Plan
Introduction
A.P. Chekhov named N.V. Gogol "king of the steppe".
Main part
Nature in the story is a way of revealing the character of the hero.
The reader is fascinated by the nature of the steppe.
Nature in the story is a reflection of the experiences, feelings of the characters.
Conclusion
The death of the main characters of the story takes place against the backdrop of nature.
A.P. Chekhov named N.V. Gogol "king of the steppe". In the story "Taras Bulba" we meet many sketches of nature. In detail, with all possible breadth N.V. Gogol describes Zaporozhye, steppe expanses. The nature of the writer is not just a background, but a way of revealing the character of the hero. Cossacks feel nature, understand it. Therefore, she helps them in difficult moments of life, hides them from enemies.
The path of Taras Bulba and his sons: Ostap and Andriy - to the Zaporozhian Sich passes along the steppe. N.V. Gogol creates an excellent description. The reader not only sees the picture of nature that opens up before the Cossacks: both “immeasurable waves of wild plants” and “millions of different colors”, but also hears partridges darting, “the cry of a cloud of wild geese moving to the side”, flapping wings of a seagull. Together with the characters, the reader is fascinated by the nature of the steppe. Therefore, the exclamation of the writer: “Damn you, steppes, how good you are!” can be attributed to the heroes of the story, and to the author's admiration for nature, and to the empathy of the reader.
Nature in the story, as it were, is a reflection of the experiences, feelings of the characters. Under the cover of night, Andriy commits a betrayal of his comrades, father, brother and delivers bread to the city besieged by the Cossacks, where his beloved Pole lives. Taras Bulba grieves in the meadows and steppes, not knowing anything about whether his faithful son Ostap is alive or not. The execution of Ostap also takes place on the square, on the street, against the backdrop of magnificent nature. The Dniester River hides Taras when he robs to avenge the death of Ostap, his beloved son. Taras Bulba himself was burned at the stake on a "tree trunk". The death of the protagonist is symbolic. As if he had dissolved in the Zaporozhye steppes, gone into nature itself.
The story of N.V. Gogol "Taras Bulba" is a successful combination and interweaving of prose and lyrics. Description of nature, the experiences of the heroes and fierce battles convey the main idea of the work, which is the love of Russian people for their homeland. Nature is not just a landscape, but a living character, actor works that reflect the spiritual experiences of the heroes of the story.
In the second chapter, the reader encounters a description of the Ukrainian steppe. The old Cossack goes to the Zaporizhian Sich, he goes accompanied by his sons. Thoughts that do not leave the heads of the characters form the image of each character. So Taras recalls his past youth, old comrades, whether they are still alive, his eldest son, kind and straightforward Ostap, is busy with memories of parting with his mother (the tears of a woman deeply touched him), but young Andriy thinks about a beautiful Polish woman whom he once met then in Kiev, and then I saw her only three times. According to the description of thoughts, the reader immediately understands the character of each character.
The steppe that appeared before the eyes makes the heroes forget the thoughts that disturbed them, "their hearts fluttered like birds." Great powerful nature resonates in the soul of each hero, so different from each other.
The author skillfully and picturesquely prescribes every detail of the landscape. Free steppes, wide steppes are identified with the independent with the strength, will and character of the Cossacks. Each flower, each leaf breathes immense space and freedom. However, the heroes cannot dominate nature, it is the steppe that allows them to be close to it, allows them to love themselves.
The primordial nature, which was not touched by the plow, but only trampled by the hooves of the horses, completely absorbed the heroes of the story. Before our eyes, the Zaporizhzhya steppe appears, so fabulously beautiful and so unusually different day and night. The daytime steppe is a green-golden ocean, decorated with a million colors and shades of various colors, in the evening the steppe changes its appearance, dressing in a golden outfit. The air, filled with birdsong during the day, also changes its musical outfit - crickets, grasshoppers perform their night solo. Gogol describes the evening steppe so picturesquely that it seems that you smell incense and there is no doubt - the steppe is alive!
Option 2
The steppe is, so to speak, the natural habitat of the Cossacks. It is not only about the actual stay in the steppe, as is known, and Taras Bulba and many other Cossacks, if they were not in the Sich, then they had their own farms. We are talking about the consonance of the steppe space itself with the soul of a Cossack, a free expanse that is saturated with beauty - this is precisely the external reflection of the inner world of a Cossack.
Gogol describes the steppe sensitively and with love, just as they write about the beauty of a maiden. Although, after all, beauty never changes, and we see only different forms of the same content, whether they are expressed through an attractive face or the boundless expanse of steppe grasses.
Conventionally, Gogol divides the description of the steppe into two parts: day and night. In the steppe itself, the Cossacks are constantly jumping, who admire all this beauty, they are both part of the steppe and contemplators. They naturally complement this space, as they are its original part.
The distinctive features of the steppe are: spaciousness and lack of forest, only tall grass, which is home to a huge amount of various living creatures; virginity, that is, unplowed land, in the steppe there are only horses and other animals, but there has never been a plow; fragrance and beauty, during the day the steppe glows with bright emerald and resounds with the singing of a wide variety of birds, and in the evening it begins to exude a pleasant fragrant haze from various herbs. Thus, the steppe is an amazing space in which beauty is expressed in various forms. This space is not affected by simple labor, it is free from everyday life and all that.
Interesting is the rather frequent mention by the author of birds that live in the steppe. Such a mention is all the more interesting if we take into account the beginning of this part of the work, in which (in the beginning) the souls of the Cossacks are compared with birds that woke up after waking up and threw off vague sensations and drowsiness. Probably, here the birds in many ways act as a symbol of freedom and as a reflection of the Cossack spirit and the life of the Cossacks themselves, who plow the steppe space when birds plow the sky.
Let us return to the comparison of the description of the steppe with the description of a beautiful girl. In one of the initial paragraphs, Gogol seems to choke a little in his own praising and savoring the beauties of the steppe and simply exclaims: “Damn you, steppes, how good you are!”. Such an ingenuous exclamation actually emphasizes how great the beauty of the steppe is, which is even difficult to describe in words, and if it is, then no words will suffice.
Composition Description of the steppe in the story Taras Bulba
The image in the work of the steppe Zaporozhye plain is a way for the writer to use an artistic technique, which consists in presenting the natural principle as a living organism, included in the storyline of the story, and also carrying a significant background semantic load.
The description of the steppe space is depicted by the writer in the form of a landscape-mood, combined with realistic reservations, which is distinguished by rich, bright colorful sketches. The writer demonstrates a visualized textual load that allows one to imagine the natural scenes described, which alternate with each other, changing the accent structure with the help of an amazing sound melodic accompaniment.
Each feature of the depicted landscape is described by the author with masterful sensuality and subtlety, emphasizing the beauty of verbal expressions, personifying in the form of a steppe image the symbol of the native free land and free space. At the same time, the author uses various artistic techniques in the form of hyperbole, metaphors, comparisons, epithets and pictorial personifications.
The image of the steppe is used by the writer not only as a daytime description of natural beauties, but also as a steppe plain against the background of an evening sunset, conveying the inner mood of the characters in the work, reflecting the life movement and the change in the emotional state of the characters. At the same time, the characters of the story harmoniously merge with the natural landscape, which accepts them with love and frank devotion, making up an integral unity with other steppe inhabitants. Thus, the writer emphasizes the truth of the folk characters of the characters who sincerely love their homeland and are capable of defending it, even at the cost of their lives.
The writer uses extraordinary lyricism in describing the steppe nature, which is manifested not only in the depiction of the steppe landscape, but also combined with the introduction of images of steppe animals into the text of the story, subtly demonstrating the colorful power and free character of the steppe space.
The lightness and transparency of the melodic artistic literary language of the writer give the natural image of the steppe an incredible sensuality and originality, revealing the vast expanse of the plain, giving birth to brave, strong Cossacks with courageous characters and great vitality.
Describing the steppe, Gogol acts as a magnificent master of verbal painting, creating a surprisingly vivid visual image of the steppe. It is from this feature of Gogol's landscape that we proceed. Gogol gives a description of the Ukrainian steppe day, evening and night. After the description of the steppe is read in class, we invite students to express in their own words the richness of Gogol's feelings, to identify the range of shades that convey his attitude to the steppe. Here are some statements: “Gogol loves the steppe, admires its beauty and open spaces”; “Gogol talks with admiration about how majestic and beautiful the steppe is”; “Gogol is amazed, surprised at the fabulous splendor of the steppe nature, is delighted with it”; "The steppe seems to Gogol incredibly, incredibly beautiful."
So, admiration and love, admiration, amazement and delight - these are the strong feelings that overwhelm the author's soul. The description of the steppe is extremely emotional, it is not only lyrically colored, but also pathetically excited.
In what does Gogol see the enchanting beauty of the steppe, what does he admire and how does he convey his admiration? So, after reading the description of the steppe during the day, we ask: What kind of art does this landscape resemble? A significant part of readers answers: "painting"; "painter's picture"; “In Gogol, everything seems to be drawn. The colors are very bright. It seems like you see a big picture in front of you.
In addition to immensity, boundlessness, what else strikes the Gogol steppe? - A riot of colors. The variegation and brightness of colors, their diversity literally dazzle the eye. The main background of the steppe surface in the picture is “green-gold”, but “millions of different colors splashed across it”. We fix the attention of readers on this image: “blue, blue and purple hairs”, “yellow gorse” with a pyramidal top, “white porridge”, an ear of wheat pouring, a white seagull “luxuriously” bathing “in the blue waves of air” are visible through the grass , flashing in the sky with a black dot. And all this sparkles in the sun, flooded with its life-giving light. Nature does not know such a number of shades of color, and it is quite obvious that the author sought to convey here, first of all, not the variety of shades of colors, but the impression (surprisingly many, incredibly many!).
How to transfer all this to the picture? The picture depicting the steppe during the day can be divided, as it were, into two parts: the green-golden surface of the earth - the steppe itself - and the bottomless, boundless sky above it.
Against the background of the green-golden ocean, receding into the distance, in the foreground, we carefully write out all the flowers listed in the description (after all, their names, their shape, and their color are known). Here we also place partridges darting under the thin roots of wheat.
In general, there are a great many birds in the steppe. “A thousand different bird whistles” cannot be conveyed in the picture, but the birds themselves are written out by Gogol in unusual relief. We draw the attention of readers to hawks standing motionless in the sky with spread wings and eyes fixed on the grass. We can even see the direction of their gaze, therefore, we look at them from a relatively close distance.
“A cloud of wild geese” is all placed in the background with a dark spot; they move "aside", somewhere far away. (We note in passing that the "cloud" of geese, as well as the "thousand whistles", again convey not the quantity, but the impression - a lot! a lot!)
And finally, a seagull rising from the grass. We fix two moments in the picture: the flight of a bird and its transformation into a point somewhere far in the sky.
And how to depict Taras traveling across the steppe with his sons? Maybe not show at all? After all, “even black hats could not be seen: only the quick lightning of the compressed grass showed their run.” We invite students to explain the image - "lightning of compressible grass." The image is visual, so sixth graders can easily cope with it: “From a distance, the movement of Cossacks galloping in the grass seems to be zigzag, reminiscent of lightning in shape. In addition, the grass, parted by running horses, is compressed with swift, lightning speed.
But everyone rightly comes to the conclusion that it is difficult to convey the “lightning of compressible grass” in the picture. It is better to take the beginning of the description, when “the black Cossack hats alone flashed” between the ears of tall grass, which accepted the Cossacks “into its green embrace”. After such preliminary work, verbal pictures depicting the steppe during the day are usually successful. Everyone introduces vivid verbal images into their story, using Gogol's hyperbole. And most importantly, they strive to convey the feelings, moods that own the author, so clearly expressed at the end of the description: “Damn you, steppes, how good you are!”
How the steppe is transformed in the evening and at night, everyone traces on their own. They notice that in these descriptions a lot of space is given to music that sounds in the steppe in the evening and at night, the smells of plants (flowers and plants smell stronger at night than during the day; sounds are more audible at night). Therefore, the night music is very special: during the day we will not hear the whistle of gophers and the crackling of grasshoppers. In these descriptions, everything is fabulously beautiful, unusual and mysterious. In the foreground here is not the picture itself, but the impression of the picture: the steppe in the evening and at night is magnificent and fantastic.
"Taras Bulba" is a kind of synthesis of realistic and romantic. From romantic poetics, Gogol came to an increased emotionality of the narrative, which is especially clearly revealed in the picture; nature with their high pathos, the power and surprise of hyperbole, the brilliance of metaphors.
Examples of Gogol's text: "the whole steppe was smoked with incense"; a breeze "seductive as the waves of the sea"; the cry of a swan, "like silver, echoed in the air"; “red handkerchiefs flew across the dark sky” (about a string of swans illuminated by a distant glow), etc. Everyone feels the beauty and unexpectedness of these images, their emotional overtones. The only difficulty is the comparison of the cry of swans with silver. The following explanation is offered: "The swan is a beautiful, proud bird, silver is a beautiful, noble metal." This comparison, as it were, combines the beauty and nobility of sound. In a conversation, everyone also recalls that while riding in troikas, a silver bell was tied to the arch of an average horse, which made a very beautiful ringing, melodic and clean. We recall that in Rus', when casting bells for churches, in order to achieve a beautiful ringing, silver was added to the metal. the higher the percentage of silver, the nobler and purer the ringing.
In the description of the Ukrainian steppe, the connection between pictures of nature and the mood of the characters, with their inner world, clearly appears. Students are asked to prove this textually. At first, "all three riders rode silently." Taras thought “about the old”, recalled his dead comrades, “a tear quietly rounded on his eye, and his gray-haired head drooped dejectedly.” Osta" "was spiritually touched by the tears of his poor mother, and this only embarrassed him and made him thoughtfully lower his head." Andriy, hanging his head and lowering his eyes into the mane of his horse, ”was sad about the separation from the lady.
But the expanse of the fragrant steppe, its boundless spaces are close and dear to the heart of the Cossacks. The steppe is their motherland, and, like a mother, she takes several saddened sons “into her green arms” to cheer and comfort them, pour vitality and energy into them. And now Taras, casting aside sad memories, cheerfully called out to his sons. They saw their native steppe, drenched in life-giving sunlight, and everything that “vaguely and sleepily was in the soul of the Cossacks, flew off in an instant, their hearts fluttered like birds.
The story "Taras Bulba" is one of the most beautiful poetic creations of Russian fiction. In the center of the story of Nikolai Vasilyevich Gogol "Taras Bulba" is the heroic image of the people who are fighting for justice and their independence from the invaders. Never before has Russian literature reflected so fully and vividly the scope of folk life. Each hero of the story is original, individual and is an integral part of the life of the people.
In his work, Gogol shows the people not as bonded and submissive, but free and proud, merciless towards the enemies of the Motherland and the people, traitors and traitors. Heroes are endowed with self-esteem, intelligence, nobility, love of freedom, able to endure any torment in the name of the Fatherland.
The image of Taras is imbued with the harsh and tender poetry of fatherhood. He is a father not only for his sons, but also for the Cossacks who entrusted him with command. The image of Taras is one of the most tragic images in world literature. His heroic death confirms the greatness of the struggle for the freedom of the people.
In his story, Nikolai Vasilyevich Gogol not only talks about fearless warriors, but also gives detailed pictures of the lush and beautiful nature. Character traits Gogol's skill is expressed in landscape sketches. Nikolai Vasilyevich Gogol painted nature magnificently. “The steppe, the farther, the more beautiful it became. Then the whole south, the whole space that makes up the current Novorossia, to the very Black Sea, was a green virgin desert ... Nothing in nature could be better. The entire surface of the earth seems to be a green-gold ocean, over which millions of different colors splashed ... "
The image of the steppe for the writer is the image of the Motherland, strong, powerful and beautiful. In the description of the steppe, and first of all, Gogol's ardent love for his native land, faith in its strength and power, admiration for its beauty and endless expanses, had an effect. Free, boundless steppes help to understand the character of the Cossacks, the origins of their heroism. Only courageous people, proud, strong, courageous, endowed with a breadth of soul and generosity of heart, can live in such a steppe. The steppe is the birthplace of heroes, Cossack warriors.
The landscape of Nikolai Vasilievich Gogol is very lyrical, imbued with a sense of admiration and striking in the richness of colors. Nature helps the reader to better understand the inner world of the characters. When the sons of Taras, having said goodbye to their saddened mother, leave their native farm, Gogol, instead of showing the oppressed mood of the travelers, confines himself to the phrase: “The day was gray, the greenery sparkled brightly, the birds chirped somehow in discord.” The inner world and the state of the soul of the characters are instantly revealed. People are upset, they cannot concentrate, everything around them seems to them devoid of unity and harmony.
Nature lives in Gogol the same intense and multifaceted life as his heroes.
When describing the siege of the city of Dubno before the meeting of Andriy with the maid of the beautiful lady, there is also a landscape sketch. “Some stuffiness in the heart,” which the young man feels, is compared by Gogol with the picture of the July night. However, there is no admiration for her beauties, but there is a feeling of anxiety. Along with the description of the starry sky, there is a view of the Cossack camp falling asleep, and “something majestic and formidable”, which turned out to be “a glow in the distance of burning out environs”, as it were, warns of impending terrible events.
The landscape in N. V. Gogol's story "Taras Bulba" plays an important role, sparingly, but very accurately describing the scene and the mood of the characters.
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Nikolai Vasilievich Gogol has established himself as a great artist who expressed beauty in words. Nature appears before the reader like a living organism, successfully fitting into the plot narrative. The work "Taras Bulba" tells about the brave warriors, the difficult choice and the personal drama of three Cossacks. The steppe in the story "Taras Bulba" becomes not just a background against which the main events unfold, but represents something more.
To begin with, it should be said that Gogol's creative consciousness was formed under the influence of the romantic tradition. Having adopted from sentimentalists ways of reflecting spiritual experiences with the help of a landscape, romantic writers significantly expanded the use of this technique. The element in romanticism was understood as something powerful and great, something that must necessarily evoke a response in the human soul. There were landscape-moods that reflected the fluidity of life and the changeability of emotions, a landscape-ruins that awakens fantasy, a landscape-element, which shows the crushing nature of forces, and a landscape-mirage that takes you to the sphere of the surreal, mysteriously sublime. In the text of the work "Taras Bulba" the steppe is rather represented by the first subspecies: landscape-mood, but with some reservations (we must not forget that in the work of N. Gogol, as well as in the works of other writers of that time, the change of the romantic paradigm to the realistic one is reflected).
The description of the steppe appears for the first time already in the second chapter, when two young men and an old Cossack set off for the Sich. Each of the characters is overcome by their own thoughts. Taras thought about his past, about his bygone youth, about whom he would meet in the Sich, whether his comrades were still alive. In the same chapter, the reader learns about the two sons of Taras. Ostap was kind and straightforward, he was considered the best friend. Farewell to his mother and her tears touched the young man to the core, somewhat embarrassing him. Andriy, on the other hand, “had feelings somewhat more alive.” On the way to the Sich, he thought about the beautiful Polish woman whom he once met in Kyiv. Seeing the beauty of the steppe, the heroes forget about all those thoughts that haunted them.
For clarity, it is worth placing here an excerpt from Taras Bulba about the steppe:
“The further the steppe became more beautiful… Nothing in nature could be better. The entire surface of the earth seemed to be a green-gold ocean, over which millions of different colors splashed. Through the thin, tall stalks of grass, blue, blue and purple hairs showed through; white porridge was full of umbrella-shaped caps on the surface; God knows where the ear of wheat poured into the thicket from where... Damn you, steppes, how good you are!
How subtly and sensually every detail of the landscape is written. One gets the impression that it is not the Sich that should accept the new Cossacks, but the steppe itself: "the steppe has long accepted them into its green embrace ...". This phrase is not used for the sake of the beauty of the syllable. The image of the steppe turns out to be a symbolic embodiment of freedom, strength, power, faith in purity. The homeland in the story is associated, first of all, with the beauties of nature and the steppe. Free steppes are identical to the freedom-loving character of the Cossacks. Everything in the steppe breathes freedom and spaciousness. The author says that travelers stopped only for lunch and sleep, and the rest of the time they rode against the wind. It is no coincidence that in the text of the story there is no description of any buildings on the territory of Ukraine, there are only kurens, which are easy to remove and put up again. In other words, there are no fetters that could limit or kill nature. In this vein, it is necessary to say about the military campaigns of the Cossacks: it is known that they burned cities to the ground, compared villages to the ground. This fact can also be understood as a kind of struggle against the limitation of precisely nature, the proclamation of freedom and the absence of conventions. At the same time, the Cossacks do not appear to the reader as some kind of masters of the elements, on the contrary, they organically fit into nature, live by it and in it.
In the story "Taras Bulba" descriptions of the steppe are rich in bright colors. The text turns out to be extremely visualized, that is, the described picture immediately appears in the reader's imagination. Pictures change each other, accents move to an amazing soundtrack:
“Across the sky, from the dark blue, as if with a gigantic brush, broad stripes of pink gold were smeared; from time to time light and transparent clouds shone white in tufts, and the freshest, seductive, like the waves of the sea, the breeze barely swayed over the tops of the grass and barely touched the cheeks. All the music that sounded during the day subsided and was replaced by another. The motley gophers crawled out of their holes, stood on their hind legs and announced the steppe with a whistle. The crackling of the grasshoppers became more audible. Sometimes the cry of a swan was heard from some secluded lake and, like silver, echoed in the air.
Only a person who truly loved her, who understood her wealth could paint the steppe so lyrically.
Landscape sketches also appear in the episode of the siege of Dubno: Andriy walks around the field, looking at the endless expanses, but feels stuffiness in his heart. The July heat is combined with the inner state of the hero, a feeling of impotence and fatigue. A similar technique is used in the first chapter of the work. The travelers had just left their home, and other Cossacks took away the mother of Ostap and Andriy, who did not want to come to terms with their departure. This scene confused Taras Bulba himself, but, nevertheless, the internal state of the characters is again described by means of the natural world: "the day was gray ... the birds chirped somehow in discord." It is the last word that sets the general mood: Ostap and Andriy still do not feel that unity with their father and the steppe, as if the heroes have not yet gained integrity. Here the subjective perception of nature by the character is combined with the author's objective word about the inner state of the character.
Thanks to detailed descriptions and melodic artistic language, Gogol creates a living image of the steppe, permeated with freedom, beauty and strength.
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