The problem of the impact of the beauty of nature on humans. The problem of the impact of nature on humans (according to Troepolsky). V.G. Rasputin "To the same land"

Where nature is alive, the human soul is alive. In the novel, in the ninth chapter, “Oblomov’s Dream,” the author depicts a corner of Russia blessed by God. Oblomovka is a patriarchal paradise on earth.

The sky there, on the contrary, seems to be pressing closer to the earth, but not in order to throw arrows more powerfully, but perhaps only to hug it tighter, with love: it spreads out so low above your head, like a parent’s reliable roof, to protect it, it seems , a chosen corner from all adversity. The sun shines there brightly and hotly for about six months and then does not suddenly leave there, as if reluctantly, as if it were turning back to look once or twice at its favorite place and give it a clear, warm day in the fall, amidst bad weather.

All nature protects the inhabitants of Oblomovka from adversity, living life in such a blessed place, people are in harmony with the world and themselves. Their souls are pure, there are no dirty gossip, clashes, or searches for profit. Everything is peaceful and friendly. Oblomov is a product of this world. He has kindness, soul, generosity, attention to his neighbor, something for which Stolz values ​​him so much and Olga fell in love with him.

2. I.S. Turgenev "Fathers and Sons"

The main character, commoner Bazarov, due to his convictions, considers nature not a temple, but a workshop. His point of view is that all trees are the same. However, arriving at his native estate, he tells Arkady that the aspen tree over the cliff was his talisman in childhood. Now he supposedly understands that he was little and looked for signs of goodness in everything. Why, during the development of his passionate feelings for Odintsova, does the freshness of the night rushing through the window make such an impression on him? He is ready to fall at Odintsova’s feet, he hates himself for this feeling. Isn’t this the influence of that very workshop for research and experiments? It’s a pity that Yevgeny Bazarov’s experience will end so badly.

3. I.A. Bunin "Mr. from San Francisco"

The trip to Europe does not happen at all according to the plan that was drawn up by the man who considers himself a master. Instead of the bright sun and bright days, nature greets the heroes cloudily, unsmilingly: “The morning sun deceived every day: from midday it invariably turned gray and began to rain, and it became thicker and colder; then the palm trees at the entrance of the hotel sparkled with tin,” - that’s how nature was, as if it didn’t want to give its warmth and light to these overly boring gentlemen. However, after the death of the master, the sky cleared, the sun shone, and over the whole world: “... a whole country, joyful, beautiful, sunny, stretched below them: the rocky humps of the island, which almost all lay at their feet, and that fabulous blue in which he floated, and the shining morning steam over the sea to the east, under the dazzling sun, which was already warming hotly, rising higher and higher, and the foggy azure, still unsteady in the morning, massifs of Italy, its near and distant mountains, the beauty of which is powerless to express human word." Only real people like the famous fisherman Lorenzo can live next to such nature.

4. V.G. Rasputin "To the same land"

The main character, Pashuta, a woman with an ambiguous fate, devoted her entire life to the great Soviet construction project. Years passed, when the plant became operational and began to produce products, the city lost its charm as a pure taiga settlement.

The city gradually acquired a different glory. Using cheap electricity, aluminum was smelted at the world's largest plant, and cellulose was cooked at the world's largest timber complex. From fluorine, forests withered away for tens and hundreds of miles around, from methyl mercaptan they clogged up the windows in apartments, caulked cracks and still broke into a suffocating cough. Twenty years after the hydroelectric station gave power, the city turned into one of the most dangerous for health. They were building a city of the future, and they built a slow-acting gas chamber in the open air.

People have lost connections with each other, every man for himself - this is the motto of this world. By destroying nature, we destroy ourselves, our future.

It is difficult to assess the importance of nature in human life. She generously gives people her wealth, surprises with her proud grandeur and unique beauty, and inspires. Nature teaches us to be humane, to treat all living things humanely, to resist any manifestation of evil and cruelty.

The text by G. Troepolsky touches on the problem of the beneficial influence of nature on humans. The yellow forest, in which “everything burned and shone along with the sun,” where “it was... easy... and fun,” helped the main character, the hunter, to truly experience the feeling of pain “for all those who kill in vain.”

Enjoying the silence, admiring the beauty of the autumn forest and the work of his faithful four-legged friend, Ivan Ivanovich feels happy and smiles. And suddenly a shot... It seems scary and absurd in the forest, where silence and harmony reign. The forest echoed with offense, as if perplexed: “the birches were frightened, they shuddered,” “the oak trees gasped.”

“Only for you, Bim,” the hunter tries to find an excuse for his action, holding a dead woodcock in the palm of his hand. But memories of the past, of the bird killed yesterday, do not allow my conscience to calm down. From that day on, the feeling of pity for animals and birds grew stronger every day in Ivan Ivanovich’s soul.

Man is very guilty before “our smaller brothers.” And this blame lies not only with poachers, who indifferently kill animals for their own benefit. People who throw animals out into the street, leaving them to their fate, act inhumanely. Unfortunately, this phenomenon is not uncommon.

It is impossible to imagine nature without animals and birds. They not only bring benefits, but also decorate our planet. It doesn’t hurt many people to learn from them love, loyalty and mutual understanding.

From early childhood we have known works that tell about the “human” qualities of “our little brothers.” L.N.’s short story once seemed touching to the point of tears. Tolstoy about the friendship of a lion and a little dog. I was surprised by the heroism of the gray sparrow, selflessly shielding its offspring with its tiny body. I.S. himself Turgenev, the author of the prose poem “Sparrow,” admits that he “was in awe of that little... bird, of its loving impulse.” We were happy for Mitrash, the hero of the fairy tale by M.M. Prishvin’s “Pantry of the Sun”, to whom Travka, the dog of the wise forester Antipych, sensitive to goodness, came to his aid.

I really want every person to learn to appreciate and feel in their hearts the beauty and uniqueness of the natural world around us, to learn to be humane. Maybe for this you need to go more often to the yellow autumn forest, in which, according to the writer G. Troepolsky, a person becomes cleaner?

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Arguments for an essay on the Russian language.

Nature. Part 2.

The problem of attitude towards nature, animals, struggle with the natural world, interference in the natural world, the beauty of nature, the influence of nature on human character.

Nature is a source of inspiration for a person, immerses him in childhood, makes him think about life. In the novel “Hero of Our Time M.Yu. Lermontov characterizes the influence of nature on a person in the following way: “Moving away from the conditions of society and approaching nature, we involuntarily become children: everything acquired falls away from the soul, and it becomes again the same as it once was and will surely be again someday.”

How should we treat nature?

A.I. Kuprin "Olesya"

In the story by A.I. Kuprin "Olesya" the behavior of the main character is an excellent example of how to relate to the natural world. The girl felt that the forest was alive, and therefore she looked after it and protected every forest inhabitant from the harmful human influences. Olesya understood that not all people are able to feel and empathize with every blade of grass, every tree, and therefore did everything in her power to help the forest, for which she was awarded the gift of foresight and healing.

How does man influence nature?

Ray Bradbury "The Martian Chronicles"

People often have a consumerist attitude towards nature: they cut down forests, drain rivers and lakes, exterminate entire species of animals, without in any way compensating for the consequences of their actions.
Ray Bradbury's novel The Martian Chronicles describes in detail the impact of man on the natural world. Having polluted their planet, turning it into huge megacities, people began to explore distant Mars, already inhabited by inhabitants. Martians are very different from earthlings in this respect: they are closely connected with the nature of their planet. Half of their houses consist of living natural formations; they themselves actively use the gifts of their nature in their everyday life. Their peaceful existence was violated by the inhabitants of planet Earth. Having begun the settlement of Mars, people not only destroyed all the Martians, but also began to exterminate the Martian culture, imposing their own rules on the new world.

Why should we take care of nature?

H.G. Wells "War of the Worlds"

Nature is man's home. All living things that exist on planet Earth are interconnected. The famous English writer H.G. Wells in his novel “War of the Worlds” showed nature as the savior of mankind. After the start of the war with aliens, people were on the verge of extinction: the aliens destroyed earthlings, transformed the earth's surface, and destroyed a huge number of cities. People could not withstand such an enemy with their weapons, and then bacteria and microbes came to their aid and destroyed the aliens. The planet itself did not allow the invaders to destroy human civilization. Therefore, we need to treat the natural world with care, because if nature disappears, man himself will disappear.

What is the role of nature in Russian culture?

For Russians, nature has always been freedom, will, freedom. Listen to the language: take a walk in freedom, go out into the wild. Will is the absence of worries about tomorrow, it is carelessness, blissful immersion in the present.

Remember Koltsov:

Oh, my steppe,
The steppe is free,
You are wide, steppe,
Spread out,
To the Black Sea
Move forward!

The wide space has always captured the hearts of Russians. It resulted in concepts and ideas that do not exist in other languages. How, for example, does will differ from freedom? Because free will is freedom combined with space, with unobstructed space. And the concept of melancholy, on the contrary, is connected with the concept of cramped space, deprivation of space. To oppress a person is to deprive him of space in the literal and figurative sense of the word.

And man needed a large, open nature, with a huge horizon. That’s why the pole-pole is so beloved in the folk song. Will is large spaces through which you can walk and walk, wander, swim with the flow of large rivers and long distances, breathe free air, inhale the wind widely, feel the sky above your head, be able to move in different directions - as you please.

Russian lyrical lingering song - it also has a longing for space. And it is best sung outside the home, in the wild, in the field.
The ringing of the bell had to be heard as far as possible. Driving fast is also a desire for space.

But the same special attitude to space and space is visible in epics. Mikula Selyaninovich follows the plow from end to end of the field. Volga has to catch up with him for three days on young Bukhara stallions.

They heard a plowman in the pure poly,
Plowman-plowman.
They rode for a day in clean poly,
They didn’t run into the plowman,
And on another day we drove from morning to evening.
They didn’t run into the plowman,
And on the third day we rode from morning to evening,
They came to the plowman.

There is a sense of space in the beginnings of epics describing Russian nature, and in the desires of heroes, Volga, for example:

Volga wanted a lot of wisdom:
The Volga walks like a pike fish in the blue seas,
Volga fly like a falcon bird under the clouds,
Like a wolf and scour the open fields.
Even the description of the towers that Solovy Budimirovich’s “good squad” is building in the garden near Zabava Putyatichny contains the same delight in the enormity of nature.
Well decorated in the towers:
There is sun in the sky - there is sun in the mansion;
There is a month in the sky - there is a month in the palace;
There are stars in the sky - there are stars in the mansion;
Dawn in the sky - dawn in the mansion
And all the beauty of heaven.

Delight in the open spaces is already present in ancient Russian literature - in the Primary Chronicle, in the “Tale of Igor’s Campaign”, in the “Tale of the Destruction of the Russian Land”, in the “Life of Alexander Nevsky”, and in almost every work of the ancient period of the 11th-13th centuries . Everywhere, events either cover vast spaces, as in “The Tale of Igor’s Campaign,” or take place among vast spaces with echoes in distant countries, as in “The Life of Alexander Nevsky.” Russian culture has long considered freedom and space to be the greatest aesthetic and ethical good for humans.

The problem of the relationship between man and nature. How do humans and nature interact?

Argument from the book by D.S. Likhachev "Letters about the good and the beautiful"

Nature has its own culture. Therefore, the relationship between nature and man is a relationship between two cultures, each of which is “social” in its own way, communal, and has its own “rules of behavior.” And their meeting is built on a kind of moral foundation. Both cultures are the fruit of historical development, and the development of human culture has been taking place under the influence of nature for a long time (since humanity has existed), and the development of nature with its multimillion-year existence is relatively recent and not everywhere under the influence of human culture.

One (natural culture) can exist without the other (human), but the other (human) cannot. But still, for many past centuries, there was a balance between nature and man. Equilibrium is everywhere its own and everywhere on some kind of its own, special basis, with its own axis. In the north in Russia there was more “nature”, and the further south and closer to the steppe, the more “man”.
The landscape of Russia throughout its heroic space seems to be pulsating, it either discharges and becomes more natural, or condenses in villages, graveyards and cities, and becomes more human.
The old Russian city is not opposed to nature. He goes to nature through the suburbs. Hundreds of years ago, he clung to the walls of the city, to the rampart and moat, with vegetable gardens and gardens, he clung to the surrounding fields and forests, taking from them a few trees, a few vegetable gardens, a little water into his ponds and wells. And all this in the ebb and flow of hidden and obvious rhythms - beds, streets, houses, logs, pavement blocks and bridges.

What is characteristic of the Russian landscape?

Argument from the book by D.S. Likhachev "Letters about the good and the beautiful"

In Russian landscape painting there are a lot of works dedicated to the seasons: autumn, spring, winter are the favorite themes of Russian landscape painting throughout the 19th century and later. And most importantly, it does not contain immutable elements of nature, but most often temporary ones: early or late autumn, spring waters, melting snow, rain, thunderstorms, the winter sun peeking out for a moment from behind heavy winter clouds, etc.

In Russian nature there are no eternal large objects such as mountains or evergreen trees that do not change at different times of the year. Everything in Russian nature is inconsistent in color and condition. An eternal masquerade, an eternal celebration of colors and lines, eternal movement - within a year or a day.

All these changes exist, of course, in other countries, but in Russia they seem to be most noticeable thanks to Russian painting, starting with Venetsianov and Martynov. Russia has a continental climate, and this continental climate creates a particularly harsh winter and a particularly hot summer, a long spring shimmering with all shades of colors, in which every week brings with it something new, a protracted autumn, in which there is its very beginning with an extraordinary the transparency of the air, sung by Tyutchev, and the special silence characteristic only of August, and late autumn, which Pushkin loved so much.

But in Russia, unlike the south, especially somewhere on the shores of the White Sea or White Lake, there are unusually long evenings with the setting sun, which creates free play of colors, changing literally in five-minute intervals, a whole “ballet of colors”, and wonderful – long, long – sunrises. There are moments (especially in spring) when the sun “plays” as if it had been cut by an experienced lapidary. White nights and “black”, dark days in December create not only a diverse range of colors, but also an extremely rich emotional palette. And Russian poetry responds to all this diversity.

Venetsianov already has a characteristic feature of the Russian landscape. It is also present in Vasiliev’s early spring. It had a major impact on Levitan’s work. This inconstancy and instability of time is a feature that seems to connect the people of Russia with its landscapes.
National traits cannot be exaggerated or made exceptional. National characteristics are only some accents, and not qualities that others lack. National characteristics bring people together, interest people of other nationalities, and do not remove people from the national environment of other peoples, do not close peoples within themselves. Nations are not walled communities, but harmoniously coordinated associations.

Therefore, if I talk about what is characteristic of Russian landscape or Russian poetry, then these same properties, but, however, to some other extent, are also characteristic of other countries and peoples. The national traits of a people exist not in themselves and for themselves, but also for others. They become clear only when viewed from the outside and in comparison, therefore they must be understandable for other peoples; they must exist in some other arrangement among others.