Hero of our time Description of nature excerpt. Cooking "Sevorin Consciousness"

03.11.2019

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What is the role of a landscape in the novel M. Lermontov "Hero of our time?

A landscape playing a big role in the novel "Hero of Our Time". We note a very important feature: it is closely connected with the experiences of heroes, expresses their feelings and moods. Hence the passionate emotionality, the agitance of the descriptions of nature, creating a feeling of musicality of the whole work.

Silver thread rivers and gliding bluish mist, running in the grinding mountains from warm rays, shine of snow on ridges of mountains - accurate and fresh paints of Lermontov prose.

In "Bale", we admire the truthful paintings of the mountaineers, their harsh lifestyle, their poverty. The author writes: "Sakla was stripped with one side to the rock, three wet steps led to her door. She entered the face and came across the cow, I did not know where to go: the sheep blew, the dog grieves there. " It was difficult and sadly lived the people of the Caucasus, oppressed by their princes, as well as the royal government, which considered them the "natives of Russia".

Morning mountain nature paintings are drawn very talented.

It is very important in the disclosure of the image of Pechorin. Artistic description of nature in the novel. In Pechorin's diary, we often encounter on the descriptions of the landscape associated with certain thoughts, feelings, the moods of the hero, which helps us to penetrate into his soul, understand many traits of his character. Pechorin is a poetic person, passionately loving nature, who knows how to handle what sees.

Pechorin masterfully describes the night (his diary, May 16) with its lights in the windows and "dark, snowy mountains." No less beautifully starry sky in the story "Fatalist", whose type leads the hero to reflections on the fate of generation.

Sent to the fortress, Pechorin misses, nature seems to him dreary. Landscape and here helps better understand the mental state of the hero.

This is the description of the agitated sea in Tamani.

The picture, which opens the Pechiston from the site, where the duel was to take place, the sun, the rays of which do not warm him after a duel, - everything sees melancholy, all nature is sad. Only alone with nature Pechorin is experiencing the deepest joy. "I do not remember the morning more blue and fresh!" - he exclaims, affected by the beauty of sunny sunrise in the mountains. To the endless spaces of the sea, the shovels of the waves are directed and the latest hopes of Pechorin. Comparing himself with a sailor, born and grown on the deck of a robbery brig, he says that it misses the coastal sand, listens to the rake of the incoming waves and is peering into the distance covered with fog. Lermontov loved the sea very much, his poem "Sail" echoes with the novel "Hero of Our Time". The desired "sail" is looking for Pechorin in the sea. Neither Lermontov, nor the hero of his novel, this dream came true: the "welcome sail" did not appear and did not hear them into another life, to other shores. Pechorin calls himself and its generation "a pitiful descendants who wrapped around without belief and pride, without pleasure and fear." The wondrous image of the sail is a longing for the failed life.

The wonderful landscape opens and the story "Princess Mary". Pechorin in the diary writes: "I have a wonderful view from three sides."

The language of the novel is the fruit of the author's great work. (Pechistan language is very poetic, the flexible system of his speech testifies to the man of great culture, which has a subtle and insightful mind.) The wealth of the language of the "Hero of our time" is based on a reverent relation to Lermontov to nature. He wrote a novel in the Caucasus, the southern landscape inspired him. In the novel, the author protests against the aimless and mindless life, for which his generation is doomed, and the landscape helps us understand the inner world of heroes.

The same can be said about the landscape in the verse of Lermontov. It is enough to remember his famous poem "when a yellowing Niva is worried ...", masterpiece of world art:

When the yellowing Niva is worried,

And the fresh forest is noise at the sound of the breeze,

And hides in the garden of raspberry plum

Under the shadow of a sweet green leaf ...

All the work of Lermontov had a significant impact on the development of Russian literature. The famous landscapes of Turgenev, no doubt, were written under the influence of Lermontov prose, some images of the lion of Tolstoy (the story "raid") resemble realistic painted images of Lermontov. The influence of Lermontov and Dostoevsky, and on the block, and Yesenin, is completely obvious. And I want to finish your essay, I want the words of Mayakovsky: "Lermontov comes to us, the despay of times."

The role and significance of nature in the Roman Lermontov "Hero of Our Time"

A large role in the novel "" plays a landscape. We note a very important feature: it is closely connected with the experiences of heroes, expresses their feelings and moods. Hence the passionate emotionality, the agitance of the descriptions of nature, creating a feeling of musicality of the whole work.

Silver thread rivers and gliding bluish mist, running in the grinding mountains from warm rays, shine of snow on ridges of mountains - accurate and fresh paints of Lermontov prose.

In Bale, we admire the truthful paintings of the mountaineers, their stern lifestyle, their poverty. The author writes: "Sakla was stripped with one side to the rock, three wet steps led to her door. I got a touch and came across a cow, I did not know where to go: the sheep blew, the dog grieves there. " It was difficult and sadly lived the people of the Caucasus, oppressed by their princes, as well as the royal government, which considered them the "natives of Russia".

Morning mountain nature paintings are drawn very talented.

It is very important in the disclosure of the image of Pechorin. Artistic description of nature in the novel. In Pechorin's diary, we often encounter on the descriptions of the landscape associated with certain thoughts, feelings, the moods of the hero, which helps us to penetrate into his soul, understand many traits of his character. "A poetic person, passionately loving nature, who knows how to handle what sees.

Pechorin masterfully describes the night (his diary, May 16) with its lights in the windows and "dark, snow mountains." No less beautifully starry sky in the story "Fatalist", whose type leads a hero to reflections on the fate of generation.

Sent to the fortress, Pechorin misses, nature seems to him dreary. Landscape and here helps better understand the mental state of the hero.

This is the description of the agitated sea in Tamani. The picture, which opens the Pechiston from the site, where the duel was to take place, the sun, the rays of which do not warm him after a duel, - everything sees melancholy, all nature is sad. Only alone with nature Pechorin is experiencing the deepest joy. "I do not remember the morning more blue and fresh!" - he exclaims, affected by the beauty of sunny sunrise in the mountains. To the endless spaces of the sea, the shovels of the waves are directed and the latest hopes of Pechorin. Comparing himself with a sailor, born and grown on the deck of a robbery brig, he says that it misses the coastal sand, listens to the rake of the incoming waves and is peering into the distance covered with fog. Lermontov loved the sea very much, his poem "Sail" echoes the novel of the "Hero of Our Time". The desired "sail" is looking for Pechorin in the sea. Nor Lermontov, nor the hero of his novel, this dream came true: the "welcome sail" did not appear and did not hear them into another life, to other shores. Pechorin calls himself and its generation "a pitiful descendants who wandered on earth without belief and pride, without pleasure and fear." The wondrous image of the sail is a longing for the failed life.

The wonderful landscape opens and the story "". Pechorin in the diary writes: "I have a wonderful view from three sides." The language of the novel is the fruit of the author's great work. (Pechistan language is very poetic, the flexible system of his speech testifies to the man of great culture, which has a subtle and insightful mind.) The wealth of the "Hero of Our Time" language is based on Lermontov's reverent relation to nature. He wrote a novel in the Caucasus, the southern landscape inspired him. In the novel, the author protests against the aimless and mindless life, for which his generation is doomed, and the landscape helps us understand the inner world of heroes.

The same can be said about the landscape in the verse of Lermontov. It is enough to remember his famous poem "When a yellowing Niva is worried ...", masterpiece of world art:

When the yellowing Niva is worried,
And the fresh forest is noise at the sound of the breeze,
And hides in the garden of raspberry plum
Under the shadow of a sweet green leaf ...

All the work of Lermontov had a significant impact on the development of Russian literature. The famous landscapes of Turgenev, no doubt, were written under the influence of Lermontov prose, some images of Lion Tolstoy (the story "Rieble") resemble realistic painted images of Lermontov. The influence of Lermontov and Dostoevsky, and on the block, and Yesenin, is completely obvious. And I want to finish my words of Mayakovsky: "Lermontov comes to us, the time ago.

In travel notes, a storyteller officer, a landscape is set aside in the traditional romantic spirit, saturated with bright colors: "From all sides of the mountain, unappreciable, reddish rocks, frightened by green ivy ..." It can be noted that the narrator strives to give a description of exotic nature, intended for the Russian reader, and wearing Therefore, a few familiarization. In addition, it is possible to make an assumption about the sub-millioned stay in the Caucasus (a comparison of snowstorms with Exchange).

Most of the novel make up the notes of Pechorin, and his identity is reflected, in particular, in the descriptions of nature. The individualism of the main character, his separation from the rest of the world does not give him the opportunity to open people the most hidden feelings, the cleanest spiritual impulses, and they often manifest themselves just in its relation to nature: "The air is clean and fresh, like a child's kiss." Pechorin is able to feel the movement of air, the movement of high grass, admire "foggy odds of objects", discovering mental subtlety and depth. To him, a person is lonely, nature in heavy minutes allows you to preserve a mental balance: "I swallowed with greed, I am fragile air," Pechorin writes after an emotionally stressful date with faith. The romantic nature of Pechorina is guessed, for example, in Landscapes "Tamani": "White Walls", "Black Tackle", "Pale Square Damage" - a typical romantic selection of colors.

In addition, nature is constantly opposed to the world of people, with their small passions ("The Sun is bright, the sky is blue - what does it seem for more? Why are there passions, desire? .."), and the desire to merge with the harmonious world of nature turns out in vain. But unlike the frozen romantic paintings described by the narrator, the landscapes belonging to Peru Pechorin are full of movement: the flow, "which with noise and foam, falling from the slab on the stove, rubs his way"; branches, "running out from here in all directions"; air, "burdened by the evaporation of high southern herbs"; The streams that "run in a friendly bulk and, finally, are thrown into the depressions," all these descriptions emphasize the internal energy of Pechorin, its constant tension, thirst for action, reflect the dynamics of its mental states.

Some landscapes give additional evidence of the latitude and versatility of the knowledge of Pechorin, his erudition: "The air was powered by electricity," the phrases are completely naturally woven into the thoughts of Pechorin's thoughts. Thus, following the traditions to make the nature of the criterion for the development of the personality, Lermontov solves this task with the help of innovative funds.

The lack of mention of nature, for example, the Hushchnitsky testifies to his mental, inability to feel deeply. The lack of them at Maxim Maximich is quite justified realistic: a poor educated person living in harsh conditions, he is not used to pouring his feelings verbally. However, comparing the magnificent pictures of nature with a whistle of bullets, from which the heart beats too, Maxim Maximych detects the unexpected sensitivity of the soul, and this forces the storytellor to make a confession: "In the hearts of simple sense of beauty and the greatness of nature, more than a hundred times than in us, enthusiastic tolders in words and on paper. " In this thought, you can also see some social color.

Describing the landscapes of the novel, mono talk about their consonance or opposite to the mood of the hero, the symbolic landscapes that lead to philosophical reflections can be viewed by the landscape and in other aspects, but if approaching the topic of vision of the analysis of the artistic method of Lermontov, then the following can be noted. The features of romanticism are inherent in descriptions of nature, which is associated with certain traditions in the consciousness of the heroes - contemporaries Lermontov. At the same time, the realistic trend is manifested primarily in the substantiation of the perception of nature by socio-psychological, cultural, intellectual, moral features of characters. Thus, and the landscape reflected the decision by Lermontov his main task - the images of the modern person to him, formed under the influence of certain circumstances.

The topic of the article is the preparation and conduct of writings about the literary landscape. This work requires the activation of the creative and reproducing imaging of Schricolis-Kev, helps to understand the specifics of literature as a type of art. To find out how deeply the high school students are landscape sketches, we spent the next job.
In one of the Moscow school school schools after studying creativity A. S. Pushkin and M. Yu. Lermontov, it was proposed to prepare for expressive reading of the most liked descriptions of nature in Evgenia Onegin and "Hero of Our Time" and to determine the role of the selected passage in work. The answers have shown that when reading the artistic text, schoolchildren do not always notice the beauty, the imagery of the descriptions of nature and the role of the landscape as one of the receptions characteristic of the hero. The disciples said that Pushkin "Brightly", "colorfully" describes the seasons that the love of Tatiana to the Russian nature helps to understand the integrity of her nature and proximity to the people, that his best mental qualities are revealed to nature in the love of Pechorin. For expressive reading in the class, nine-graders chose the descriptions of the Russian winter, autumn and spring at Pushkin, a description of the surroundings of Pyatigorsk (the beginning of the story "Princess Mary") and morning before Lermontov's duel. But at the same time, the students did not notice the specifics of the landscape of Pushkin and Lermontov, for example, laconism and dynamism at the first and deep psychology among the second, role of nature paintings in the composition and development of action, in the disclosure of the idea of \u200b\u200bthe work and views of the author. All this suggests that it is necessary to strengthen the work on the formation of the multifaceted perception of nature paintings in the artistic literature and their role in the works.
According to V. V. Golubkov, the landscape "can play in the work of a different role: it serves as one of the additional means for the characteristics of the hero, then reflects the mood of the writer, is the background, the situation necessary for understanding the plot." Understanding the role of nature paintings in the work is associated with the understanding of his ideas and compositions, the relationship of the writer to life and heroes, with the awareness of the originality of the artistic form and language.
Expressive and commented reading in the process of studying the artwork, conversation in the text, a conversation based on the personal impressions of students, analyzing the language and style of the writer - all this prepares the basis for conducting generalizing lessons to study the landscape and writings about the landscape.
The literary landscape can be one of the topics or the only topic of written works that the writer's work ends; the theme of the generalizing essay on the work of two writers (for example, "paintings of nature in the works of A. S. Pushkin and M. Yu. Lermontov"); The theme for passing repetition ("The role of a landscape in the disclosure of the inner world of Heroes M. Yu. Lermontov and L. N. Tolstoy", etc.). The topic of the literary landscape should always be included in the overall system of writings in order to promote the formation of descriptions of descriptions of descriptions, improving the independence of schoolchildren in the analysis of the work, the development of recreation and creative imagination. In the first stages of studying the historical and literary course of nature, the description of nature are considered under the direct leadership of the teacher, since schoolchildren have not yet accumulated sufficient knowledge for independent work. Deep, thoughtful analysis will save students from superficial judgments and rapid conclusions.
This article will deal with one of the initial stages of the formation of a comprehensive perception by high school students of nature paintings. The main way of preparation of the composition is a combination of observations on the scenery in lessons dedicated to text reading, drawing up characteristics, consideration of the topic, ideas, compositions, language, with conclusions on a generalizing lesson, which is necessary to prepare an essay.
Working with students over the landscape in the novel L. S. Pushkin "Eugene Onegin", we showed that the Pushkin's personality, his Russian soul, lyrism, the poetic perception of the world, are revealed in the paintings of nature, and that the realistic image of reality is approved in them .
Analysis of the novel M. Yu. Lermontov "Hero of our time" is the next stage in the study of the descriptions of nature. Work on the landscapes of this novel and will be at the center of our attention in the future.
A special place occupied by the paintings of nature in the "Hero of Our Time", makes it possible to hold a number of interesting and varied works, including special writings about the landscape. There is no need to analyze all the descriptions of nature in the novel, it is enough to take several to show students their artistic peculiarity.
In the first lessons dedicated to the novel, the teacher himself comments on the landscapes of the story "Bal" - descriptions by the author-traveler of Georgia. This is, first of all, the picture of the Koyshaur Valley with "impregnable mountains" and "reddish rocks" from all sides, with high fringe snow and sparkling at the bottom of the Aragva. In another place, the same valley is described with a bluish fog running away from the warm rays and burning jungle of Enaga. "There would be there and stay forever!" - traveler exclaims.
Pictures of nature in the Roman Lermontov create an emotional background for narration and introduce the reader with the nature of the Caucasus. Here is the road to the station past the deep gorge: "It was quietly quiet, so quiet that the mosquito buzz could be followed by the flight." Among the "Dead Sleep" of Nature, an uneven ripping of the Russian bell is heard, and the sides of the Hood Mountain will crawl light pieces of clouds, foreshadowed, weather. But the picture of the night with black mysterious prepastes, where the fogs are rushing, "Flooring and squirreling, like snakes," as if feeling and frightening the approach of the day. " In this landscape there is still no reflection of the author about a person, his mood, feelings and thoughts.
But in Bale, there are other pictures of nature when the author-traveler, along with Maxim Maxim, admires magical paintings and imperceptibly in the description of his reflections on people, about their ability to perceive nature. So that students understand this, the analysis is selected for analysis, for example, a description of the road on the Good Mountain:

Quietly, everything was in heaven and on Earth, as in the heart of a person per minute of the morning prayer; Only occasionally raided the cool wind from the east, lifting the mane of the horses covered by it. We tried on the road; With difficulty five, thin Klyach dragged our wagons on a winding road on a gud-mountain; We walked back, putting the stones under the wheels when the horses were shed out of the forces; It seemed that the road was led to the sky, because how many eyes could see, she rose everything and finally disappeared in the cloud, which in the evening was resting on top of the Hood Mountain, like Korshun, waiting for prey; Snow crunched under our legs; The air became so rare that it was painfully breathing; Blood rushed into the head, but with all the fact that some pleasant feeling spread over all my veins, and I was somehow fun, that I am so high above the world - a feeling of children's, I do not argue, but, moving away from the terms of society and approaching To nature, we are involuntarily becoming children: everything acquired from the soul and it is being done again as it was once and right ever again. The one who happened to me, to wander around the Mountains deserted and for a long time to peering into their bizarre images and greedily swallowing the life-giving air, spilled in their gorges, he, of course, would understand my desire to convey, tell, draw these magic cards. Now, finally, we climbed at the Hood Mountain, stopped and looked around: a gray cloud hung on it, and his hungry breathing threatened close storm; But in the East, everything was so clear and goldenly, that we, that is, I am also a headquarters, the captain completely forgotten ... Yes, and headquarters-captain: in the hearts of simple, the feeling of beauty and the grandeur of nature is stronger, more than a hundred times, than in us, enthusiastic tolders in words and on paper.

One of the students expressively reads the passage, then a conversation is held in the class:
1. What do you like in the description of the road?
2. Tell us about the thoughts and feelings of the author's description.
3. What place does this landscape occupy in the composition of the novel?
Schoolchildren usually like the colorfulness, the lyrics of the description. In the process of the conversation, they note that the author-traveler, together with Maxim Maxim, admires the magical paintings and reveals his thoughts, feelings, their attitude towards people. Once highly over the world, he is experiencing a special, almost childish sense of joy. The author of the description (wandering officer) relates to ordinary people, to Maxim Maxim.
Schoolchildren under the leadership of the teacher are aware of the role of the landscape under consideration in the work - it is a background that develops an action, it is associated with the author's thoughts on the characters of people, and the words about the hearts of ordinary prepare them for the story of the "Heart not simple and difficult." In the description of the road, two starts are organically merged, inherent in Lermontov style: an objective description of nature and reflection in the scenery of the senses, human thoughts. Lermontov, as it were, prepares the reader to the perception of psychological landscapes of the story "Princess Mary." The teacher tells schoolchildren that he had in mind Lermontov, speaking of "enthusiastic storylors in words and on paper" (we are talking about the descriptions of representatives of the Romantic School of Marlinsky and his followers). In contrast to such tolders, Lermontov, going for Pushkin, argues in the paintings of nature realistic vision of the world.
On the material of the individual descriptions of Balla, the teacher has the opportunity to put a number of important questions about the role of the landscape in the work. In subsequent lessons, these questions will be disclosed when meeting the text "Tamani" and "Princess Mary."
There are almost no landscape sketches in the story, the author deliberately, according to his own words, "eliminates" readers from this, focusing all the attention at the meeting of the good headquarters-captain with Pechorin, on the description of the appearance of Pechorin, before revealing in the "magazine Pechorin "His heart, soul, thoughts. As a home task to Taman's Tale, the class is proposed to independently find descriptions of nature, determine their content and role in the composition of the work. The classroom read and analyzes passages with one students with additions to others:

Full month shone on a reed roof and white steles of my new dwellings; In the courtyard, circled with a cobblestone fence, was facing another lach tune, less and ancient first. The coast of the cliff went down to the sea by almost the most walls of it, and at the bottom with the continuous ropot, the dark blue waves splashed. The moon looked quietly on a restless, but submissive her element, and I could distinguish with her light, far from the coast, two ships, whom black tackle, like a web, was perfectly drawn on a pale silence line ...
... Meanwhile, the moon began to dress with clouds, and fog rose to the sea; Almost through it, the lantern was lit on the stern of the near ship; The shore sparkled the foam of Valunov, every minute to sink him.

To deepen the perception of text, students are asked:
1. What phrase connects the first of the descriptions of the descriptions with the story about events?
2. What mood creates sea landscapes "Tamani"?
3. Draw orally these pictures. How do you imagine lighting in these descriptions?
The conversation expands the presentation of schoolchildren about the role of the landscape. Behind the concise, discreet description of the dwelling and the shores of the sea, the phrase: "Courts in the pier are," I thought, "I'll go to Gelendzhik tomorrow, which emphasizes the naturalness of the inclusion of the landscape into the living tissue of the story. Both descriptions, especially the second, create an alarming mood, something like a premonition, which contributes poetic images of a restless marine element and will, threatening to sink the ship.
Oral drawing enhances the emotional perception of landscapes, helps to understand their dynamism.
Here is one of the student's answers (after a conversation in the class):

I am so imagine lighting in this landscape. A pathetic shack with a reed roof is lit a month. White walls. In the dark, the face and hands of Pechorin whiten. He sees the courtyard, filled with moonlight, sharp shadows from the fence and another barley. The outlines of the cloudy shore are clearly identified. The sea in the light of the moon can be seen far away, and away, on a pale silence line, you can distinguish black tackle of ships.
Second picture. Every suddenly becomes invisible: and the courtyard, and distant ships, and the smooth of the sea. The lantern on the stern of the near ship is glowing dimly, and the sovereign sparkles the scene, as if threshing the ship.

In conclusion, schoolchildren conclude that the landscape is one of the elements of the composition associated with the nodal events of the story; It also carries a psychological function, revealing the mood of Pechorin. In Tamani, the descriptions of nature give the narrative lyrical incessity, they introduce the reader to the system of thoughts, the search for the hero. The pictures of the moon night create an idea of \u200b\u200bthe time and place of action, they are organically connected with the narration.
The beginning of the story "Princess Mary" (records of May 11) is a description of the view from the window of Pechorin Room in Pyatigorsk:

Yesterday I arrived in Pyatigorsk, hired an apartment on the edge of the city, at the highest place, the sole of Mashuk: during a thunderstorm clouds will go down to my roof. Today at 5 o'clock in the morning, when I opened the window, my room was filled with the smell of flowers growing in a modest parressadic. Flowering branches are sophisticated in the windows, and the wind sometimes sleeps my writing desk with white petals. View from three sides I have wonderful. To the west, the five-chapter Beshtau shines like the "last cloud of scattered storm"; Mashuk rises in the north, like a shaggy Persian hat, and closes the whole part of the skyscle. To the east, look more fun: downstairs in front of me the pure, the new town, the healing keys are noisy, the noise of a multilingual crowd, - and there, on, the amphitheater mountains are praying all blue and foggy, and the silver chain, snow vertices stretch on the edge of the horizon, and starting the horizon, and starting Cazbeck and ending with double-headed elbrus. Having fun to live in such an earth! A special feeling is dismissed in all my veins. The air is clean and fresh, like a kiss of a child, the sun brightly, Sinne, - what does it seem, more? - Why do passion, desire, regret? ..

The teacher expressively reads the beginning of the story and offers students to determine what the most important thing is that descriptions. Feelings, thoughts, the complex spiritual world of Pechorin reveal in it. He greedily absorbs the beauty of nature. So perceive and describe nature can only finely feel the beauty of a person. Speaking of nature, Pechistan exposes his innermost thoughts. White petals of blooming is cherry, silver chain of snow vertices - all this leads Pechorin delight: "To live in such an earth. Some kind of pleasant feeling is spread in all my veins. "
Following major notes, they sound the words: "... the sun, brightly, Sinne, - what does it seem more? - Why are there passion, desire, regret? .. "These words seem to be the beginning of the story about the difficult, controversial nature of Pechorina, the story that he leads himself. And at the end, the trivial phrase: "However, it's time. I will go to the Elizabethan source: there, they say, in the morning all the water society is going. "
In such sudden transitions, the contradiction of Pechorin is revealed. Already the first landscape of the story reflects his love for nature - this is perhaps the warmest, the living sense remaining with him.
In records of June 10, an emotional description of the garden reflects the mood of Pechorina:

The local residents argue that the air of Kislovodsk has to love that there are a junction of all the novels who have ever started at the soles of Mashuk. And in fact, everything is breathing here, everything is mysteriously - and thick Songs of the lime alley, inclined over the flow, which with noise and foam, falling from the slab on the stove, rubs the path between the green mountains, and the gorge, full of Mole and silence which branches are running out from here in all directions, and freshness of aromatic air, burdened by the evaporation of high southern herbs and white acacia, a permanent, sweet-poppy noise of student streams, who will meet at the end of the valley, run in a friendly bulk and finally thrown into a smoke; - with of this side the gorge is wider and turns into a green hollow; There is a dusty road around it. Whenever I look at her, everything seems to me that the carriage rides, and the pink larch looks out of the window.

E. Sollertinsky rightly claims that the fleeting comment on the waiting for the carriage forces to look at everything "with some kind of a leaning sense of a person, who has lost something and not able to find, which is not looking forward from the fate of some kind of gift, but understands that Waiting for in vain. "
The teacher helps schoolchildren to understand the originality of the description. First of all, this landscape reflects the state of the Pechorin's soul, an ambiguity, the incompleteness of his feelings to the "cute princess". The experience of the peopling of nature is wetaped with lyrical thought and symbolically transfers its longing in true love. The description begins with the phrase that may seem by the vulgar, if you do not think about her hidden meaning and not see the bitter irony of Pechorina, standing on the head above the modern society.
Students noted that the description of the garden and the road documented the situation of action. Lermontov surprisingly exactly the sounds, paints, smells of southern nature. Rows about falling with noise from the plate on the stove stream, about the sweet-maximal noise of student streams cause bright hearing impressions from the reader. The metaphor used by the author (streams, "which, erecting at the end of the valley, run in a friendly bulk and finally thrown into the depressment"), strengthens the impression of driving movement.
Following the traditions of Pushkin Prose, Lermontov uses the principle of accuracy, brevity and develops it, introducing new means of image of the inner world of the hero, thus preparing the soil for the development of the Russian psychological novel - Romanov I. S. Turgenev, L. N. Tolstoy, Novella A. P . Chekhov.
Special interest include schoolchildren in the description of the morning before duel. In minutes of the tension of the soul forces, in anticipation of the Pechorin fight, turning to nature, reveals the best sides of his nature. The class gets a task - to reveal the role of the landscape in the observation of the peculiar character and in the composition of the story, since this role is very significant.
"I remember this time, we read, more than ever before, I loved nature. As I thoughtfully peered into every ROSInka, trembling on a wide sheet of grape and reflective millions of rainbow rays! How greedily my eyes tried to penetrate into the smoky Dal! " That's what Pechorin hid not only from Werner, but also from himself - longing the best, alarming for the future, which he has not yet lost. In the harmony of nature, he found what was not in the life of his surrounding society. The last lines of this lyrical landscape emphasize his connection, the duel scene duel: "... the path everything became already, the cliffs are blue and more terrible, and finally they seemed to converge in a impermeable wall."
The description of the morning helps to understand the personality of Pechorin. It stains in alarming, sad tones the entire subsequent scene. To deepen the understanding of the students of the compositional role of paintings of nature, the teacher invites them to find lines - which is how the description of the culmination event is ends - a duel with Pereshnitsky: "Turning a horse, I went home with a step. I had a stone on my heart. The sun seemed to me dull, the rays were not warm me. "
It says a man who has just recently admired the joyful beam who has not yet started the morning, the golden tops of the cliffs, the gold fog. After a duel, even the sun seems to him dull. The landscape is not only the beginning and the end of the description of the event, he is associated with it thematically, as it reflects the thoughts of Lermontov about the "hero of time". The subtle psychological analysis of Lermontov is visible in subtext, and not in the objective presentation of the events and statements of Pechorin.
The beautiful picture of the morning, the fullness of the world of Pechorin's world is questioned by his words about themselves ("From the life storm, I made only a few ideas - and not a single feeling. I have long lived with a heart, but a head"). Inconsistency, the duality of Pechorina - this dominant of his personality - are not disclosed in the fact that he first saw the golden rays had not yet climbed the sun, which after the murder of Huschnitsky seemed to him dull, but that he was able to perceive nature so differently and argue, What lives not in the heart, but head. It can be called smart, decent, courageous who knows how to mercilessly condemn himself, infinitely loving nature and at the same time cold, not believe in friendship and love, skeptical about people, to death.
Nature descriptions accompany the nodal events of the story and reveal the inner world of Pechorin, perhaps more than its skeptical comments and composure, which may, according to him, disappear "as smoke." The nature of the nature description of the peopist depends on its condition, mood. In the description of the chase for faithfully condensed with shadows and paints, and the sun is closed with a black cloud. Despair, embraced Pechorina after the death of the horse, reveals the hero completely from the new side, shows how much fresh unaffected forces was in Pechorin, - and they all remain without use.
In class lesson, we commented on the final lines of the story "Princess Mary":

And, like a sailor, born and grown on the deck of a robbing brig; His soul was granted with storms and battles, and, who, sheltered ashore, he misses and languishes, like neither mani his shady grove, like a peaceful sun sway; He goes to himself a whole day on the coastal sand, listens to the monotonous fusion of the incoming waves and peers in a foggy distance: Does not flas down there, on a pale drawing, separating the blue bunch of gray tuckers, the welcome sail, first like the wing of the sea seagull, but little boulder separated from foam and smooth running approaching the desert pier ...

In this peculiar lyrical epilogue, the worldview of Lermontov himself is expressed. According to ideological significance, the epilogue is close to many works of the poet, in which he condemns the inconsistency of young people of the 1940s of the XIX century and admires those who are "looking for a storm." The classroom sounds rows from Lermontovsky "Sails".
So, the paintings of nature seemed to be framed by the story. "Princess Mary" begins with anxious overjugs; At the end, it sounds rebellious, full strength and gust to the battles of the melody, which expands the representation of students about Pechorin.
This could be completed the conversation about the role of descriptions in the novel, but in the "Journal of Pechorin" there is another story - "Fatalist", quite difficult to perceive students in the content and compositional role in the novel. Landscapes "Fatalist" are associated with deep philosophical reflections of Pechorin. In this story, he gives an assessment not only with his fate, but also the fate of his generation, comparing her with the fate of worthy ancestors: "... And we, their pitiful descendants, wandering around the ground without beliefs and pride ... We are incapable of more than the great Sacrifice for no good of humanity, nor even for our own happiness. These lines are important for understanding the idea of \u200b\u200bthe novel - Gorky reproach in the inaction of the generation of the 40s of the XIX century. It is very important that students understand that in this story the thoughts about the fate of contemporaries are associated with the landscape: the sinister, red, like a glow of a fire, a month that seemed due to the "gear horizon of houses", and quietly shining on the "dark blue arch" Compared with which so insignificant "disputes for the block of land or for any fictional rights." And at all, it's not by chance that, of course, V. Vinogradov argues that without the "Fatalist" the image of Pechorin would be unfinished, because in this story he "acquires the features of the typical symbol of the entire modern generation." Excerpt Students read to themselves in the classroom and answer questions:
1. What does Pechorin think about the fate of his generation?
2. What role is the description of the starry sky in his thoughts?
In conclusion of working on the text of the novel to consolidate knowledge, the teacher offers a class of tasks that can be very diverse. For example: read the expressively most liked description of nature, determine its role in the composition of the story, in the disclosure of the nature and mood of Pechorin; orally draw one of the paintings of nature; Write a miniature about the beginning of the story (description of the view from the window of Pechorin Room) and its final lines (in which Pechorin compares himself with a sailor thrown ashore); determine how the main idea of \u200b\u200bthe work is revealed in these passages; Find in any landscape of metaphors, epithets, comparisons; explain how they help to reveal the idea of \u200b\u200bthe author, and so on.
As we have already noted, the landscape is considered in the process of studying the text, which helps to preserve the integrity of the perception of the descriptions of nature, without taking them off from the entire work. The work done makes it possible in the lesson on the analysis of the image of Pecherin, to offer the class to independently disclose the question of the love of Pechorin to nature, since during the lessons described, this topic was one of the main. An in-depth analysis of landscape sketches prepares the basis for a generalizing lesson, which is simultaneously a lesson for preparations for the composition.
To the lesson, schoolchildren receive the following tasks and questions in which the conversation is built in the class:
1. To learn by heart any description of nature, determine its value in the disclosure of the idea and composition of the novel, characterize the description language.
2. Reveal the personality of Pechorin through its attitude towards nature.
3. Show examples than the descriptions of the nature of the pechers, the infantry officer and Maxim Maxim.
4. What place is the landscape in the composition of the novel?
After performing the first task, students use a variety of landscapes: a description of the type of Pyatigorsk and Caucasian mountains from the Pechistin Room window, the morning painting in front of the duel, foggy landscapes "Tamani", the picture of the starry sky in the "fatalist". Schoolchildren point out that his idea was expressed in the scenery of Roman - a collision of a thinking person with society and condemnation by Lermontov typical vices of the "time hero". Describing the originality of the descriptions of the descriptions, the disciples pay attention to the means of artistic image used by Lermontov. The teacher helps them in this analysis so that it will not be reduced to the simple listing of epithets, comparisons, etc., and would be associated with the understanding of the subtext. So, in the description of the morning in front of the duel of epithets joyful, blue, silver, rainbow transmits the feeling of completeness of life, which covered Pechorin and which does not correspond to the upcoming duel and thoughts of death.
Speaking about the love of Pechorin to nature, students point out that the best, unaffected forces of his soul are revealed in this feeling. Often the picture of nature is a reason for reasoning about people, about himself, about the purpose of his life. Giving the characteristic "Water Society", Pechorin does not forget to make fun of its indifference to nature. Only in communication with nature this unbalanced, a deeply suffering person finds calm. Students lead a quotation: "No matter how bitterness on the heart, whatever concern is a thought - everything will be dispelled; The soul will be easy, the fatigue of the body will defeat the alarm of the mind "- and noted that the love of Pechorina to nature helps to understand the contradiction of his nature.
What is the peculiarity of the descriptions of nature by an infantry officer, Maxim Maxima and Pechorin? Students understand that the author-traveler paints nature, but sometimes these pictures are full of psychologism, which is the main in the Pechorin descriptions, revealing his inner world, glowing to rebellious life. For comparison, students lead an example of one of the landscapes of the head "Bal" - the picture of the Koyshaur Valley, this beautiful Caucasian species, figuratively and lovingly recreated by a wandering officer. In this description there is no man, his feelings and thoughts.
But the description of Nature Maxim Maximesch:

It was in September; And for sure, the day was wonderful, light and not hot; All the mountains were visible were like a saucer ...
Our fortress was in a high place, and the view was fine with the shaft: on the one hand, a wide glade, exist with several beams, ended the forest, which stretched to the ridge of the mountains; Somehow on it smoked the aules, went herds; - On the other hand, a small river fled, and a frequent shrub was adjacent to it, which covered siliceous hills, which connected with the main chain of the Caucasus.

Maxim Maximich simply, beautifully speaks of nature, thus proving that in the hearts of ordinary people, the feeling of the greatness of nature is developed no less strongly than in enthusiastic romantics or in cold skeptics. Maxim Maxima is not alien to figurative speech. In comparison with the landscapes of "Bals", the descriptions of Pechorin seem particularly emotional, correlated with his fate and personality.
Before moving to the question about the place of the landscape in the composition of the novel, the teacher notes that this topic cannot be considered in the separation from the analysis of the characteristics of the composition of the entire work. "The hero of our time" consists of five stories located in chronological order, but in accordance with the author's plan to show the "Human Soul Story", "The portrait compiled from the vices of the entire generation in full development." Each story is introuded by style and plan, and Pechorin as the author of notes and as an active face "Bail" and "Maxim Maximich" is shown in different periods of their lives. Accordingly, this landscape is given different attention in each of the leads. In the story, "Maxim Maximach" is almost no, since the author focuses on the disclosure of the tragic final of Pechorin's life - his spiritual death. This is not the same Pechorin, which appears in front of us on the pages of his diary. In "Bale", landscapes are given through the perception of the wandering officer. The most place is given to the story of "Princess Mary", in which the inner world of Pechorina is revealed. Often the description of nature serves as the beginning or completion of lyrical reflection, philosophical meditation of the hero.
After such a message, students easily reveal the connection of landscape sketches with the development of action and the fate of the protagonist, as well as the independent importance of the nature of the nature of the Caucasus.
Speaking about the features of Lermontov landscape, the teacher will indicate that the author skillfully "hid" for his heroes, and it may seem like it stands aside from their destinies, especially if you remember how Pushkin in Evgenia Onegin often and frankly talks about its attitude To characters, to nature. In fact, all landscapes of the novel are shown through the perception of Lermontov. It is not by chance that the nodal episodes are associated with the description of nature. Lermontov landscapes are associated with the events and heroes of the work, they are inseparable from the ideological, philosophical sound of the novel, the author himself is revealed in them, deeply feeling the breath of nature and the beat of his time, master of words and compositions, an expert of human souls, the continuation of the traditions of Pushkin realistic prose. Rebuilding the conventions of the romantic style, Lermontov rises his pranquency and declarativeness. The writer is especially true to psychologism in the image of nature paintings. The topic started by Pushkin is the nature and inner world of a person - was deeply and comprehensively developed by Lermontov.
So it ended working on the landscapes of Roman Lermontov, which we were viewed as training for students to independent written works about Lermontov landscape. In conclusion, students are announced, themes for household works:
1. How revealed the personality of Pechorin in its relation to nature.
2. Place of landscape in the composition of the novel "Hero of our time".
3. Nature in the description of the author-traveler, Pechorin and Maxim Maxim.
4. How I perceive the pictures of nature when reading artistic works.
The compositions showed an understanding of the role of the descriptions of nature in the development of action and in the composition of the work, in the disclosure of the characters of heroes.
We give a few writings and wonder them:

How the personality of Pecherin is revealed in its relation to nature

The landscape in the novel plays a double role: first, Lermontov depicts specific pictures of nature, and secondly, in the images, nature is expressed by human feelings and moods. In the diary of Pechorin, we often face the descriptions of nature related to certain thoughts, feelings, mood, and it helps readers to penetrate his soul, understand many of his character traits.
At the beginning of the story "Princess Mary" we meet with a very truthful and colorful description of the view from the window of the room of the hero. From this description, you can learn much, for example, the fact that the author of his (Pechistan) is a poetic person, passionately loving nature, a highly cultural and educated, who knows how to transmit everything that sees. Pechorin forgets at the sight of "curly mountains" about everything in the world. Often his thoughts about nature seem to be intertwined with his thoughts about people, about themselves. Pechorin masterfully describes the nature of the night (May 16, a diary) with its lights in the windows and gloomy "snowy mountains." Sometimes the picture of nature serves himself by the reason for thought, reasoning, comparisons. An example of such a landscape is the description of the starry sky in the story "Fatalist", whose type leads it to reflections on the fate of generation.
Alpassed into the fortress, Pechorin misses, and nature seems to him boring. This is how it describes a beautiful view from the Fortress: "Now for a month and a half, like me in the fortress; Maxim Maximach went hunting. I'm alone; I sit at the window; Angry clouds closed the mountains to the sole; The sun through the fog seems like a yellow spot. Cold; The wind whistles and hesitant shutters ... boring. "
An example of a landscape that helps to understand the spiritual state of the hero can serve as a description of the excited sea in the story "Taman", the view of the sun, the rays of which did not warm the Pechorin after a duel, - a picture that opens a hero from the site, where Duel had to happen: "... there Below seemed dark and cold, - as in the coffin; Mall silver cliffs dropped in a thunderstorm and time, expected their prey. "
Thus, we see that nature description occupies a large place in the disclosure of Pechorin's personality.

The composition is small, it is devoted to the disclosure of Pechorin's personality, his mood at different periods of life. It is especially interesting to us that part of it, which refers to the originality of the perception and description of the nature of the pechers, depending on his mental state. The student realized the main feature of the image of the nature of Lermontov - psychologism, showing the inner world of man and his ponday. The composition marks the independent role of the landscape. The student uses examples in the work of the descriptions that were not considered in the class, which speaks of interest in the topic, that the analysis of the landscape under the guidance of the teacher helped to form the skills of thoughtful text reading. The defects of the essay is that the schoolboy does not explain what the originality of the spiritual state of the hero, revealing in the description of the exciting sea, or to what exactly thinks the painting of the starry sky in the "fatalist" leads Pechorin.
Let us give excerpts from an essay dedicated to the specifics of Lermontic landscapes, their paintness and roles in the novel:

Landscape in the Roman Lermontov "Hero of Our Time" plays a very important role. It is an inseparable part of the novel and helps us deeper the images of heroes deeper, prepares the reader to the events in the life of Pechorin.
Descriptions of nature in the novel are given from the face of the author-traveler, Maxim Maximich and Pechorin. Nature is described by each of them in its own way. Here is a landscape, given Maxim Maxima - than in the story "Bal". In several simple, concise expressions, Maxim Maximach draws a very precisely the picture opens from the fortress tree: "Our fortress was in a high place, and the view was beautiful with the shaft: on the one hand, a wide glade, exist with several beams, ended the forest, which stretched to the very Mountain Range; Somehow on it smoked the aules, went herds; On the other hand, a small river fled, and a frequent shrub was adjacent to it, covering siliceous hills that connected with the main chain of the Caucasus. " In this description, the admiration of the common Russian man of the nature of the Caucasus is felt, his simple, frequency soul is revealed.
Nature descriptions The infantry officer is saturated with colorful epitats, such as Aragva and another river are compared with two silver threads. In the descriptions of the author-traveler hears deep admiration for the nature. The reader feels that these descriptions can belong only to a person formed, intelligent, delighted nature.

Pupils through the description of nature by the author and Maxim Maximich showed the characteristics of their character, although the originality of the author's landscapes did not illuminate compared to Pechorinsky, and therefore, and did not reveal the ideological position of Lermontov. There are thoughts in writings showing that she understands the compositional role of nature paintings. Next, the student writes:

Pechistanic nature descriptions create a mood to the reader in front of the important events in the Hero's life. For example, a description of the terrain in front of Pechorin's duel with a pearly washed with a gloomy premonition. The oppressive picture of the sea in Tamani prepares us to the mysterious adventure of the hero in the boat. A beautiful landscape, which opens from the Pechorin window in Pyatigorsk, is opposed to the secular life of the "Water Society". Pechorin makes a distinction between people who loving nature truly, like himself, and fans of species, which, according to Pechorin, "sticking out" on the rock. Lermontov gives a very multifaceted landscape in its work. In the descriptions of nature, deep talent and the craftsmanship of the author are revealed.

Works on the topic "How I perceive the pictures of nature when reading artistic works" convince the importance of the connection of the study of the landscape with personal impressions and observations of students. It is not by chance that many schoolchildren begin working with statements about the personal perception of nature and the attitude towards it. We give passages from the writings on this topic:

I remember, in the VI class, we had to read the "Bezhin Mead". All the guys, this story seemed scary boring. But last year I read "the day before" and after this magnificent thing I decided to try to re-read the "Hunter's Notes". I know many of my friends still believe that Turgenev Descriptions are very boring. Now I can't say so.
"Notes of the Hunter" I read where they were written by Turgenev - in Spassky, and probably also because they made such an impression on me. Probably, I can never convey the greens, sun, light and cool shadow, that is, that nature that surrounds me. And suddenly, everything I read was such a bright and alive truth, which cannot be transmitted with accuracy words. "The flowing grid of dark circles on the dark ground", "the wind smells, and the whole it begins to stretch, creating new patterns" (and it was all before my eyes). Unusually pleasant lime air in the depths of gray-green alleys. And the old pond, overgrown with the tail, and birch reflective in it! All this was unusually close and very native!
I love this old park and now when in Moscow on the street it is cold, rereading Turgenev, I often remember the gloomy alleys, glads with high silver poplays. There I lived almost every summer, and, probably, now, this park will be connected with my childhood memories. Of course, not all descriptions of nature cause me that I have impressed. I do not know why, but the descriptions of nature at the fat I do not like. I am much more like the works of Powesta. I like its descriptions of snow, autumn wind, dry leaves. True, usually his works are visiting some sadness. But, perhaps, this has its own charm. And in the description of the trembling fire, and in the overestimation of wind. And so perceive all this situation, which is always penetrating the extraordinary sympathy to his heroes.

The writing is very sincere, emotional. The student feels nature, Turgenev's descriptions merged with her childhood memories.
But the passage from the essay on the same topic, but it hears the reproach to many modern writers. The student writes:

When you read a literary work, you are trying not only to monitor the development of action, but also to pay attention to how the author shows this or that event. By the way, I largely learned the school lessons of literature (this is their undoubted benefits). Naturally, the landscape always pay attention first, maybe because he is always striking. I love nature very much and I can admire her beauty for hours. But, right, at all, not less pleasure you get from the wonderful landscapes of Levitan or literary descriptions of the paustovsky. You read them, and involuntarily get pictures before your eyes, masterfully drawn by a wonderful writer. And how it hurts sometimes when there is a dim and lifeless description of Nature on the pages of an interesting book! And, to great regret, there are still plenty of such descriptions. After all, not in vain, many reading a book, miss the places where the landscape is given. But if the writer understands and loves nature, if he finds the words to describe her beauty, even the most robust opponents of nature descriptions are unable to break away from the book. Let the writers write more about our wonderful Russian nature.

The compositions of the students dedicated to the "Hero of our time" landscapes were shown that the combination of analyzing nature paintings in the process of reading the text with observations on a generalizing lesson dedicated to the landscape makes it possible deeply, emotionally perceive the artistic text. Work on the scenery serves the cause of aesthetic education of students, teaches them to love and understand nature, brings up attentive readers who deeply feel nature and consciously perceive artworks in all their diversity. With great interest belongs to schoolchildren to the disclosure, the inner world of the hero, his personality and mood through the description of Nature. The awareness of the composite role of the landscape brings up a literary approach to the study of artistic works. In the best writings of high school students - an understanding of ideological wealth of the work and the creative method of the author.

Landscape playing a big role in the "Hero of our Time" novel. We note a very important feature: it is closely connected with the experiences of heroes, expresses their feelings and moods. Hence the passionate emotionality, the agitance of the descriptions of nature, creating a feeling of musicality of the whole work.

Silver thread rivers and gliding bluish mist, running in the grinding mountains from warm rays, shine of snow on ridges of mountains - accurate and fresh paints of Lermontov prose.

Morning mountain nature paintings are drawn very talented.

Sent to the fortress, Pechorin misses, nature seems to him dreary. Landscape and here helps better understand the mental state of the hero.

The wonderful landscape opens and the story "Princess Mary." Pechorin in the diary writes: "I have a wonderful view from three sides." The language of the novel is the fruit of the author's great work. (Pechistan language is very poetic, the flexible system of his speech testifies to the man of great culture, which has a subtle and insightful mind.) The wealth of the "Hero of Our Time" language is based on Lermontov's reverent relation to nature. He wrote a novel in the Caucasus, the southern landscape inspired him. In the novel, the author protests against the aimless and mindless life, for which his generation is doomed, and the landscape helps us understand the inner world of heroes.

The same can be said about the landscape in the verse of Lermontov. It is enough to remember his famous poem "When a yellowing Niva is worried ...", masterpiece of world art:

* When the yellowing Niva is worried,
* And fresh forest noise with the sound of the breeze,
* And hides in the garden Malinovy \u200b\u200bplum
* Under the shadow of a sweet green leaf ...

All the work of Lermontov had a significant impact on the development of Russian literature. The famous landscapes of Turgenev, no doubt, were written under the influence of Lermontov prose, some images of Lion Tolstoy (the story "Rieble") resemble realistic painted images of Lermontov. The influence of Lermontov and Dostoevsky, and on the block, and Yesenin, is completely obvious. And I want to finish my essay, I want the words of Mayakovsky: "Lermontov comes down to us, time ago.

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In the process of analytical reading of the novel "The Hero of Our Time", we set the goal to find out how deeply the high school students are landscape sketches, as they imagine the nature of the acting persons, the specifics of literature as a type of art.

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The role of the landscape in the disclosure of ideological design of the Roman M.Yu.Lermontova "The hero of our time"

Teacher: Burtseva E.V., MOU SOSH №8, Tomsk

One of the generalizing classes can be devoted to the landscape in the "Hero of our time" novel, since the descriptions of nature play it an extremely important role and is distinguished by high artistic and beauty. Lermontov spoke in his novel by the master-realist, subordinated to the description of nature paintings by ideological and artistic tasks, whereas in the works of the romantic school, the landscape was rarely associated with the content and was only a decorative background or framed.

In generalizing occupation, students receive an idea that Landscape in the Lermontov Roman serves as a means of realistic imposition of the situation in which the action will occur; is one of the links of the plot that helps its development or to assume further the fate of the hero; Used by the author as one of the ways to create an image of a character, helping to reveal the character of the hero and convey its mental state; Allows the author to show and approve its positive life ideals.

The landscape has in the novel as an objective and subjective side. Objective lies in the fact that Lermontov specifically depicts certain pictures of nature, and subjective- In the fact that in the images of nature the author expresses human feelings and experiences.

The nature and construction of the final lesson about the landscape are closely related to the entire system of lessons to study the novel. To ensure the activity of the class in the lesson, it is recommended to give a homework on the analysis of two or three descriptions of nature.

You can suggest students carefully read the following excerpts:

1) Description of the Koyshaur Valley at the beginning of the story "Bal";

2) Landscape, which opens the story "Princess Mary";

3) Morning painting in front of Pechorin duel.

Reading should be targeted, so it is recommended to offer students questions, for example:

1) What picture does Lermontov draw? (When retelling landscapes it is useful to require students wide use of copyright words and expressions).

3) With what artistic means is the picture creates?

4) What is the role of this landscape in the novel?

To find out with students the role of the landscape, when analyzing the first description of nature. It gives rich material for observations on the characteristic features of the Lermontov landscape.

Expressive reading of the description of the Kochchensky Valley may appear the best answer to the question of what Lermontov painted here. It is important to note that Lermontov draws a realistic picture of a peculiar Caucasian nature, against which the entire effect of the novel is deployed. All shown here is typical of the Caucasus: mountains, cliffs with cliffs, gorges, rapid mountain rivers; Lermontov as if sinking them from nature. You can attract a lithography or picture with a picture of Lermontov "Caucasian view with Elbrus" or reproduction from the painting of the R. Sudkovsky "Darialya Gorge".

The beauty of the nature of the Caucasus cannot do not admire the poet, and he admires the snowy peaks of the mountains, picturesque rocks. Usually, students are not difficult to answer the question of what a feeling causes the author to or another picture of nature. Thus, analyzing the description of the Koyshaur Valley, they note the admiration of the Lermontov beauty of nature, its greatness and power. But not always students turn out to be an analysis of the artistic agents of the author. The role of the teacher whose task is- Open students that with independent reading it remains unavailable for them. Emotionality in the description of the Koyshaur Valley affects the first phrase: "This valley is nice place!". But not only this direct admiration makes a given description of emotional, emotional and choice for the image of the mountains, rocks, gorges- They talk about the greatness of nature, her beauty. The feeling of the greatness of the picture of nature is particularly intensified due to emotional epithets, for example"Inmplicated rocks ", and the allocation of the word"high ", Which is not only repeated, but also intonationally enhanced by the previous and subsequent pause.

The painting picture is transferred to the color of the colorful of almost every object. Pupils will find such epithets as"Reddish cliffs", "green ivy", "yellow cliffs", "Golden fringe snow ","Black Gorge", "Silver a thread". The kind of Koyshaur Valley due to these auditoriums seems drawn.

Colorfulness is a distinctive feature of Lermontov landscapes. Peering into the color gamut, it is not difficult to see that the peaks of the mountains, the rocks are paintedin gold, reddish tones; at the bottom- Black and gloomy, even the river does not have a light, and silver, that is, a cold-blooded view. So natural lighting is transmitted; At the top, all items are lit by the sun and seem bright and blond, and below, in the gorge, the sun does not penetrate, its rays are delayed tightly standing mountains and rocks. Items are truthful, the combination of paints is seen by the author in life. The painting of the mountains "with the golden fringe snow" sets up joyfully, "black, full of the Gorge Mall" and the river, sparkling, "as a snake", give rise to anxious mood. So, from the first pages of Roman Lermontov draws the attention of the reader to the contradictory of phenomena and paintings of nature, and then will show both contradictions in human life, in human characters. The inconsistency of reality phenomena determines the election by the author as one of the main artistic techniques in the novel to receive contrast. In the process of studying the "Hero of Our Time", the disciples have repeatedly seen a contrast as a composite receipt of the author; Now you can show how this technician characteristic of Lermontov finds a manifestation in describing nature paintings. In the disassembled landscape contrasting the picture of the mountains and the gorge, the epithets are contrasted: "reddish" and "black", "golden" and "silver", - Contrast feelings of joy, admiration, on the one hand, and alertness, anxiety, on the other. Analyzing the landscape, you can draw the attention of students and that it, like other pictures of nature in the novel, does not seem silent, stationary. Lermontov loves life in nature, movement, therefore, even here, where there is no man, he highlights "living" details, creating them with metaphors and comparisons: the nameless river "noisily breaks out" from the gorge; Aragva sparkles, "as a snake."

The landscape of the Koyshaur Valley gives the first idea of \u200b\u200bthe place where the novel will be deployed. Against the background of the Caucasian nature, the majestic and beautiful, especially meaningless and empty, it seems the life of the "water society", a more understandable long-term longing and dissatisfaction of Pechorin is done, conflicts between individual heroes of the novel are clearer.

In the landscape of the Koyshaur Valley, almost all the main features defining the unique peculiarity of Lermontov descriptions of nature are clearly manifested: realism, paint brightness, undisguised emotionality, saturation of thought, painting, dynamics.

Often the landscape is used in Lermontov's novel as an active composite reception, helping the development of the plot or hinting for possible changes in the destinies of heroes. This role is described by the description of the trail of travelers through the Cross Mount.

A similar role is performed in the novel and other landscapes. In the description of the painting of nature in front of the duel, the beginning of the landscape helps to understand the spirits and feelings of Pechorin, and part of it from the words "there everything was already becoming ..." hints at the possible tragic outcome of the duel and emphasizes the ambiguity and hopelessness of the fate of Pecherin. Short sketching Pictures of the evening During the jacket of Pechorin in Pyatigorsk: "The sun has already hidden in black cloud," - Shares the probable failure of Pechorin in his attempt to catch up with faith.

In the Pechistan diary, there are often descriptions of nature, which causes certain thoughts, feelings, moods in it, and this helps the reader to penetrate the spiritual world of the hero, to understand the essential parties of its character.

Let us turn to some of the landscape drawn peasants. At one of the lessons on the analysis of Pecherin's image, it may be disassembled the beginning of the story "Princess Mary", where the hero draws a view that opens from the window of his room. This description allows you to judge the poetry of Pechorin, his love for nature, about his culture and education, about the ability to figure out about seen, about the desire for life is the same clean and clear what he sees in nature. This landscape helps to understand that Pechorin will not be satisfied with the contemplation of nature to live, think and feel happy he needs people. Interest in people is scheduled in the landscape. After describing the mountains, Pechorin records: "To look more fun to look: at the bottom, I feel the clean, new town; The healing keys are noisy, the noise of a multilingual crowd. " Pechorin, passionately loving nature, forgetting at the sight of "curly mountains" about everything, often inhabited by her people, always noting in the landscape what reminds of man.

Sometimes the picture of nature is served by Pechorin the impetus for thought, reasoning, comparisons. Although indirectly, the landscape here helps creating an image. An example of such a landscape is the famous description of the starry sky in the story "Fatalist", In which the author gives an assessment not only to his fate, but also the fate of his generation. It is important that students understand that the thoughts about the fate of contemporaries are associated with the landscape: ominous, red, like a glow of fire, a month that seemed due to the "gear horizon of houses", and a star shining on the "dark blue arch" compared to which are negligible "disputes for the block of land or for any fictional rights."The view of the stars of the sky suggests Pechorin to think about the fate of his generation, leads to the thought of the eternity of the world.

In addition to Pechorina, only Maxim Maximach speaks about nature in the novel. Both heroes draw a landscape in their own way, and their individuality affects the differences. If Pechorina has picturesque, figurative, emotional descriptions, then Maxim Maximych is everyday life, simply, even delusito talks about nature. For example, he draws a view from the fortress: "Our fortress was in a high location, and the view was beautiful with the shaft: on the one hand, a wide glade, exist with several beams, ended the forest, which stretched to the ridge of the mountains; Somehow on it smoked the aules, went herds;- On the other hand, a small river fled, and a frequent shrub was adjacent to it, covering siliceous hills that connected with the main chain of the Caucasus. " Maxim Maximach does not seek to show his attitude towards nature, although in the word "beautiful" and feeling an understanding of the beauty of the world around them: he wants to tell that it will soon happen on the place that he writes about; And here Kazbich will ride with an injured Bala. Therefore, Maxim Maximych tries to draw terrain almost topographic: wide melan, exposed beams, forest, shrub on the shore of shallow robes. Such, to some extent "official", the approach is explained by the military profession of headquarters, accustomed to assess the terrain from the point of view of its fitness for hostilities. But Maxim Maximich as a peaceful in the soul, a person gladly celebrates the details talking about peaceful life: the aules will smoke, herds go. Maxim Maximach does not reflect on Pechorin, about nature, and therefore there are no comparisons in its description, there are no emotional epithets, they are replaced by accurate definitions:wide glade, small river, siliceous hills.

Widely uses Lermontov landscape and in order to emphasize the condition, the mood of the hero. In this case, the landscape, without losing its realism, is made psychological, refraarting through the perception of the hero. Here, for example, as the almost the same beautiful view described by Maxim Maxims, in the perception of Pechorina: "Now for a month and a half, as I am in the fortress M; Maxim Maximach went hunting. I'm alone; I sit at the window; Gray clouds closed the mountains to the sole; The sun through the fog seems like a yellow spot. Coldly, the wind is risening and chasing shutters ... boring. " Pechorinskaya longing, despondency is painted in gloomy, cold tones the whole landscape, even the sun ceases to illuminate the mountains, putting for Pechorin only "yellow stain".

Examples of a landscape that helps to understand the spiritual state of the hero can be a description of the excited sea in the story "Taman"; The appearance of the dim sun, the rays of which did not burn Pecherin after a duel; The picture, which opens the hero from the site, where Duel was to occur ("there seemed dark and cold there, as in the coffin; mossy cliffs of cliffs dropped in a thunderstorm and time, expected their prey").

Sometimes the mental state of Pechorin is revealed and emphasized the picture of nature contrasting with his mood. Some nervous peopling tensions in front of the duel shall be laid out by the description of the peaceful "blue morning". A joining picture, talking about the happiness and beauty of life, especially worries the hero that understands the possibility of a tragic outcome. The end of this description, despite all the realism of it, can be called to some extent symbolic: "Smoky Dal", which seeks to penetrate the press of Pecherin, reminds of his unclear future, and the "impermeable wall of the cliffs" suggests the idea of \u200b\u200bthe unknown of the fate of Pecherin and about that impasse, to what his life led.

So nature helps in the novel to understand a person, his character, his mental state. In turn, a person, as if reviving the landscape, makes it a member of his experiences. It is quite justified to be widespread use in describing the nature paintings of such artistic means as anthropomorphization and animation. Students can not report these terms, but should be sent.

Nature lives in the novel: the wind roars and whistles, like a straw-robber, the flow jumps around the black stones, the beam of the month plays on the earthen floor of the hut, the wave is ready to grab and carry the blind. Much in nature resembles a person. Metaphors, epithets that Lermontov creates, transfer human life signs: the moon begins to "dress with clouds", snow is burning with "rosy glitter", the tops of the mountains are "exist with wrinkles".

Nature is an expressive man of the most subtle experiences and moods of man, but at the same time, it always remains completely realistic with Lermontov. In conclusion, it is necessary to stop on one value of the landscape playing a large role in the disclosure of the ideological content of the novel. The novel "Hero of our time", which is sharply critical in relation to reality and generated by her heroes, at the same time imbued with deep life-affirming ideals. Lermontov expresses thirst for such a lifetime, where there will be a scope of thought and feeling, where a person can find applying his forces. This dream of Lermontov was reflected in the character of the hero and in a number of images, opposed Pechist. But the ended carrier of the ideal is truly beautiful and free life is Lermontov Nature. In today's reality, Lermontov could not find aesthetic pleasure, and the means of approving his aesthetic ideal, he made an image of a uncompressed majestic nature. Proximity to nature, contemplation of it deliver the author to enjoy and joy.

"... Snow was burning with a ruddy shine so fun, so brightly, that, it seems, there would be there and stay to live forever" (Tale "Bal").

"... some pleasant feeling spread over all my veins, and I was somehow fun, that I am so high above the world- The feeling of childhood, I do not argue, but, removing from the conditions of society and approaching nature, we involuntarily become children: everything acquired drops away from the soul, and it is done again as possible, which was once and correct will ever be again "(Bal's story" ).

"... To live in such an earth! A special feeling is bottled in all veins, "(the story" Princess Mary ").

So, drawing and rating nature, Lermontov helps the reader see the beautiful, strive for him, "bring up" it. At the same time, so depicting nature, Lermontov denies the cruel, which prevents person to always feel gratifying and fun. Consequently, under Perom Lermontov Landscape became a means of denial of social deformities of life and approval of positive ideals.

The role of the landscape in the disclosure of the ideological design of the novel M.Yu.Lermontova "Hero of our time" // "Actual problems of interpretation of artistic text" (materials of the regional scientific and practical conference) - T.: Toipkro. - 2008. - C.150-158.