home

Forest in poetry. Poems about the forest by Russian poets. Text of the scientific work on the topic “The image of the forest in Russian philosophical poetry”

Russian nature is very beautiful. Many people have noted this. This idea is especially evident in poems about Russian nature. And if you still have doubts about this, poems about Russian nature can correct the situation.

Birch(I. Semyonova)

This forest fashionista
He often changes his outfit:
In a white fur coat - in winter,
All in earrings - in the spring,
Green sundress - in summer,
On an autumn day, she is dressed in a raincoat.
If the wind blows,
The golden cloak rustles.

Russian forest(S. Nikulin)

There's nothing sweeter
Wander and think here.
Heals, warms,
Feed the Russian forest.
And the thirst will torment you,
That's a little forest guy for me
Among the thorny thickets
The fontanel will show.
I’ll bend over to him to get a drink -
And you can see everything to the bottom.
Water flows,
Tasty and cold.
Rowan trees are waiting for us in the forest,
Nuts and flowers,
Fragrant raspberry
On dense bushes.
I'm looking for a mushroom clearing
I, without sparing my legs,
And if I get tired -
I'll sit down on a tree stump.
There's a goblin wandering around here somewhere
With a green beard.
Life seems different
And my heart doesn't hurt
When over your head,
Like eternity, the forest is noisy.

Taiga traffic light(T. Belozerov)

At the crossroads of two paths,
The day has barely cleared up,
In a washed raspberry
A green light flashed.
The passerby did not slow down,
I looked and knew I was walking!
But when summer got stronger
And the dawn became more elegant,
On thin wires of branches
Raspberries lit
Yellow light.
Having noticed him, a pedestrian
Slowly slowed down.
Taiga is spacious - not a city,
But miracles happen here:
Yesterday under a red traffic light
We stood there for half an hour!

Russian expanse(I. Butrimova)

Russian field, expanse,
Where the grass is not cut,
There's a sea of chamomile,
And over the sea there is blue.

There is a boundless carpet of flowers
Bright, gentle and wide,
And sways in the open field
The grass is a light breeze.

There the grass grows waist-deep,
No paths, no roads.
And what a joy it is
Wander there for at least an hour.

Look into the eyes of daisies,
Smile at the cornflowers,
Delicate pink flower
Clover clings to my feet.

Bells, carnations,
Ivan-tea and St. John's wort-
Everything is blooming and fragrant
Filled with dew.

The splendor of summer herbs,
Can't compare you to anything
Unsolved mystery
Beauty understandable to everyone.

On the pond(I. Bunin)

Clear morning on a quiet pond
Swallows are flying around briskly,
They descend to the water itself,
The wing barely touches the moisture.

On the fly they sing loudly,
And the meadows are green all around,
And the pond stands like a mirror,
Reflecting its shores.

And, as in a mirror, between the reeds,
The forest overturned from its banks,
And the pattern of clouds goes away
Into the depths of the reflected skies.

The clouds there are softer and whiter,
The depth is endless, light...
And it comes steadily from the fields
Above the water there is a quiet ringing sound from the village.

Sad birch(A. Fet)

Sad birch
At my window
And the whim of frost
She's dismantled.

Like bunches of grapes
The ends of the branches hang, -
And joyful to look at
All mourning attire.

I love the game of Lucifer
I notice on her
And I'm sorry if the birds
They will shake off the beauty of the branches.

Slide 2

Introduction I. Varieties of landscapes. II. 1. The aesthetic role of the forest. II. 2. Forest as a symbol. III. Peculiarities of revealing the image of the forest in the poems of I. Bunin “The leaves rustled as they flew around”, K. Balmont “Fantasy”, N. Razgon “My wonderful forest”, S.Ya. Marshak "Forest". Conclusion List of references

Slide 3

Introduction

Music, nature, poetry - it makes everyone happy. Nature has its own enchanting beauty that heals the soul and introduces a person to beauty. Nature in the paintings of talented artists, poets, and writers reveals to us new world, excites with its uniqueness, with its reminder - do not ruin the beauty around you. Love for the homeland has always been a national trait of Russian poets; they were able to find deep meaning in the inconspicuous, outwardly shy Russian nature.

Slide 4

Each national literature has its own system of favorite, stable motifs that characterize its aesthetic originality. There are entire studies of the image of a forest - in German literature, a stream - in French. Russian literature in this regard has not been sufficiently studied. .

Slide 5

The topic of our scientific work: “Features of revealing the image of the forest in the poems of Russian poets.” To analyze the ideological concept, poems by I. Bunin, K. Balmont, N. Razgon, S. Ya. Marshak are used. The relevance of the topic of this work is determined by its insufficient knowledge and novelty, as well as the need to educate students careful attitude to nature.

Slide 6

The purpose of the work is to identify general patterns in the disclosure of the image of the forest by different poets, as well as their originality. Objectives of the work: 1. Determine the aesthetic role of the landscape and the image of the forest in the lyrics. 2.Learn about a systematic approach to the study of landscape and apply the classification to the consideration of the image of the forest. 3. Clarify the possible symbolic meanings of the forest image. 4. Identify the ideological intent of the poems by I. Bunin, K. Balmont, N. Razgon, S. Ya. Marshak. 5. Find out what type of landscape the poem belongs to. 6.Decipher the symbolic meaning of the image of the forest in the work.

Slide 7

Varieties of landscapes

Ideal landscape: 1) a soft breeze, blowing, tender, carrying pleasant smells; 2) an eternal source, a cool stream that quenches thirst; 3) flowers covering the ground with a wide carpet; 4) trees spread out in a wide tent, providing shade; 5) birds singing on the branches.

Slide 8

A dull landscape: 1. A special hour of the day: evening, night or a special time of year - which is determined by the distance from the sun, the source of life. 2. Impermeability to sight and hearing, a kind of veil that obscures perception: fog and silence. 3.Moonlight, whimsical, mysterious, eerie. 4. A picture of dilapidation, decay, ruins. 5.Images of northern nature.

Slide 9

Stormy landscape: 1. Thunderstorm 2. Storm 3. Blizzard 4. Rain

Slide 10

The aesthetic role of the forest

The aesthetic role of the forest is manifested in the creation of colorful landscape elements, marvelous landscapes “assembled” from gray stones, transparent springs, quiet creeks, and the insinuating noise of silvery streams. It is this hypostasis of the forest that the most subtle and elegant lines of talented prose and high poetry are dedicated to.

Slide 11

Forest as a symbol

The forest - in psychological tests, fortune telling - is the soul, inner world person. The complex symbolism of the forest is connected at all levels with symbolism feminine or Great Mother. The forest is a widespread symbol of the outside world. In legends and fairy tales, the forest represents various dangers. For spiritual people it can become a place of solitude from the bustle of life. In literature and fine arts In the ancient world, the image of the forest appears as a “sacred grove” or a heavenly beautiful “forest garden”. The Christian tradition combines the understanding of the forest as an ominous “thicket-refuge of animals and dragons” with the motifs of “forest silence” - a fertile environment for solitary prayers. There are images of the forest as a “temple of nature” in poetry. In the literature of the 20th century, the forest is the embodiment of the arduous paths of human knowledge, a visual image of the homeland, and a school of “ecological wisdom.”

Slide 12

Ivan Bunin “The leaves rustled as they flew around”

The leaves rustled as they flew around, the forest began to howl in autumn... A flock of some gray birds swirled in the wind with the leaves. And I was little, - their confusion seemed to me like a careless joke: Under the hum and rustle of the terrible dance, I had doubly fun. I wanted to join the noisy whirlwind, spin through the forest, scream - And greet each copper sheet with joyfully - crazy delight! The image of the forest in the poem 1) refers to a “stormy landscape”; 2) reflects the inner world of the lyrical hero; 3) is a symbol of the outside world, filled with life and dangers.

Slide 13

K. Balmont “Fantasy”

Like living sculptures, in the sparkles of the moonlight, the outlines of pines, spruces and birches tremble slightly; The prophetic forest calmly slumbers, accepts the bright shine of the moon and listens to the murmur of the wind, all filled with secret dreams. Hearing the quiet groan of the blizzard, the pine trees whisper, the spruce trees whisper, It is pleasant for them to rest in a soft velvet bed, Remembering nothing, cursing nothing, Bowing their slender branches, listening to the sounds of midnight. The poem can be classified as an elegiac landscape. The forest reflects the internal state of the lyrical hero. The work reflects mythological motifs - “spirits of the night”. The forest symbolizes the outer world of nature and the inner world of man.

Slide 14

Natalya Razgon “My Wonderful Forest” The days of blizzard and cold are in the past, March is coming into its own. And so I wait for the puddles to dry up and the first grass to appear. Then I am in the forest, transparent, hidden, Colored only by the ocher of pine, I am here - queen! The forest is my domain, the eternal heritage of the soul! My wonderful forest... Of course, everything is different... After all, I am its random line! And for nature, perhaps, it is equivalent to the Birth of a man and a leaf?...

The image of the forest in this poem can be classified as an ideal landscape, because... it highlights the beauty of nature. The forest symbolizes the eternity of the soul. The poem reflects the enthusiastic mood of the lyrical hero.

Slide 15

S.Ya. Marshak “Forest” This multi-storey house does not know idle idleness. He is busy working hard From the dome to the dungeon. Here the mirrors catch the sun in the high laboratory. And the juices extracted by the roots move inside the trunk. The leaves mutter in half sleep, But this is an imaginary slumber. In the wilderness, in peace, in silence, invisible work is going on.

In the poem one can identify signs of a dull landscape: wilderness, peace, silence, but this is a deceptive “slumber”, because life is in full swing in the forest. Which means this is an ideal landscape. The forest symbolizes the outside world and at the same time resembles the intense life of the soul, the creative process.

Slide 16

Conclusions 1. The image of the forest is present in many poems of Russian poets and helps the authors express their feelings and experiences.2. The authors also show the beauty of the forest, its mystery3. Most often, the forest appears to us as a symbol of the external world and the inner experiences of a person. 4. Mythological motifs of the forest are also found in the poems of Russian poets.

Slide 17

The practical benefit of this study lies in the fact that we have proven, using examples, the possibility of a systematic approach to the analysis of poems that describe the forest. And this greatly facilitates the task of determining the idea of the poem, its motives, the symbolic meaning of the images and the mood of the lyrical hero. In addition, the question of the aesthetic role of the forest makes us think once again about the need to protect our native nature and green spaces.

Slide 18

Information sources:

http://allstude.ru/Literatura_i_russkiiy_yazyk/Poeziya_prirody.html http://www.symbolsbook.ru/Article.aspx?id=293 http://relax.wood.ru/wood/symbol.php3 http://www .simbolarium.ru/simbolarium/sym-uk-cyr/cyr-l/lar/les.htm http://www.bibliofond.ru/view.aspx?id=80657 http://full-house.ru/detail .php?id=22644 http://newyear2012t.evidentia.org/deti-v-lesu-kartinki.html http://antonov-andrey.ucoz.ru/photo/39-0-283-3 http:// imgcoder.com/gdefon/coder/full/4648-img-full http://deswal.ru/nature_forests/1280-1024/00000046.php http://wallpapers-diq.com/ru/42_~_Indian_Creek,_Siuslaw_National_Forest, _Oregon.html http://www.wallpampers.ru/photos/16094 http://maskarad.endgametv.info/zimnii-les-risunki.html http://znak.at.ua/photo/12-0-2579 -3 http://www.zastavki.com/rus/Nature/Forest/wallpaper-683.htm http://wpapers.su/90/ http://www.artfile.ru/oboi/b/i.php ?i=45238syn http://wpapers.ru/wallpapers/nature/Winter/8184/1280-720_Deep-silence.html http://deswal.ru/nature_forests/1280-1024/00000032.php http://deswal. ru/nature_forests/1280-1024/00000032.php http://vsjamebel-tut.ru/dub-v-bane.htmlhttp://luchik8888.livejournal.com/100742.html http://www.iskusstvu.ru/ photos.php?id=4421&type=man http://www.volosov.spb.ru/E9ru. http://beta.diary.ru/~yuri-senpai/?tag=727 Image sources

Slide 19

View all slides

Keywords

ETERNITY / FOREST / NEOPAGANICITY / POETIC PANTHEISM/ NATURE / RELIGIOUS FEELING / PHILOSOPHICAL POETRY / ARTISTIC IMAGE/ ETERNITY / WOOD / NEO-PAGANISM / POETRY PANTHEISM / NATURE / RELIGIOUS SENSE / PHILOSOPHICAL POETRY / ARTISTIC IMAGE / MEDITATION

annotation scientific article on philosophy, ethics, religious studies, author of the scientific work - Kamalov Rashid Mingazovich

The article defines the signs philosophical poetry, forest motifs and elements are analyzed poetic pantheism in the works of Russian poets. The author points out that one should distinguish between the poetics of a “real” forest and texts where the forest serves only as a deep metaphor, a “forest” code for a “non-forest” message. This “forest” is like a certain element, and even more precisely the principle of this element, present both in the forest and outside it, primarily in human life. The article analyzes those forest plots that are distinguished by their universality and refer to the eternal substantial principles of life. In Baratynsky’s work, the forest acts as a symbol of the continuity of generations, a visible, full of life message from the present to the future. Forest images presented in one of the most profound and philosophical poems by A.S. Pushkin “And again I visited...”. The poet sees the salvation of man from death and oblivion in procreation. Another poem with a forest theme, "Will I Wander..." shows the philosophical conflict between eternal nature and mortal man. Nature appears here as an ideal of beauty and harmony. It is eternal in its own beauty, because the natural cycle of life and death occurs in it all the time. The pagan underlying basis of the artist’s perception of nature appears in a fairy-tale or romantic interpretation of the world. The article concludes that pantheism is the natural philosophy of poets, their poetic faith. Pantheistic motifs related to the forest theme are present in one of the most famous poems by the poet M.Yu. Lermontov “When the yellowing field is agitated...”. “Peasant poets” S. Yesenin and N. Klyuev combined pagan and Christian beliefs in their perception of the forest. For them, the forest is an integral part of the spiritual world of man, and therefore was often perceived as a church, as a place of repentance and prayer. Forest, the author concludes, in philosophical poetry acts as a spiritual absolute, sharpening and, at the same time, removing the tragedy of human imperfection: in prayer, in love for nature, man finds the answer to the eternal questions of existence.

Text of scientific work on the topic “The image of the forest in Russian philosophical poetry”

UDC 727.94:7.045.2

THE IMAGE OF THE FOREST IN RUSSIAN PHILOSOPHICAL POETRY

R. M. Kamalov

FSBEI HPE "Voronezh State Forestry Academy"

kata!oh [email protected]

The emergence of philosophical poetry dates back to ancient times, and was determined by the desire of the human mind to illuminate the most difficult questions being. Researchers distinguish in it such varieties as natural-philosophical, social-philosophical, moral-philosophical and other poetry. At the same time, the term “philosophical poetry” is unstable in its meaning and, taken by itself, without a historical context, is quite arbitrary. This convention is determined by a natural change in ideas about the content of the subject of philosophy, its boundaries, as well as the degree of comprehension and interpretation of the work of certain poets. Hence the difficulties in defining the boundaries of the analysis of the poetic image of the forest in natural philosophy. Here, the subject of research arises not so much in the context of forest themes in the work of this or that poet (thematic content alone is not enough to isolate the object of study), but in determining the angle of view that makes a poetic view of the forest not only aesthetically significant, but also philosophical. Thus, what makes a forest theme philosophical in a particular work is not only the subject of the image, but also a whole series of circumstances that should be discussed in more detail.

First. The category of philosophical is associated with the fact that completely ordinary and familiar phenomena in human life, often of a deeply personal nature, being expressed in a philosophical way, acquire the property of universal significance. This generalization of poetic judgment, to some extent bordering on a philosophical assessment of reality, is expressed, however, in a specific artistic form. Secondly, poetic lines about nature, in particular about the forest, become a moment of philosophical understanding of the world if they reflect the essence natural phenomena. In a broad sense, any genuine poetry as an act of cognition is philosophical. Poetry, having comprehended the essence of natural phenomena, becomes philosophical, and philosophy, comprehending the manifestation of natural essences, becomes poetic. Third: a truly poetic work of a philosophical nature to remain a work of art and not turn into a treatise, it must contain and develop not just a thought, but a thought-image, a thought-feeling, a thought-picture, and therefore generate in the reader’s soul the widest possible chain of emotional and semantic associations that cannot be reduced to an unambiguous conclusion. These are the features of philosophical poetry.

Domestic natural philosophy

poetry organically includes a variety of motifs, concepts, nominations, and intertexts associated with the forest. The “poetic complex” of the forest is distinguished according to thematic characteristics and the motives for including certain “forest realities” in the poetic text. It is necessary to distinguish between the poetics of a “real” forest and texts where descriptions of the forest are not the main goal, but are subordinated to significantly different, more important tasks. The forest serves only as a kind of deep metaphor, a “forest” code for a “non-forest” message. It would be more accurate to say that it is not the forest itself that is being described, but something connected with the forest as a visible core, but immeasurably broader and deeper than just a forest. This “forest” is like a certain element, and even more precisely, the principle of this element, present both in the forest and outside it, primarily in human life. From this point of view, interesting, first of all, are those forest plots that are distinguished by their universality and appeal to the eternal substantial principles of life.

The category of eternity is generally characteristic of metaphysical poetry, including the philosophical lyrics of the 19th century. Poets, peering deeply into the processes of birth and death, the emergence and extinction of diverse forms of life, contemplating the universal grandeur, are able to feel that metaphysical depth of the universe (or non-existence), which has an indestructible creative power and with constant constancy reproduces the harmonious pairing of objects and phenomena. The individual begins to experience the world as eternity, which manifests itself in the glow of the hidden depths of moments. ABOUT

In such experiences, the poet P. Vyazemsky wrote: “Do you want to experience thoughts in your soul, // For which there are neither images nor words, - // Where the gloomy darkness thickens all around, // Listen to the silence of the forests; // There are noises running through the silence, // An indistinct hum of soundless voices. // In these voices there are melodies of the desert; // I trembled as if in the face of a shrine, // I was full of harmonies, but silent.” .

The forest is one of those environmental phenomena in which the brevity of individual existence and the eternity of the process of generational change are visible like nowhere else. Whether it is mixed or single-species, mountainous or lowland, dense or well-groomed, an innumerable number of trees grow in it, some of which are giants, while others are much younger, right down to shoots emerging from the ground. And in this composition the forest is majestic and majestic. It is majestic by the accumulation of hundred-year-old trees of gray-haired patriarchs, and is majestic by its scale, by the connection of times that it represents. In the forest, like nowhere else, you can feel the mighty tread of life. Here in the neighborhood are mature trees, mossy stumps, windfalls and “a young, unfamiliar tribe.” All this plant kingdom reaches out to the sky, plays and sways in the rays of the sun, makes a loud noise in bad weather. The forest has something similar to human existence: the same scope, universal rhythm and force of development.

It has long been noted that the forest gives rise to certain sublime feelings that are philosophical in nature. For example, in Baratynsky the forest acts as a symbol of the continuity of generations, visible,

a message full of life from the present to the future. “And where a stream flows through a velvet meadow // Rolls thoughtfully deserted streams, // On a clear spring day, I myself, my friends, // By the shore I will plant a secluded forest, // And fresh linden and silver poplar; // My young great-grandson will rest in their shadow.” In the works of A.S. Pushkin also amazingly combines extreme simplicity in the descriptions of the forest kingdom and high, restrainedly solemn thoughts about life, death and eternity. Forest images are presented in one of the most profound and philosophical poems of the 30s, “And again I visited...” - “Where once everything was empty, bare // Now the young grove has grown... // Hello, tribe // Young, unfamiliar! not me // I will see your mighty late age, // When you outgrow my acquaintances // And you will shield their old head // From the eyes of a passerby.

But let my grandson // Hear your welcoming noise when // Returning from a friendly conversation, // Full of cheerful and pleasant thoughts, // He passes by you in the darkness of the night // And remembers me.” . Pushkin sees the salvation of man from death and oblivion in procreation. The forest landscape helps the poet express this idea. Comparing the past and present, human life and nature, the poet creates an image of the general law of life, the essence of which he sees in constant change.

Another poem with a forest theme, "Will I Wander..." shows the philosophical conflict between eternal nature and mortal man. Lyrical hero

reflects on the frailty of man’s earthly existence, the transience of life, and death. Nature appears here as a sign of beauty and harmony. It is eternal in its own beauty, because a natural cycle occurs in it all the time. Generations of people also replace each other, but a person is not eternal, because an individual person and humanity are not the same. Nature is indifferent and faceless, and each person is a unique feature. The lyrical hero of the poem has no choice but to come to terms with the natural course of nature: “I look at the solitary oak, // I think: the patriarch of the forests // Will survive my forgotten age, // As he survived the age of his fathers...// And let young life play at the grave’s entrance, // And indifferent nature // shine with eternal beauty.” Eternal nature is indifferent to her mortal child and shines cold beauty over his grave. And although in the final lines the lyrical hero blesses nature, which condemns him to death, this gratitude is not easy for him - only beyond despair. Nature is increasingly opening up in the face of the growing self-awareness of the individual as a kingdom of cruel necessity, the finitude of all living things.

IN rare work art does not feel the fear of death that is usually deeply hidden in the human soul. Like love, death is one of the main themes of art. Comparing the life of man and the forest giants, F. Tyutchev turns to the individual life of man and to the images of long-lived oak trees as an example of two states of the world - forest and man - in

equally important for the universe and at the same time mutually exclusive: “From the life that raged here, // From the blood that flowed like a river here, // What has survived, what has come down to us? // Two or three mounds, visible when brought up... // Yes, two or three oak trees grew on them, // Spread out both widely and boldly, // They show off, they make noise, and they don’t care, // Whose ashes, whose memory dig their roots." The forest image appears here as an “implicit”, “hidden” symbol (its semantic meanings are not explained in any way in the text, but seem to “flicker” through the fabric of the poetic image). Tyutchev introduces the existential theme of “death - immortality” into the poem. The death of an individual ceases to be perceived as a tragedy against the backdrop of natural life. For Tyutchev, it turns out to be one of the “world performances” that the poet unexpectedly witnessed.

For Tyutchev there is more than one merger human soul with nature, but all their true communication is “grace” and peace. In nature for him lies the source of a certain “catharsis”, because in nature very often, as if on top level, as a cosmically universal thing, what in a person’s life seems to be his exceptional, unique tragedy is repeated. Let’s compare this poem with Pushkin’s “I Visited Again.” They are close in theme, but their pathos is different. For Tyutchev, the absorption of the individual by the general into the abyss comes to the fore. Pushkin emphasizes the continuity common life, on the continuation of the individual in general.

Conscious modern man

the forest as a cultural and moral symbol lost its “sacred” essence, as a result of which the harmony of its rational and non-rational, emotional and sensory perception was disrupted. This was not always the case; at one time the world was perceived as a single whole, and later such an affirmation of the commonality of nature and man - what pantheistic philosophy is based on - turned out to be organically close to poetry. The poet sees the world alive. The pagan underlying basis of the artist’s perception of nature appears in a fairy-tale or romantic interpretation of the world. The artistic exploration of the world is built on such a vision. We can say that pantheism is the natural philosophy of poets, their poetic faith.

Not only many philosophers, but also poets, for example, the great German poets Goethe and Schiller, were pantheists in their worldview. The search for the ideal in nature - characteristic romantic art, a tradition that was continued and developed by M.Yu. Lermontov, recreating the worldview of a person who, through nature, comprehends himself, both the earthly and the heavenly. We find pantheistic motifs associated with the forest theme in one of the poet’s most famous poems, “When the yellowing cornfield is agitated.”: “When the yellowing cornfield is agitated, // And the fresh forest rustles with the sound of the breeze // And the crimson plum hides in the garden // Under the shadow sweet green leaf. // Then the anxiety of my soul is humbled, // Then the wrinkles on my brow disperse, - // And I can comprehend happiness on earth, // And in heaven I see God.” Nature - pre-

rie of the ideal, the path to God. The forest acts as one of the intermediaries between the lyrical hero and eternity, symbolizing rare moments of the poet’s harmonious fusion with nature, with the world and the associated state of inner enlightenment.

The essence of art is in the cult of sustainable harmony, in the deepest thirst for pairing the microcosm with the macrocosm. And in this regard, artistic values can be considered as a universal means of harmonizing the unconscious and conscious, instinctive and rational. Many researchers notice the similarities between poets in landscape and meditative lyrics. If in meditative lyrics they are united by an appeal to the sublime movements of the human soul, prayerful moods and the idea of experiencing the “inexpressible”, then in landscapes they are united by aesthetic contemplation and a sense of nature, a poetic vision of the originality of nature, an understanding of the grace of submission to its great beauty. What is called meditation and concentration is often associated with the forest elements.

In the poem by A. Fet “The sun lowers its rays into a plumb line.” the desire to meditate in the forest, to “merge with the infinite,” is expressed in the poet’s dream that “...so that I too would disappear in this world, // Drowned in that fragrant shadow.” Fet’s romantic aesthetics are close to those mental states that do not coincide with the rational side of the human soul: “dreams,” “dreams,” “delirium,” “dreams” are Fet’s constant favorite themes. Thoughts flow freely, without stopping, through someone who enjoys peace

in the lap of nature. Fet emphasizes unity with nature, “magical vastness” when contemplating dark oak and emerald ash: “Here is dark oak and emerald ash, // And there is azure melting tenderness.. // As if from a wonderful reality // You are carried away into magical vastness.” . In E. Gorodetsky’s poem “Forest” a similar feeling is expressed even more emotionally: “Where? I don’t know - in freedom. // Into the forest thickets and empty fields // Under the blue sky of life, // Into the sea, the echoing, colored sea - // It’s so fun and simple there // I rush and give all of myself, // Like this forest dream.”

The sense of nature is often called the sixth sense, it represents a deep and creative sense of human involvement in the world around us. This feeling embraces both the blade of grass under his feet and the vast sky above his head. Taking its roots into the mysterious depths of the unconscious, bringing a person closer to the spontaneous world life spilled around him, it at the same time, in its higher manifestations borders on aesthetic, moral, religious aspirations and emotions. Thus, a person’s oblivion of his own “I”, the dissolution of the individual in the universal - this is one of the favorite themes of F. Tyutchev’s poetry. The bliss, the peace that the forest evokes, the drowsy bliss of nature and the poet’s soul merging with it is one of the leitmotifs of his poetry. Tyutchev constantly returns to these motives in his work. In the late poem “So, in life there are moments.” he reminds again

about the possibility of merging the human “I” with nature, glorifies a kind of “nirvana” of the soul - this is the highest moment for poetic feeling: “So, in life there are moments - // They are difficult to convey, // They are self-forgetfulness // Earthly grace. // The tops of the trees are noisy // High above me. // And I love it, and it’s sweet to me, // And there is peace in my chest, // I’m enveloped in drowsiness - // Oh time, wait!” .

There is a special kind of romantic poetry of self-discovery that can be called “prayer.” The poet’s prayers are his cherished desire for spiritual enlightenment. V. Benediktov in the poem “In the Forest” describes his prayerful mood, feelings of respect, fear and the feeling of eternity, unity with the past, which embrace him in the forest: “I greet you again, // The venerable old man is a dark forest, // Standing gloomily and stern // Under the blue dome of heaven. // And the day fades, my soul // Here it is embraced by a wondrous mystery. // In union with the sepulchral world // Here she prays to God, - // And the forest is my temple, // The noise of the leaves is a hymn of triumph, // The resinous smell is incense, // And the darkness is the secret of the deity.” . The pantheistic understanding of God forced symbolist poets and representatives of the peculiar Russian neo-paganism to understand the forest as a real church, a place of prayer and finding peace of mind: “This is not a tree, no, this is a temple, // This is a forest chapel, // The stream of resinous incense trembles.”, - exclaimed K. Balmont. “Peasant Poets” S. Yesenin and

N. Klyuev in his perception of the forest nourishes

It was not the ideas of integral philosophical schools such as the teachings of Schelling or Solovyov, but spiritual traditions that did not appear in academic forms. Here is folk philosophy, mythology captured in folklore, and the interweaving of pagan and Christian beliefs noted by researchers of the poet’s work. Their connection with the forest is not external, not due to a preliminary, so to speak, rationalistic attitude. It is an integral part of a person’s spiritual world, and therefore is often perceived as a church, as a place of repentance and prayer: “.At the farewell mass // Those censing with the leaves of birches”; “.Xin alternately dozes and sighs. // At the forest lectern // The sparrow reads the psalter”; “.The groves of gilding are crumbling, // In the pale air of incense there is burning”; “.Between the pines, between the fir trees // Between the birches and curly beads // Under the wreath, in the ring of needles // I imagine Jesus.” The forest in these lines is a spiritual absolute, sharpening and, at the same time, removing the tragedy of human imperfection: in prayer, in love for nature, man finds consolation. For spiritualized people, a forest can become an uplifting place of solitude from the bustle of life.

Bibliography

1. Balmont K.K. Collected works in 2 volumes. T.2. - M.: Mozhaisk-Terra, 1994. 704 p.

2. Baratynsky E.A. Lyrics. - Mn.: graduate School, 1979. 224 p.

3. Benediktov V.G. Poems / Comp., intro. Art., note. IN AND. Sakharov. -

M.: Sov. Russia, 1991. 272 p.

4. Vyazemsky P.A. Works: In 2 volumes - M.: Khudozh. lit., 1982. T. 1 Poems / Comp., preparation, intro. article and comment. M.I. Gilelson, 1982. 462 p.

5. Yesenin S. A. Poly. collection op. - M.: Olma-Press, 2002. 790 p.

6. Lermontov M.Yu. Collected works in 4 volumes. T. 1 Poems /Under the general editorship of I.L. Andronikov, D. D. Blagoy, Yu. G. Oksman. - M.: State. ed. artist lit., 1957. 423 p.

7. Pushkin A.S. Poly. collection op. in 10 volumes. T. 3. Poems 1827-1836. Publishing house of the USSR Academy of Sciences: M., 1957. 557 p.

8. Tyutchev F.I. Full collection op. in poetry and prose / Comp., prev., articles, notes. V. Kozhinova. - M.: Veche. 2000. 496 p.

9. Fet A.A. Poems / Comp., intro. art., approx. A. Tarkhova. - M.: Pravda, 1983. 304 p.

Lose yourself in the silence, slightly ringing,
Eavesdrop on the conversation between leaves and wind,
Barely audible, visible in the trembling haze
There is only forest around for many kilometers.

Silence. You can't even hear the sound of a quiet wind. The leaves of the trees seem to be frozen in horror and are waiting for something secret, unknown. The whole forest is waiting for this. There are still drops of very fresh dew on the grass. It seems that you are standing frozen in this charm of the art of nature. Twilight, slightly lowering the already heavy eyelids, the darkness does not allow you to see the whole picture. Lonely edges, a forest shrouded in mysterious darkness. A few seconds later, the light pierces the trees with bright, warm rays. The forest thicket is gradually coming to life, the magic of the fireflies, frolicking at night among the dense foliage, is fading.

You breathe in this immensely fresh air to the fullest. As much as possible, more often, stronger, but I can’t breathe. No, it’s not dawn - you don’t see the sun, but the solar filaments beckon you to look at them for hours. A living organism that acts as one system, a forest breathing with all its might. Here, a wide variety of trees, animals, insects, and even small shrubs are welcome here: every living organism plays its role. Streams of light breeze across the face, across the cheeks, into the lungs, deeper and deeper.

Waltz among nature... Somewhere in the distance, a flock of freedom-loving birds suddenly takes off, creating a commotion throughout the forest. The vibrations in the air that they create by fluttering their wings set the leaves on the trees in motion. Time seems to slow down. In general, watching such a picture, you will never be able to understand how much time it really is - it’s all so fascinating. The forest is increasingly filled with sounds: somewhere you can hear an owl awake, somewhere a woodpecker is busy with its usual business, and squirrels are running around you in search of their nuts...

You don't need to look with your eyes, you need to see with your eyes. The smell of dampness - it had recently rained. Somewhere not far from you, a river is noisy; even now you can hear a fish desperately jumping up, trying to feel like a bird and feel freedom, but, having no chance, it flops into the water, raising splashes of water upward.

A huge, languid, powerful forest... The sun finally completely enveloped everything with its rays and warmth. Do you feel loneliness when you are in the center of a huge organism living according to its own laws?! Rather, freedom, lightness, carelessness. And yet you are afraid to break any law, you are afraid that the picture will fade. Stand in amazement, enchanted by the shadow of the majestic forest... And in a couple of hours it will get dark again, and the forest will be filled with silence, and the fireflies will again delight us with their games in the darkness. The forest will fall asleep at night, living like this from day to day...

My forests are hidden,
And the rivers have long since started ringing.
And our nightingales,
It was as if they were completely numb.

And we are no longer the same
And we understand everything perfectly.
We are approaching the invisible line,
And what is beyond the line is not clear.

And it's not right away
Not suddenly.
At the edge of freedom and freedom.
It's still just fear
Not pain
And a premonition of pain.
1981

The forest is thinning. Gold in green.
And, the sheets of the former heap,
like a birch with a yellowed maple,
my soul lives slowly.

Quiet swaying of leaves
and the rain is an intermittent thread...
Maybe you still need something.
and it’s enough for me just to be...

This quiet rustle is compassionate,
the long rustle of falling tears...
And I've had enough for the whole day
measured swaying of birches.

Crying, tender autumn,
like my silent mother...
And where does it take me?
From sheets of yellowing boat?

Maybe to the region where the losses were found
And...

The coastal forest has been cut down to the roots,
Rivers are polluted and shallow.
Well, answer me, man, how long
Will you be the destroyer of the earth?
Not some fabulous and distant one,
Where the oil is spilled, where there is smoothness and silence,
And your own, dear, confessional,
On which you sow and stand.

Can't see the forest for the trees
Behind the words are the thoughts.
We believed our impressions,
We can deceive ourselves.

They lie to themselves that they live by the truth,
Lost among the truths.
And life is made meaningless
Looking for fame and rewards.

The opinions of others depend on
Someone who wants praise.
He's full of self-doubts
When people are mean to him.

Everyone loves when they are praised
Even if there is no merit.
Only where the enemy deceives
Flattery won't lie, friend.

Seeing what we want,
We will understand everything as we need it.
And in illusions...

Poetry is a great power.
She lay down for many miles and years,
Strict, imperturbable, majestic,
Spreading your calm light.
It has large and small buildings,
Fences of lies and groves of kindness,
And honest, simple plants,
And blue poisonous flowers.
And the higher you rise, the more objective
The fruits of her great labor -
Above the petty bustle of the suburbs
Rough cities.
Here is Lermontov under the pale stars
It gets dark with the sound of drops and horseshoes
Tragic outlines of buildings,
The irony of silent dead ends...

What else to read

No-bake marshmallow cake recipe Many people think that making cakes is a labor-intensive and exhausting process. There are a lot of recipes that will dispel...

Vegetable casserole in the oven - recipes with photos Baked vegetables as such are an indispensable component of most diet menus. If you cook them in the oven together...

Predators and prey. Predators and their prey. Who are the predators Nature simply forces some creatures to hunt others. Moreover, some predators are noticeably more ferocious than others. It even comes...

Forest in poetry. Poems about the forest by Russian poets. Text of the scientific work on the topic “The image of the forest in Russian philosophical poetry”

Introduction

Varieties of landscapes

The aesthetic role of the forest

Forest as a symbol

Ivan Bunin “The leaves rustled as they flew around”

K. Balmont “Fantasy”

Information sources:

annotation scientific article on philosophy, ethics, religious studies, author of the scientific work - Kamalov Rashid Mingazovich

Related topics scientific works on philosophy, ethics, religious studies, author of scientific work - Kamalov Rashid Mingazovich

Text of scientific work on the topic “The image of the forest in Russian philosophical poetry”

What else to read

THE LAST NOTES

Forest in poetry. Poems about the forest by Russian poets. Text of the scientific work on the topic “The image of the forest in Russian philosophical poetry”

Introduction

Varieties of landscapes

The aesthetic role of the forest

Forest as a symbol

Ivan Bunin “The leaves rustled as they flew around”

K. Balmont “Fantasy”

Information sources:

annotation scientific article on philosophy, ethics, religious studies, author of the scientific work - Kamalov Rashid Mingazovich

Related topics scientific works on philosophy, ethics, religious studies, author of scientific work - Kamalov Rashid Mingazovich

Text of scientific work on the topic “The image of the forest in Russian philosophical poetry”

What else to read

THE LAST NOTES

Categories