designations are complemented by color designations that correspond with the introduction. .

We also observe an amazing picture of the night in the story "Forest and Steppe". Reading the first lines of the story, we are immersed in the calmness of the night, which the author tells us about. The features of the night are described in great detail. Turgenev did not want to miss even the smallest details. In the image of nature, there is no simplicity that we are used to seeing, the author opens up a new picture of nature for us, makes it possible to feel and enjoy it. Just a few lines at the beginning of the story, and we already feel that extraordinary calmness that happens only in summer, and we see a pure “ dark gray» the sky on which somewhere the stars are twinkling". Light coolness, the noise of trees, gray shadows - all this calms us down, helping us to forget about the problems of the approaching morning. We are accustomed to correlate the night with calmness, silence, carelessness, also with romance, beauty, mystery - this is how we see the night, and the author does not contradict our ideas, but, on the contrary, depicts them as brighter and more saturated. We listen to the “restricted, obscure whisper of the night”, trying to understand it, merge into one with the silence of the night and completely immerse ourselves in the world created by I. S. Turgenev.

In the article we will talk about the cycle of stories by I.S. Turgenev - "Notes of a hunter". The object of our attention was the work "Bezhin Meadow", and especially the landscapes in it. A brief description of nature in the story "Bezhin Meadow" is waiting for you below.

About the writer

Ivan Sergeevich Turgenev is one of the greatest Russian writers.

This writer, playwright and translator was born in 1818. He painted in the genre of romanticism, turning into realism. The latest novels were already purely realistic, while the haze of "world sorrow" was also present in them. He also introduced the concept of "nihilist" into literature and revealed it using the example of his heroes.

About the story "Bezhin Meadow"

The story "Bezhin meadow" is included in the cycle "Notes of a hunter". The history of the creation of this cycle of independent stories is interesting. Together they create an amazing border of landscapes, excitement, anxieties and harsh nature (and the description of nature in the story "Bezhin Meadow" is an amazing reflection of a person's feelings in the mirror of the surrounding world).

When the writer returned to Russia after a trip abroad, in 1847 the Sovremennik magazine began its long journey. Ivan Sergeevich was offered to publish a small work on the pages of the issue. But the writer believed that there was nothing worthy, and in the end he brought the editors a short story "Khor and Kalinich" (in the magazine it was called an essay). This "essay" had the effect of an explosion, readers began to ask Turgenev in multiple letters to him to continue and publish something similar. So the writer opened a new cycle and began, like precious beads, to weave it from stories and essays. A total of 25 stories were published under this title.

One of the chapters - "Bezhin meadow" - is known for amazing pictures of nature, the atmosphere of the night. The description of nature in the story "Bezhin Meadow" is a real masterpiece. The meadow and the forest, the night sky, and the fire seem to live their own lives. They are not just background. They are full-fledged characters in this story. The story, which began with a description of early morning and dawn, will lead the reader through a hot summer day, and then through a mystical night in a forest and a meadow with the mysterious name "Bezhin".

Description of nature in the story "Bezhin Meadow". Summary.

On a very good July day, the hero of the story went hunting for black grouse. The hunt was quite successful, with a shoulder bag full of game, he decided that it was time to go home. Climbing the hill, the hero realized that in front of him were completely alien places. He decided that he "turned too right", he went down the hill in the hope that he would now rise from the right side and see familiar places. The night was coming on, but the way was still not found. Wandering through the forest and asking himself the question "So where am I?", the hero suddenly stopped in front of an abyss, into which he almost fell. Finally, he realized where he was. A place called Bezhin Meadow stretched out before him.

The hunter saw nearby lights and people near them. Moving towards them, he saw that they were boys from nearby villages. They pastured a herd of horses here.

We should also say about the description of nature in the story "Bezhin Meadow". It surprises, fascinates, and sometimes scares.

The narrator asked to stay with them for the night and, in order not to embarrass the boys, pretended to be asleep. The children began to tell scary stories. The first is about how they spent the night at the factory and there they were frightened by the "brownie".

The second story is about the carpenter Gavril, who went into the forest and heard the call of a mermaid. He was frightened and crossed himself, for which the mermaid cursed him, saying that "he will be killed all his life."

The description of nature in the story "Bezhin Meadow" serves not only as a decoration for these stories, it complements them with mysticism, charm, and mystery.

So until dawn, the guys remembered scary stories. The boy Pavlusha fell deeply into the soul of the author. His appearance was completely unremarkable, but he looked very intelligent and "power sounded in his voice." His stories did not frighten the children at all, a rational, wise answer was ready for everything. And when, in the midst of the conversation, the dogs barked and rushed into the forest, Pavlusha rushed after them. Returning, he calmly said that he expected to see a wolf. The courage of the boy struck the narrator. The next morning he returned home and often remembered that night and the boy Pavel. At the end of the story, the hero sadly says that Pavlusha, some time after they met, died - fell from a horse.

nature in the story

Pictures of nature occupy a special place in the story. The description of nature in the story "Bezhin Meadow" by Turgenev begins the story.

The landscape changes somewhat when the hero realizes that he is lost. Nature is still beautiful and majestic, but it inspires some kind of elusive, mystical fear.

When the boys leisurely conduct their children's speeches, the meadow around seems to listen to them, sometimes supporting with eerie sounds or flying a dove that has come from nowhere.

The role of the description of nature in the story "Bezhin Meadow"

This story is famous for its landscapes. But he tells not about nature, but about the story with the main character, about how he got lost, went to Bezhin Meadow and stayed overnight with the village boys, listening to their scary stories and watching the children. Why are there so many descriptions of nature in the story? Landscapes are not just an addition, they tune in the right way, captivate, sound like music in the background of the story. Be sure to read the story in full, it will surprise and fascinate you.

I. S. Turgenev is a perceptive and perspicacious artist, sensitive to everything, able to notice and describe the most insignificant, small details. Turgenev perfectly mastered the skill of description. All his paintings are alive, clearly rendered, filled with sounds. Turgenev's landscape is psychological, connected with the experiences and appearance of the characters in the story, with their way of life.

Undoubtedly, the landscape in the story "Bezhin Meadow" plays an important role. We can say that the whole story is permeated with artistic sketches that determine the state of the hero, emphasize his mood, feelings, determine internal tension. "Bezhin Meadow", in fact, begins with landscape sketches. The author describes a beautiful July day, when “all colors are softened, light, but not bright”, when the “touching meekness” of nature is felt, the air is dry and clean. These pictures appear before the eyes and the smells of wormwood, compressed rye, buckwheat, which the author mentions, are felt.

The day is wonderful! The hero is satisfied with the hunt for black grouse. However, the feeling of calm and harmony did not last long. Evening came, it began to get dark. The hero lost his way, got lost, he was seized by inner restlessness. With the help of describing nature, the author manages to show his confusion. The hero was immediately seized by an unpleasant, motionless dampness, which made him terribly. Bats were already "rushing" and belated birds were hurrying to their nests. As the hunter realized that he was seriously lost and that he would not get out of the forest today in the darkness, “the night approached and grew like a thundercloud”, “darkness poured” from everywhere. And when the hope of getting home finally left the hero, he went out to the Bezhin Meadow, where the village guys were sitting around the fire. They pastured a herd of horses. In this romantic setting, they told each other different stories. Hunter joined them. Gradually, the feeling of anxiety went away and was replaced by new feelings: calmness, peace. He began to admire the sky, the river, the crackling tribe of the fire, enjoy the special, lingering and fresh "smell of a Russian summer night."

With curiosity, the narrator listened to the stories of the guys. In the most tense moments of the stories, nature, as if listening to them, sent small surprises. Every time at the most terrible moment something happened. After Kostya's story about the meeting between the carpenter Gavrila and the mermaid, the children hear a "drawn-out, ringing, almost groaning sound," which suddenly emerged from the silence and slowly spread through the air. The story told by Ilyusha about how the kennel Yermil met an evil spirit in the form of a lamb frightens the children even more because all of a sudden the dogs got up and, with convulsive barking, rushed away from the fire and disappeared into the darkness. The story about the dead and the foreknowledge of death introduces the guys into thoughtfulness. The appearance of a white dove, flying up to the fire from nowhere, circling in one place and dissolving in the darkness of the night, leads them to think about whether this is a righteous soul flying to heaven. The “strange, sharp, painful cry of a heron”, heard in silence, serves as a transition to a conversation about mysterious and terrible sounds: this is how the soul can “complain” or scream a goblin. All these pictures convey the anxiety, fear, tension of the guys, emphasize their mood. "God's Stars", to which little Vanya draws attention, helps all children to see the beauty of the night sky.

Turgenev's landscape is psychological, connected with the experiences and appearance of the characters in the story, with their way of life. The story also ends with a description of nature. “Everything stirred, woke up, sang, rustled, spoke,” a new day, unusually beautiful, sunny and bright, combined with the sounds of a bell and invigorating freshness, serves as the final chord of this wonderful work.

The skill of I. S. Turgenev helps readers to feel the beauty of their native nature, to pay attention to what is happening in it every minute, every hour.