How to describe nature, like the classics?

Textbooks, monographs, articles have been written on this topic, which provide examples, talk in detail about language tools, techniques, ways of depicting nature in literature, but the authors continue to ask the question. Why? Because in practice it is not so easy to understand, but HOW does it all work?

In my opinion, a “step-by-step” comparison, which I will resort to in my article, can help.

I must say right away that writers, like artists, can be portrait painters, battle painters, landscape painters, from landscape painters - marine painters, etc. Conditionally, of course.

Perhaps you are good at battle scenes, then you should not get hung up on landscape descriptions, it is quite possible to get by with accurate and understandable characteristics: “the sky darkened”, “it started to rain”, “sunny morning” and so on. With a few strokes, indicate the time of year, time of day, place of action, weather conditions and follow their changes as the story progresses. As a rule, this is enough for the reader to understand what, where and under what circumstances is happening.

If you want the landscape to be not just a background, but a “speaking” background, a special character of the work (perhaps the main one), who can play a special role and occupy a special place in the plot, then, of course, you need to learn from the classics.

I want to offer you a study game, you will understand the principle and then you can do a step-by-step comparison yourself.

So, we have three small excerpts from the stories of famous landscape writers - Turgenev, Prishvin, Paustovsky.

The passages have three important things in common:

1. The story is told from the 1st person.

2. The same theme: the autumn morning begins.

3. All or some attributes of autumn: a feature of light, sky, leaf fall, breeze, birds.

Let's just read them carefully. As you read, you can note something special, in your opinion, for each author.

№ 1

I was sitting in a birch grove in autumn, about half of September. From the very morning a fine rain fell, replaced at times by warm sunshine; the weather was erratic. The sky was now all clouded over with loose white clouds, then it suddenly cleared in places for an instant, and then behind the parted clouds a azure appeared, clear and tender, like a beautiful eye. I sat and looked around and listened. The leaves rustled a little over my head; one could tell from their noise what season it was then. It was not the cheerful, laughing thrill of spring, not the soft whispering, not the long talk of summer, not the timid and cold babble of late autumn, but barely audible, drowsy chatter. A light wind blew a little over the tops. The inside of the grove, damp from the rain, was constantly changing, depending on whether the sun shone or was covered by a cloud; she then lit up all over, as if all of a sudden everything in her smiled: the thin trunks of not too frequent birches suddenly took on a delicate reflection of white silk, the small leaves lying on the ground suddenly became full of color and lit up with pure gold, and the beautiful stems of tall curly ferns, already painted in their autumn color , similar to the color of overripe grapes, they shone through, endlessly confused and intersecting before my eyes; then suddenly everything around us turned slightly blue again: the bright colors instantly went out, the birches stood all white, without shine, white, like freshly fallen snow, which the coldly playing ray of the winter sun had not yet touched; and furtively, slyly, the tiniest rain began to sow and whisper through the forest. The foliage on the birch trees was still almost all green, although it had noticeably turned pale; only in some places stood alone, young, all red or all gold, and one had to see how she flared brightly in the sun, when its rays suddenly made their way, sliding and variegated, through a frequent network of thin branches that had just been washed away by the sparkling rain. Not a single bird was heard: everyone took shelter and fell silent; only occasionally did the mocking voice of the tit tinkle like a steel bell.

№ 2

Leaf after leaf falls from the linden onto the roof, which leaf flies like a parachute, which moth, which cog. And meanwhile, little by little, the day opens its eyes, and the wind lifts all the leaves from the roof, and they fly to the river somewhere along with migratory birds. Here you stand on the shore, alone, put your hand to your heart and fly somewhere with your soul, along with the birds and leaves. And so it is sad, and so good, and you whisper softly: - Fly, fly!

It takes so long for the day to wake up that by the time the sun comes out, we've already had dinner. We rejoice at a good warm day, but we are no longer waiting for the flying cobweb of Indian summer: everyone has scattered, and the cranes are about to fly, and there the geese, rooks - and everything will end.

№ 3

I woke up on a gray morning. The room was filled with a steady yellow light, as if from a kerosene lamp. The light came from below, from the window, and illuminated the log ceiling most brightly.

The strange light, dim and motionless, was unlike the sun. It was the shining autumn leaves. During the windy and long night, the garden shed dry leaves, they lay in noisy piles on the ground and spread a dull glow. From this radiance, the faces of people seemed tanned, and the pages of the books on the table seemed to be covered with a layer of wax.

This is how autumn began. For me, it came right away this morning. Until then, I hardly noticed it: there was still no smell of rotten leaves in the garden, the water in the lakes did not turn green, and the burning hoarfrost did not yet lie in the morning on the plank roof.

Autumn has come suddenly. This is how a feeling of happiness comes from the most inconspicuous things - from a distant steamboat whistle on the Oka River or from a random smile.

Autumn came by surprise and took possession of the land - gardens and rivers, forests and air, fields and birds. Everything immediately became autumnal.

Every morning in the garden, as on an island, migratory birds gathered. Whistling, screeching and croaking, there was a commotion in the branches. Only during the day it was quiet in the garden: restless birds flew south.

The leaf fall has begun. Leaves fell day and night. They then flew obliquely in the wind, then lay down vertically in the damp grass. The forests were drizzling with a rain of falling leaves. This rain has been going on for weeks. Only towards the end of September the copses were exposed, and through the thicket of trees the blue distance of the compressed fields became visible.

Surely you have noticed interesting comparisons, vivid epithets, something else ...

Note that although the descriptions are in 1st person, the narrators are fulfilling their task. Compare:

This is a good technique, not only to understand - from what person you need to write - but also to set the author's task for the narrator in order to convey the idea.

For some reason, many people believe that there is no special idea in the description of nature, except for the transfer of nature itself, but our example shows that it does not just exist, but should be, which distinguishes one text from another.

Epithets, comparisons, etc. are a must. It is widely believed that the autumn landscape, its colors should be conveyed by "color" epithets, imitating Pushkin's "forests dressed in crimson and gold."

But what about the classics? And they have this:

How so? In Paustovsky, colors do not play a special role at all, although the color is included in the title. Prishvin does not have them at all. Even in Turgenev, where the hero is a contemplative and must convey all the beauty, only ten times the color is mentioned, and out of ten - four times white, two times the color conveys the action, one is expressed by a noun, two are very conditional and only "red" does not cause any doubt.

At the same time, the reader clearly feels and "sees" all the colors of autumn.

Each classic has its own reception.

Turgenev loves "cross-cutting" indirect and direct comparisons:

● "...because of the parted clouds, azure appeared, clear and gentle, like a beautiful eye."

● "... thin trunks of not too frequent birches suddenly took on a gentle reflection of white silk ..."

● "...beautiful stems of high curly ferns, already painted in their autumn color, similar to the color of overripe grapes, could be seen through, endlessly confused and intersecting before my eyes..."

In Paustovsky, direct comparisons often bring the object closer to the subject, that is, the attribute of autumn to the attributes of human life:

● "The room was filled with a steady yellow light, as if from a kerosene lamp."

● "From this radiance, people's faces seemed tanned, and the pages of books on the table seemed to be covered with a layer of wax."

However, for Paustovsky it is more important to show the suddenness of what is happening, the unexpected happiness of the autumn space, as a new horizon for a person.

Prishvin, on the other hand, chooses a certain “center”, “core”, around which the picture of the autumn morning is formed. In this passage, it is "flight". Words with the same root sound nine times, not being a tautology at all, but drawing, creating a pattern of autumn fast time.

Let's look at other, familiar to everyone, autumn attributes of the classics. You will see that the above techniques are repeated here.

	I.S. Turgenev	MM. Prishvin	K.G. Paustovsky
Leaves	The foliage on the birch trees was still almost all green, although it had noticeably turned pale; only in some places stood alone, young, all red or all gold, and one had to see how she flared brightly in the sun, when its rays suddenly made their way, sliding and variegated, through a frequent network of thin branches that had just been washed away by the sparkling rain.	Leaf after leaf falls from the linden onto the roof, which leaf flies like a parachute, which moth, which cog.	Leaves fell day and night. They then flew obliquely in the wind, then lay down vertically in the damp grass. The forests were drizzling with a rain of falling leaves. This rain has been going on for weeks.
Birds	Not a single bird was heard: everyone took shelter and fell silent; only occasionally did the mocking voice of the tit tinkle like a steel bell.	We rejoice at a good warm day, but we are no longer waiting for the flying cobweb of Indian summer: everyone has scattered, and the cranes are about to fly, and there the geese, rooks - and everything will end.	Tits were bustling about in the garden. Their scream was like breaking glass. They hung upside down on the branches and peered through the window from under the maple leaves.

The classics see the same thing that all people see in autumn, they always take this general (even standard), but convey it in their own way.

You can, of course, not use the general, but then be prepared for the fact that not all readers will perceive your autumn, if they recognize it at all.

However, if everything was limited only to this, we would not recognize the author by style.

Style is made by special features (there may be several), which are repeated from story to story, loved by the authors, filled with a special meaning - this is already a talent.

For Paustovsky, these are constructions with “not”, you yourself can count how many particles and prefixes “not” are in the text: “The strange light - dim and motionless - was unlike the sun.”

Another oxymoron: "burning frost."

And, of course, contrasts: leaf fall / rain, the arrival of autumn / unexpected happiness, etc.

For Prishvin, this is an internal dialogue, a fusion of nature and man: “... put your hand to your heart and fly somewhere with your soul, along with birds and leaves.”

“Speaking” details, personifications: “flying cobweb of summer”, “day opens eyes”, leaf “flies like a parachute” ...

Turgenev has a “matryoshka” technique, when images are layered and create a picture:

1) The foliage is still green... → 2) it has turned pale somewhere... → 3) one of them is an autumn tree... → 4) it flares up from the beam... etc.

Even Turgenev often uses the “shifter” technique unpredictably, but accurately.

Here it is expressed by comparison: “... the birch trees were all white, without shine, white, like freshly fallen snow, to which the coldly playing ray of the winter sun had not yet touched ...”

And here, with an aptly found word: “The foliage on the birches was still almost all green, although it had noticeably turned pale; just stood alone somewhere young, all red or all gold, and it was necessary to see how it flashed brightly in the sun ... ”, - many would say this about a spring birch, and here about an autumn one - young, radiant.

So let's sum it up:

1. If you need nature only as a background, mark the season, time of day, place of action, weather conditions with a few strokes and follow their changes as the story progresses.

2. It is important not only to understand from what person nature should be written, but also to set the author's task for the narrator in order to convey only his own idea.

3. It is important to know the attributes, a general idea of ​​autumn, but to convey them using observational methods, associations, linguistic means, filling the images with your own vision and meaning.

4. The choice of the “center”, “core”, around which the picture of nature unfolds, helps.

5. Nothing human is alien to anything and no one - the landscape too. Do not be afraid of man in the description of nature.

6. Look for your chips, do not forget about them, immediately write down the words, phrases that suddenly came to mind when you were walking in the forest.

7. Read, without it - in any way!

Of course, there are a great many techniques and ways to convey nature in a work. We have considered only three passages. The ability to see a beautiful comparison, epithet, personification in a book, appreciate it, admire it is good, but not enough. It is also important to learn how to compare, explore and, on this basis, look for your own. Good luck.

© Almond 2015

Description of nature in literary works

1. Since the end of September, our gardens and threshing floor have been empty, the weather, as usual, has changed dramatically. The wind tore and ruffled the trees for whole days, the rains watered them from morning to night. Sometimes in the evening, between the gloomy low clouds, the tremulous golden light of the low sun made its way in the west, the air became clean and clear, and the sunlight shone dazzlingly between the foliage, between the branches, which moved like a living net and waved from the wind. A liquid blue sky shone coldly and brightly in the north above heavy lead clouds, and behind these clouds ridges of snowy mountain-clouds slowly floated out ... The wind did not let up. It disturbed the garden, tore at the stream of human smoke continuously running from the chimney, and again caught up the ominous wisps of ash clouds. They ran low and fast - and soon, like smoke, clouded the sun. Its brilliance faded, the window closed into the blue sky, and the garden became deserted and dull, and the rain began to sow again ... at first quietly, cautiously, then more and more densely, and, finally, it turned into a downpour with a storm and darkness. It's been a long, unsettling night...
2. Everything around was golden green, everything was wide and softly agitated and lay down under the quiet breath of a warm breeze, all trees, bushes and grasses; everywhere the larks sang with endless ringing strings; the lapwings either screamed, hovering over the low-lying meadows, or silently ran across the hummocks; beautifully blackening in the delicate green of still low spring loaves, rooks walked; they disappeared in the rye, already slightly whitened, only occasionally their heads showed up in its smoky waves.
   I. Turgenev "Fathers and Sons"
3. yvyaua
4. how do you like me, I'm a girl, and here's the answer Two days seemed new to him
   Secluded fields.
   The coolness of the gloomy oak forest,
   The murmur of a quiet stream.
   On the third grove, hill and field
   He was no longer interested;
   Then they would induce sleep;
   Then he saw clearly
   As in the village boredom is the same.
5. Two days seemed new to him
   Secluded fields.
   The coolness of the gloomy oak forest,
   The murmur of a quiet stream.
   On the third grove, hill and field
   He was no longer interested;
   Then they would induce sleep;
   Then he saw clearly
   As in the village boredom is the same.

   it's from Onegin!

6. About two hundred years ago, the wind-sower brought two seeds to the Fornication swamp: a pine seed and a spruce seed. Both seeds fell into one hole near a large flat stone ... Since then, for perhaps two hundred years, these spruce and pine have been growing together. Their roots were intertwined from infancy, their trunks stretched up next to the light, trying to overtake each other ... Trees of different species fought among themselves with roots for food, with branches for air and light. Rising higher, thickening their trunks, they dug dry branches into living trunks and in places pierced each other through and through. An evil wind, having arranged such an unhappy life for the trees, sometimes flew here to shake them. And then the trees groaned and howled at the whole Fornication swamp like living creatures, that the fox, returning to a ball on a moss tussock, lifted its sharp muzzle up. This groan and howl of pine and ate was so close to living beings that a feral dog in the Fornication swamp, hearing it, howled from longing for a person, and a wolf howled from inescapable malice towards him.

Man and nature in domestic and foreign literature

Russian literature, be it classical or modern, has always been sensitive to all the changes taking place in nature and the world around us. Poisoned air, rivers, earth - everything is crying for help, for protection. Our difficult and contradictory time has given rise to a huge number of problems: economic, moral and others. However, according to many, among them the most important place is occupied by the environmental problem. Our future and the future of our children depends on its decision. The catastrophe of the century can be called the current ecological state of the environment. Who is guilty? A man who forgot about his roots, who forgot where he came from, a man-predator who sometimes became more terrible than a beast. A number of works by such famous writers as Chingiz Aitmatov, Valentin Rasputin, Viktor Astafiev are devoted to this problem.

The name of Rasputin is one of the brightest, most memorable among the writers of the 20th century. My appeal to the work of this writer is not accidental. It is the works of Valentin Rasputin that leave no one indifferent, indifferent. He was one of the first to raise the problem of the relationship between man and nature. This problem is of vital importance, since life on the planet, the health and well-being of all mankind is connected with ecology.

In the story "Farewell to Matyora" the writer reflects on many things. The subject of the description is the island on which the village is located - Matera. Matera is a real island with an old woman Daria, with grandfather Yegor, with Bogodul, but at the same time it is an image of a centuries-old way of life that is now gone - forever? And the name emphasizes the maternal principle, that is, man and nature are closely connected. The island must go under water, because a dam is being built here. That is, on the one hand, this is correct, because the population of the country must be provided with electricity. On the other hand, this is a gross interference of people in the natural course of events, that is, in the life of nature.

Something terrible happened to all of us, Rasputin believes, and this is not a special case, this is not just the history of the village, something very important in the soul of a person is being destroyed, and for the writer it becomes completely clear that if today you can hit the cross with an ax in the cemetery, then tomorrow it will be possible to kick the old man in the face.

The death of Matera is not just the destruction of the old way of life, but the collapse of the whole world order. The symbol of Matera becomes the image of an eternal tree - larch, that is, the king - a tree. And there is a belief that the island is attached to the river bottom, to the common land, with royal foliage, and as long as it stands, Matyora will also stand.

The work of Chingiz Aitmatov "Slaf" cannot leave the reader indifferent. The author allowed himself to speak on the most painful, topical issues of our time. This is a screaming novel, a novel written in blood, a desperate appeal addressed to everyone and everyone. In "The Scaffold" the she-wolf and the child die together, and

their blood mixes, proving the unity of all living things, despite all the existing disproportions. A man armed with technology often does not think about what consequences his affairs will have for society and future generations. The destruction of nature is inevitably combined with the destruction of everything human in people.

Literature teaches that cruelty to animals and to nature turns into a serious danger for the person himself for his physical and moral health.

Thus, the relationship between man and nature on the pages of books is diverse. Reading about others, we involuntarily try on characters and situations for ourselves. And, perhaps, we also think: how do we ourselves relate to nature? Shouldn't something be changed in this regard? (505 words)

Human and nature

How many beautiful poems, paintings, songs have been created about nature... The beauty of nature around us has always inspired poets, writers, composers, artists, and they all depicted its splendor and mystery in their own way.

Indeed, since ancient times, man and nature have been a single whole, they are very closely interconnected. But, unfortunately, man considers himself superior to all other living beings and proclaims himself the king of nature. He forgot that he himself is a part of wildlife, and continues to behave aggressively towards her. Every year, forests are cut down, tons of waste are dumped into the water, the air is poisoned by the exhaust of millions of cars ... We forget that the reserves in the bowels of the planet will someday run out, and we continue to rapaciously extract minerals.

Nature is a huge treasure trove of wealth, but a person only treats it as a consumer. About this story in the stories of V.P. Astafiev "Tsar-fish". The main theme is the interaction between man and nature. The writer tells how they exterminate white and red fish on the Yenisei, destroy the beast and bird. The dramatic story that once happened on the river with the poacher Zinovy ​​Utrobin becomes the climax. Checking the traps, where the huge sturgeon got into, he fell out of the boat and got tangled in his own nets. In this extreme situation, on the verge of life and death, he recalls his earthly sins, recalls how he once offended his fellow villager Glashka, sincerely repents of his deed, begs for mercy, mentally addressing both Glashka and the king fish, and to the whole wide world. And all this gives him "some kind of liberation not yet comprehended by the mind." Ignatich manages to escape. Nature itself taught him a lesson here. Thus, V. Astafiev returns our consciousness to Goethe's thesis: "Nature is always right."

Ch.T. Aitmatov also tells about the ecological catastrophe that awaits a person in the warning novel “The Block”. This novel is a cry, despair, a call to change your mind, to realize your responsibility for everything that has become so aggravated and thickened in the world. Through the environmental problems raised in the novel, the writer seeks to reach, first of all, the state of the human soul as a problem. The novel begins with the theme of a wolf family, which then develops into the theme of the death of the Mogonkum through the fault of a man: a man breaks into the savannah like a criminal, like a predator. It destroys senselessly and rudely all life that is in the savannah. And this fight ends tragically.

Thus, man is an integral part of nature, and we all need to understand that only with a caring and careful attitude towards nature, towards the environment, a beautiful future can await us. (355 words)

Direction:

What does nature teach man?

(According to the work of V. Astafiev)

So that one day in that house

Before the big road

Say: - I was a leaf in the forest!

N. Rubtsov

In the 70s and 80s of our century, the lyre of poets and prose writers sounded powerfully in defense of the surrounding nature. Writers went to the microphone, wrote articles in newspapers, postponing work on works of art. They defended our lakes and rivers, forests and fields. It was a reaction to the rapid urbanization of our lives. Villages were ruined - cities grew. As always in our country, all this was done on a grand scale, and chips flew with might and main. The gloomy results of the harm done to our nature by those hotheads have now been summed up.

Writers - fighters for the environment were all born near nature, they know and love it. This is the well-known prose writer Viktor Astafiev in our country and abroad. I want to reveal this topic on the example of V. Astafiev's story "Tsar-fish".

The author calls the hero of V. Astafyev's story "Tsar-fish" the "master". Indeed, Ignatich knows how to do everything better and faster than anyone. He is distinguished by frugality and accuracy. The relationship between the brothers was complicated. The commander not only did not hide his dislike for his brother, but even showed it at the first opportunity. Ignatich tried not to pay attention to it. Actually, he treated all the inhabitants of the village with some superiority and even condescension. Of course, the protagonist of the story is far from ideal: he is dominated by greed and a consumerist attitude towards nature. The author brings the main character one on one with nature. For all his sins before her, nature presents Ignatich with a severe test. It happened like this: Ignatich goes fishing on the Yenisei and, not content with small fish, is waiting for the sturgeon. At this moment, Ignatich saw a fish at the very side of the boat. The fish immediately seemed ominous to Ignatich. His soul, as it were, split in two: one half prompted to release the fish and thereby save himself, but the other did not want to miss such a sturgeon in any way, because the king-fish comes across only once in a lifetime. The passion of the fisherman takes precedence over prudence. Ignatich decides to catch the sturgeon at all costs. But through negligence, he finds himself in the water, on the hook of his own tackle. Ignatich feels that he is drowning, that the fish is pulling himto the bottom, but he can do nothing to save himself. In the face of death, the fish becomes for him a kind of creature. The hero, who never believes in God, at this moment turns to him for help. Ignatich recalls what he tried to forget throughout his life: a disgraced girl, whom he doomed to eternal suffering. It turned out that nature, also in a sense a “woman”, took revenge on him for the harm done. Nature took revenge on man cruelly. Ignatich asks for forgiveness for the harm done to the girl. And when the fish releases Ignatich, he feels that his soul is freed from the sin that has weighed on him throughout his life. It turned out that nature fulfilled the divine task: it called the sinner to repentance and for this she absolved him of sin. The author leaves hope for a life without sin not only to his hero, but to all of us, because no one on earth is immune from conflicts with nature, and therefore with his own soul.

Thus, I want to conclude:indeed, man himself is a part of nature. Nature is the world around us, where everything is interconnected, where everything is important. And a person must live in harmony with the surrounding world. Nature is powerful and defenseless, mysterious and sensitive. You have to live in peace with her and learn to respect her. (517 words)

Man and nature in domestic and world literature

A person comes into this world not to say what he is, but to make it better.

Since ancient times, man and nature have been closely interconnected. There was a time when our distant ancestors not only respected nature, but personified and even deified it. So, fire, and water, and earth, and trees, and air, and thunder and lightning were considered deities. To propitiate them, people performed ritual sacrifices.

The theme of man, as well as the theme of nature, is quite common both in domestic and world literature. K.G. Paustovsky and M.M. Prishvin showed the unity of man and nature as a harmonious coexistence.

Why is this theme so often used in the stories of these particular writers? One reason is that they are the mediators of realism in literature. This topic was considered by many writers, including foreign ones, from various angles, both with sarcasm and with deep regret.

The great Russian writer A.P. Chekhov repeatedly presented the motives of man and nature in his stories. One of the leading themes of his works is the mutual influence of man and nature. It is observed especially in such a work as "Ionych". But this topic was also considered by such writers as Gogol, Lermontov, Dostoevsky.

In the work of B. Vasilyev “Do not shoot at white swans”, the main character Yegor Polushkin loves nature infinitely, always works in good conscience, lives quietly, but always turns out to be guilty. The reason for this is that Yegor could not disturb the harmony of nature, he was afraid to invade the living world. But people did not understand him, they considered him not adapted to life. He said that man is no king of nature, but her eldest son. In the end, he dies at the hands of those who do not understand the beauty of nature, who are used only to conquer it. But the son will grow up. Who can replace her father, who will respect and protect her native land. This topic was also considered by foreign writers.

The wild nature of the North comes to life under the pen of the American fiction writer D. London. Often the heroes of the works are representatives of the animal world (“White Fang” by D. London or stories by E. Seton-Thompson). And even the narration itself is conducted as if from their face, the world is seen through their eyes, from the inside.

The Polish science fiction writer S. Lem in his "Star Diaries" described the story of space vagrants who ruined their planet, dug up all the bowels with mines, sold minerals to the inhabitants of other galaxies. The retribution for such blindness was terrible, but fair. That fateful day came when they found themselves on the edge of a bottomless pit, and the earth began to crumble under their feet. This story is a formidable warning to all mankind, which predatory plunders nature.

Thus, the relationship between man and nature on the pages of books is diverse. Reading about others, we involuntarily try on characters and situations for ourselves. And, perhaps, we also think: how do we ourselves relate to nature? Shouldn't something be changed in this regard?

430 words

Man and nature in domestic and world literature

“Man will destroy the world rather than learn to live in it” (Wilhelm Schwebel)

Not what you think, nature: Not a cast, not a soulless face - It has a soul, it has freedom, It has love, it has a language ...

F. I. Tyutchev

Literature has always sensitively reacted to all changes taking place in nature and the surrounding world. Poisoned air, rivers, earth - everything is crying for help, for protection. Our difficult and contradictory time has given rise to a huge number of problems: economic, moral and others, but, according to many, the environmental problem occupies the most important place among them. Our future and the future of our children depends on its decision.

The catastrophe of the century is the ecological state of the environment. Many areas of our country have long been dysfunctional: the destroyed Aral, which they could not save, the Volga, poisoned by the effluents of industrial enterprises, Chernobyl and many others. Who is guilty? A man who exterminated, destroyed his roots, a man who forgot where he came from, a man-predator who became more terrible than a beast. “Man will destroy the world rather than learn to live in it,” wrote Wilhelm Schwebel. Is he right? Doesn't a person understand that he cuts the branch on which he sits? The death of nature threatens the death of himself.

A number of works by such famous writers as Chingiz Aitmatov, Valentin Rasputin, Viktor Astafiev, Sergey Zalygin and others are devoted to this problem.

Chingiz Aitmatov's novel "The Block" cannot leave the reader indifferent. The author allowed himself to speak on the most painful, topical issues of our time. It is a screaming novel, a novel written in blood, a desperate appeal addressed to each of us. In the center of the work is a conflict between a man and a pair of wolves who have lost their cubs. The novel begins with the theme of wolves, which develops into the theme of the death of the savannah. Through the fault of man, the natural habitat of animals is dying. After the death of her brood, Akbar's she-wolf meets with a man one on one, she is strong, and the man is soulless, but the she-wolf does not consider it necessary to kill him, she only takes him away from new cubs.

And in this we see the eternal law of nature: not to harm each other, to live in unity. But the second brood of wolf cubs also perishes during the development of the lake, and again we see the same baseness of the human soul. Nobody cares about the uniqueness of the lake and its inhabitants, because profit, profit is the most important thing for many. And again, the boundless grief of the wolf mother, she has nowhere to find shelter from the flame-spewing colossus. The last refuge of the wolves is the mountains, but even here they do not find peace. There comes a turning point in Akbara's mind: evil must be punished. A sense of revenge settles in her sick, wounded soul, but Akbara is morally higher than a person.

Saving a human child, a pure being, not yet touched by the dirt of the surrounding reality, Akbara shows generosity, forgiving people the harm done to her. Wolves are not only opposed to man, they are humanized, endowed with nobility, that high moral strength that people are deprived of. Animals are kinder than man, because they take from nature only what is necessary for their existence, and man is cruel not only to nature, but also to the animal world. Without any feeling of regret, meat procurers shoot defenseless saigas at close range, hundreds of animals die, and a crime against nature is committed. In the novel "The Scaffold" the she-wolf and the child die together, and their blood mixes, proving the unity of all living things, despite all existing differences.

A man armed with technology often does not think about what consequences his affairs will have for society and future generations. The destruction of nature is inevitably combined with the destruction of everything human in people. Literature teaches that cruelty to animals and to nature turns into a serious danger for the person himself to his physical and moral health. Nikonov's story "On the Wolves" is about this. She talks about a huntsman, a man who, by profession, is called to protect all living things, but in reality is a moral monster who causes irreparable harm to nature.

Feeling burning pain for the perishing nature, modern literature acts as its defender. Vasiliev's story "Don't Shoot the White Swans" evoked a great public response. For the forester Egor Polushkin, the swans he settled on the Black Lake are a symbol of pure, lofty and beautiful.

Rasputin's story "Farewell to Matera" raises the theme of the extinction of villages. Grandmother Daria, the main character, takes the news that the village of Matera, where she was born, has lived for three hundred years, is living out her last spring. A dam is being built on the Angara, and the village will be flooded. And here grandmother Daria, who worked for half a century without fail, honestly and selflessly, receiving almost nothing for her work, suddenly resists, defending her old hut, her Matera, where her great-grandfather and grandfather lived, where every log is not only hers, but also hers. ancestors. The village is also pitied by her son Pavel, who says that it does not hurt to lose it only to those who "did not water every furrow afterwards." Pavel understands today's truth, he understands that a dam is needed, but grandmother Daria cannot come to terms with this truth, because the graves will be flooded, and this is a memory. She is sure that "the truth is in the memory, whoever has no memory has no life." Daria is grieving at the cemetery at the graves of her ancestors, asking their forgiveness. The farewell scene of Daria in the cemetery cannot but touch the reader. A new village is being built, but it does not have the core of that village life, that strength that a peasant gains from childhood, communicating with nature.

Against the barbaric destruction of forests, animals and nature in general, the pages of the press constantly sound the appeals of writers who seek to awaken in readers the responsibility for the future. The question of attitude to nature, to native places is also a question of attitude to the motherland.

There are four laws of ecology, which were formulated more than twenty years ago by the American scientist Barry Commoner: "Everything is interconnected, everything has to go somewhere, everything costs something, nature knows this better than we do." These rules fully reflect the essence of the economic approach to life, but, unfortunately, they are not taken into account. But it seems to me that if all the people of the earth thought about their future, they could change the environmentally dangerous situation in the world. Otherwise, a person really "... will destroy the world rather than learn to live in it." It's all up to us!

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Man and nature in domestic and world literature

It is impossible to imagine a person without nature.

Indeed, this connection cannot be overlooked. Great writers and poets admired and admired nature in their works. Of course, nature served as a source of inspiration for them. Many works show the dependence of man on his native nature. Away from the Motherland, native nature, a person fades, and his life loses its meaning.

Also society as a whole is connected with nature. I think thanks to her it gradually develops. Despite the fact that man exists due to nature, he is also a threat to it. After all, under the influence of man, nature develops, or vice versa, is destroyed. V.A. Soloukhin is right in saying that “for the planet, a person is a kind of disease, every day causing irreparable harm to it.” Indeed, sometimes people forget that nature is their home, and it requires careful treatment.

My point of view is confirmed in the novel by I.S. Turgenev “Fathers and Sons”. The protagonist of the novel, Yevgeny Bazarov, adheres to a rather categorical position: "Nature is not a temple, but a workshop, and man is a worker in it." It seems to me that with such an attitude to nature, Yevgeny Bazarov shows his indifference to the nature in which he lives. Using everything that he needs, Eugene forgets about what consequences this can lead to.

In the story of V. G. Rasputin "Farewell to Matyora" the attitude of man to nature is clearly manifested. The main theme of the story is the history of the small village of Matera. For many years the village lived its calm, measured life. But one day, on the Angara River, on the banks of which Matera is located, they begin to build a dam for a power plant. It becomes clear to the villagers that their village will soon be flooded.

From this story it follows that a person can control nature as he pleases. In an attempt to improve life, people are building various power plants. But they do not think about the fact that this small village has stood in this place for many years and it is dear to mankind as a memory. And because of the buildings, people destroy their memory and value.

It seems to me that for a long time man perceived nature as a pantry from which one can draw indefinitely. Because of this, unfortunately, more and more environmental disasters began to happen. An example of this is the accident at the Chernobyl nuclear power plant on April 26, 1986. The destruction was explosive, the reactor was completely destroyed, and a large amount of radioactive substances was released into the environment.

Thus, we can say that the impact of man on nature in most cases is deplorable. But, fortunately, modern society has begun to realize the importance of caring for nature. Environmental problems that arise under the influence of man on nature, and which the writers so want to convey in their works, make a person think about the well-being of nature. After all, nature is a home for every inhabitant of the planet and, I am sure, for literature, this is the main value that the great masters of the word urge to preserve. 426 words

Nature: trees, flowers, river, mountains, birds. This is everything that surrounds a person every day. Familiar and even boring ... What is there to admire? What to admire? This is how a person thinks, who from childhood was not taught to notice the beauty of a dew drop on rose petals, to admire the beauty of a newly blossomed white birch, to listen to the conversation of waves running ashore on a quiet evening. And who should teach? Probably a father or mother, grandmother or grandfather, the one who himself has always "been captured by this beauty."

The writer V. Krupin has a wonderful story with an intriguing title "Drop the bag." It is about how the father taught the daughter, “blind” to the beauty of nature, to notice the beautiful. One day, after the rain, when they were loading the barge with potatoes, the father suddenly said: “Varya, look how beautiful it is.” And the daughter has a heavy bag on her shoulders: how do you look? The father's phrase in the title of the story seems to me a kind of metaphor. After Varya throws off the "bag of blindness", a beautiful picture of the sky after the rain will open before her. A huge rainbow, and above it, as if under an arc, the sun! The father also found figurative words describing this picture, comparing the sun with a horse harnessed to a rainbow! At that moment, the girl, having known beauty, "as if she had washed herself", she "became easier to breathe." Since then, Varya began to notice the beauty in nature and taught her children and grandchildren, as she had once adopted this skill from her father.

And the hero of V. Shukshin's story "The Old Man, the Sun and the Girl", an old village grandfather, teaches a young city artist to notice the beautiful in nature. It is thanks to the old man that she notices that the sun that evening was unusually large, and the river water in its setting rays looked like blood. Gorgeous and mountains! In the rays of the setting sun, they seemed to move closer to people. The old man and the girl also admire how between the river and the mountains “the dusk was quietly fading away”, and a soft shadow was approaching from the mountains. What will be the astonishment of the artist when she finds out that the beautiful was opened before her by a blind man! How much one must love one's native land, how often one must come to this bank to see all this, already blind! And not just to see, but to reveal this beauty to people...

We can conclude that we are taught to notice the beauty in nature by people endowed with a special flair and a special love for their native land. They themselves will notice and tell us that one has only to look at any plant, even the simplest stone, and you will understand how majestic and wise the world around us is, how unique, diverse and beautiful it is.

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"Relationship between man and nature"

What role does nature play in human life? People have been thinking about this since ancient times. This problem became especially urgent in the 20th century.Icentury, which resulted in global environmental problems. But I think that mankind would not have survived even to the present time, if writers and poets did not constantly remind us that man and nature cannot exist separately, if they did not teach us to love nature.Nature is a big and interesting world that surrounds us.

The story “Do not shoot white swans” is an amazing book about the beauty of the human soul, about the ability to feel the beauty of nature, understand it, give all the best that is in man, mother nature, without demanding anything in return, only admiring and enjoying the wonderful appearance of nature .This work depicts different people: thrifty owners of nature, and those who treat it consumerly, doing terrible things: burning an anthill, exterminating swans. This is the "gratitude" of tourists for the rest, enjoying the beauty. Fortunately, there are people like Yegor Polushkin, who sought to preserve and preserve the natural world and taught this to his son Kolka. He seemed strange to people, those around him did not understand him, they often scolded him, even beat his coven friends for Yegor's excessive, in their opinion, honesty and decency. But he did not take offense at anyone and responded to all occasions in life with a good-natured remark: “It must be so, since it is not like that.” But we get scared, because people like the Buryanovs are not uncommon in our lives. Striving for profit, enrichment, Fedor becomes stale in soul, becomes indifferent to work, nature, people. AndB. Vasiliev warns: indifferent people are dangerous, they are cruel. Destroying nature, the forest, harassing tons of fish, killing the most beautiful swan birds, Buryanov is not far from raising his hand against a person. What he did at the end of the story. In Buryanov's soul there was no place for kindness, love for people, for nature. Spiritual, emotional underdevelopment is one of the reasons for the barbaric attitude to nature. A person who destroys nature destroys himself first of all, cripples the life of his loved ones.

Thus, in Russian literature, nature and man are closely interconnected. The writers show that they are part of one whole, live by the same laws, mutually influence each other. The narcissistic delusions of a person who imagines himself to be the master of nature lead to a real tragedy - the death of all living things and people, in the first place. And only attention, care and respect for the laws of nature, the Universe can lead to the harmonious existence of man on this Earth.

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At the end of the 19th century, stories and short stories became widespread in Russian literature, replacing the novels of Turgenev, Dostoevsky, Tolstoy. A.P. Chekhov also actively used the form of a short work. The limited scope of the narrative required a new approach to the word from the writer. In the fabric of the novel there was no place for multi-page descriptions, lengthy reasoning that reveals the author's position. In this regard, it is extremely important to choose a detail, including a detail of a landscape that has not disappeared from the pages of even the smallest sketches of a mature Chekhov.

The depiction of life could not be complete without descriptions of nature, but this is not the only reason for the author's use of them. The landscape creates an emotional background against which the action unfolds, emphasizes the psychological state of the characters, and gives the stories told a deeper meaning.

To describe nature, Chekhov uses simple and familiar signs, often limiting himself to only one or two phrases. So, for example, in the story “About Love”, the landscape is introduced only at the beginning of the story: “Now the gray sky and trees wet from the rain could be seen through the windows ...”, and at the very end: “... the rain stopped, and looked out sun". But, despite the stinginess of visual means, each event turns out to be associated with specific seasons, days and weather, because nature always somehow correlates with the mood of Chekhov's heroes. The happiness of the teacher of literature from the story of the same name is connected in our perception with a “wonderfully good” summer, and the inner experiences of the hero of the story “Ionych”, Dr. Startsev, who is waiting for a date with Kotik, are inseparable from the night cemetery landscape.

A short stroke in the description of the state of nature can reverse the impression of the work, give additional meaning to individual facts, and place accents in a new way. Thus, the sun that has peeped out at the end of the already mentioned story “On Love” makes us gain hope for people to overcome their lack of freedom. Without this detail, the work would leave a feeling of the same hopelessness that lies in the words that conclude the story “Gooseberries”: “The rain was knocking on the windows all night.” The description of a “sad August night” in “The Mezzanine House” creates a premonition of something unkind, although at that moment we do not know that the still happy lovers will have to part. The picture of a monotonous and deafly noisy, indifferent sea, depicted in the story “Lady with a Dog”, interrupts the reader’s train of thought, reminding “of the higher goals of being, of ... human dignity”.

Keeping the traditional function of the landscape, which is necessary for revealing the characters' characters, Chekhov uses the method of parallel description of the nature and state of mind of the characters. When Nikitin, a teacher of literature, "felt an unpleasant aftertaste in his soul", "it was raining, it was dark and cold." The inconvenience of a cold dark forest with ice needles stretching through puddles corresponds to the dreary thoughts of the student Ivan Velikopolsky, while the view of his native village, illuminated by a crimson stripe of dawn, arises when the hero is seized by the “sweet expectation of happiness”. Soft moonlight responds to the quivering state of the already mentioned Startsev, warms up passion in him; the moon goes behind the clouds when he loses hope and his soul becomes dark and gloomy. The marvelous romantic landscape painted by the narrator of The House with a Mezzanine turns into a dreary view of the area, where instead of flowering rye and screaming quails, “cows and tangled horses” appear when “a sober, everyday mood has taken possession” of the hero.

In addition to deepening the psychological analysis, the landscape is necessary for a more figurative characterization of the environment in which events unfold. In the description of the scene of the story “Ward No. 6”, the forest of thistles and nettles, the tips of the nails sticking out of the fence remind of barbed wire, emphasize the similarity of the hospital with a prison, anticipating the story of a person’s lack of freedom.

Spiritual captivity, in which the heroes of many of Chekhov's stories are, is opposed by a sense of freedom generated by the images of native nature. The boundless landscape, evoking thoughts about the grandeur and beauty of the native land, in the story “Gooseberry” contrasts with the description of the limited world of Nikolai Ivanovich Chimshi-Himalayan. After describing the hustle and bustle of a stuffy and cramped life “in a case”, in which the whole city was immersed, intimidated by the ridiculous Belikov so that even the weather during his funeral forces everyone to be in galoshes and with umbrellas, in the story “The Man in the Case” suddenly, as a window to another world, a beautiful rural picture appears, bathed in moonlight, from which it breathes freshness and peace.

The landscape is full of life where there is a possibility of light in the dim whirl of everyday life. The sudden insight of a teacher of literature, who survived the rapture of “petty-bourgeois happiness”, is illuminated by the bright March sun and voiced by the noise of starlings in the garden, so there is hope that Nikitin’s flight from vulgarity will take place. The hero of the story “The Lady with the Dog” Gurov sees a lifeless landscape: “a fence, gray, long, with nails”, which reminds us of the fence from “Ward No. at home or in prison companies.” The shadow of the bars on the floor of Ward 6 reinforces the feeling of the hopelessness of Dr. Ratin's position; but when death breaks the nets that have entangled his mind and will, “a herd of deer, unusually beautiful and graceful,” flashes before the eyes of the dying person, personifying a breakthrough into another reality.

Death triumphs over life in the story “The Black Monk”, in which the landscape has a special meaning. The death of the Pesotsky garden, which serves as a symbol of a full-blooded, multicolored life, emphasizes the horror of the world, which allows only a madman to be happy. Against the background of the natural beauty of the pictures of Russian nature that permeate the narrative, the thoughts of master Kovrin, possessed by megalomania, seem even crazier; and the tangible concreteness of every detail of the description, whether it be a path in the rye, a river at sunset, or bare tree roots, contrasts with the abstraction of the black ghost.

In the use of the landscape, Chekhov's attitude towards his heroes is manifested. Belikov never appears against the backdrop of nature. Nikolai Ivanovich Chimshu-Gimalayan is surrounded by “ditches, fences, hedges”. These are people who have lost their human form. While a spark was glimmering in Dr. Startsev's soul, the story of his life was accompanied by descriptions of nature; the author even gave him his favorite maple tree in the garden. Ionych, who looks like a pagan god, is no longer worth such a gift. The more alive the soul, the more consonant it is with the essence of nature. Organically fit into the landscape of the old estate of the Volchaninov sisters, the heroine of the story “A House with a Mezzanine,” the author is as sympathetic as the narrator who saw them, who turned out to be a landscape painter. Ivan Ivanovich bathing in the rain is inseparable from the landscape in the story “Gooseberry”, the unity of which

horn with nature is emphasized by the movement of white lilies swaying on the waves emanating from it. This hero is entrusted with expressing the thoughts closest to the author.

Ivan Ivanovich, Burkin are good people. The calm realistic landscapes seen by their eyes always remind of beauty. The soul on a moonlit night is “mild, sad, beautiful, and it seems that the stars look at it kindly and with tenderness, and that there is no longer evil on earth and everything is fine” (“The Man in the Case”). “Now, in calm weather, when all nature seemed meek and thoughtful, Ivan Ivanovich and Burkin were imbued with love for this field, and both thought about how great, how beautiful this country is” (“Gooseberry”), “Burkin and Ivan Ivanych went out onto the balcony; from here there was a beautiful view of the garden and the stretch, which now shone in the sun like a mirror” (“On Love”). The patient, seized with fear Kovrin, sees a restless impressionistic landscape: “The bay, as if alive, looked at him with many blue, blue, turquoise and fiery eyes and beckoned to itself” (“The Black Monk”). Nikitin, who has lost his sober worldview, dreams of something surreal: “Here I saw oaks and crows' nests that looked like hats. One nest swayed, Shebaldin looked out of it and shouted loudly: “You haven’t read Lessing!” (“Teacher of Literature”). The idle gaze of the artist, the guest of the Volchaninovs, reveals romantic landscapes reminiscent of the gallant painting of the 18th century. The aesthetic Ryabovsky draws a meaningful symbolic landscape: “... black shadows on the water are not shadows, but a dream, ... in view of this magical water with a fantastic brilliance, in view of the bottomless sky and sad, thoughtful shores, speaking of the vanity of our life and about the existence of something higher, eternal, blissful, it would be good to forget, to die, to become a memory ”(“ Jumper ”).

Symbolism is also characteristic of Chekhov's landscape, but there is no pathos and edification of Ryabovsky in it. In the writer's stories, the words "garden", "rain", "moon", "morning", "autumn", "spring" and others are needed not only to indicate the place and time of action or weather. These are symbols that allow filling the works with a deep philosophical meaning. Let's take a closer look at some of these landscape details.

One of the cross-cutting images of Chekhov's work is rain - a symbol of the hopelessness of everyday life, the impossibility of true happiness. The incessant rain, with conversations about which the story "Darling" begins, is just as monotonous and boring as the entrepreneur Kukin, whose face does not leave the expression of despair even on the day of a happy wedding. It is raining when the literature teacher Nikitin begins to realize the imaginary happiness that he has inherited. The view of the gray sky and wet trees precedes the story of the hero of the story "About Love" Alekhine about a life in which happiness is incompatible with decency. Noise until ^kdya is accompanied by a description of the ugly happiness of the landowner Chimshi-Gimalayan, achieved at the cost of losing a living soul. Rainy weather overshadows the day of the funeral of Belikov, who became a dead man during his lifetime. At the same time, the intelligent, philosophically minded Ivan Ivanovich, who knows how to resist the routine of the narrow-minded, with pleasure exposes his face to the rain.

The image of the garden is also constantly present in Chekhov's stories. It is a symbol of goodness, beauty, humanity, meaningfulness of existence. The garden is full of the music of happiness, it is a haven for lovers, where even tulips and irises ask “to declare their love with them” (“Teacher of Literature”). Nikitin and Manyusya, Kovrin and Tanya, the Artist and Misya, Startsev and Ekaterina Ivanovna meet in the gardens when their souls are filled with pure, sincere feeling. The garden is responsive to the state of mind of the characters and affects their mood. Tired, with shattered nerves, Kovrin finds himself in a cold garden, covered in acrid smoke; but “the sun rose and brightly illuminated the garden”, and “a joyful feeling stirred in his chest, which he experienced in childhood when he ran through this garden” (“The Black Monk”). The garden requires constant care, so it also symbolizes work, movement, the inextricable link between generations: “But what made the garden most fun and gave it a lively look was constant movement. From early morning until evening, near the trees, bushes, in the alleys and flowerbeds, like ants, people swarm with wheelbarrows, hoes, watering cans ... ”(“ The Black Monk ”). In general, a garden is an ideal of a full-fledged being: “When a green garden, still wet from dew, is all shining from the sun and seems happy, ... then I want my whole life to be like that” (“A House with a Mezzanine”). Therefore, the death of the garden always symbolizes death.

The moon is traditionally considered a symbol of death. Moonlight floods many of Chekhov's landscapes, filling them with a sad mood, peace, tranquility and stillness, similar to what death brings. The story of Belikov's death is followed by a description of a field that is visible to the horizon; "and in the full extent of this field, flooded with moonlight; no movement, no sound." Kovrin, shortly before his death, admiring the bay filled with moonlight, is amazed at the harmony of colors, peaceful, calm and high mood. The moon illuminates the cold corpse of Dr. Ratin, a prisoner of ward No. 6. But the idea of ​​the relationship between the moon and death is most clearly expressed in the story “Ionych”, when Startsev sees the cemetery “world, where the moonlight is so good and soft, as if its cradle is here”, where “breathes forgiveness, sadness and peace.”

The moon is a multi-valued symbol. Reflected in the water, it causes a surge of dark passion in the soul, changes the worldview, darkens the mind. In the dusk, the Black Monk appears in front of Kovrin on the banks of the river, and his “pale, terribly pale, thin face” could turn out to be the moon peeking out from behind the clouds. If the garden was a symbol of bright, uplifting love, then the moon pushes to a forbidden feeling, encourages infidelity. In the story “The Lady with the Dog,” Gurov and Anna Sergeevna take their first steps towards each other, marveling at the unusual lilac sea with a golden stripe running along it from the moon. Olga Ivanovna from the story “The Jumper”, enchanted by the “moonlight”, the turquoise color of “water, which she had never seen before”, decides to cheat on her husband. Inexperienced Anya, the heroine of the story "Anna on the Neck", takes the first step on the path of a spoiled coquette when "the moon was reflected in the pond." Erotic fantasies take possession of Startsev’s excited moonlight: “... it was no longer pieces of marble that were whitening before him, but beautiful bodies, he saw forms that bashfully hid in the shade of trees, felt warmth, and this languor became painful ...” (“Ionych ”).

So simply, naturally, laconicly, Chekhov draws landscapes in his stories, not only constituting a single and harmonious image of the Russian land, but also enriching the works with an inexhaustible depth of meaning.

Music for happiness - gentle guitar

The first chord is light, a breath of wind, fingers barely touch the strings. A vanishingly quiet sound, E minor, simpler and there is nothing ...
The first snowflake is light, translucent, carried by an almost imperceptible wind. She is a harbinger of snowfall, a scout who first descended to the ground ...

The second chord - the fingers of the left hand are deftly rearranged, the right hand confidently and gently leads along the strings. Down, down, up is simple and gives the simplest sound. Not a blizzard or a storm is being prepared - just a snowfall. There can be nothing complicated in it. Snowflakes begin to fly more often - the advanced detachments of the main forces, sparkling ice stars.

Then the chords replace each other more viscous and affectionately, so that the ear almost does not notice the transition from one sound to another. A transition that always sounds harsh. Instead of a fight - bust. Eight. The intro is played and even if it's not an instrumental that sounds triumphant and joyful during a summer downpour or viscous and bewitching in a blizzard, even if it's just chords put together, the music surprisingly suits the snow outside the window, the white butterflies of winter, the icy tiny stars that all dance, dance their dance in the night sky...

Singing is woven into the music - quiet, the words are indistinguishable, elude perception, interfere with the snowfall and the measured, natural beating of the heart. A clear rhythm and calm power sound in them. There is no end to the song, it just gently intertwines with the dance of snowflakes and quietly leaves, leaving the sky and snow alone...
Cold and darkness hide sounds and movements, reconcile the city with winter...

And the Lord of the Snowfall, having played his part on one of the roofs, gently puts away his guitar, domineering over the elements, into the case. There is snow on his shoulders and on his hair, red cheerful sparks flash and go out - snowflakes reflect the light of distant lights. There is light in the windows of the house opposite. There are people who do not know how to weave the lace of the elements...

The staircase is the usual staircase of a nine-story building. Doors, an elevator that is always occupied by someone, the dim light of a light bulb on the landing ... The Lord of Snowfall walks, holding his guitar, quietly and slowly stepping up the stairs. From the ninth floor to the first, carefully so as not to disturb the warm feeling of relaxed, trusting happiness that comes every time after a game is completed...
And the habitually evil question of the mother who opened the door:
When will you stop playing your games and finally start thinking?
It hits an open soul like a knife. The soft snowy wings given by the fulfillment of the present are breaking, and only misunderstanding and resentment remain.
Why does she hit the sickest person? For what?..

At night, a wild wind blew through the city, mixed with snow. He broke branches of trees, tore wires, covered roads ...
It was the Snowfall Lord's guitar again.