Home Smell from the mouth Poetic images of the moon and stars in Japanese classical literature of the 8th-10th centuries. Description of the moon

Smell from the mouth

Poetic images of the moon and stars in Japanese classical literature of the 8th-10th centuries. Description of the moon

CONTENT

Introduction……………………………………………………………………………………… 2

Literature review………………………………………………………3
General concept about the lunar landscape.…….……………………………4
The role of the lunar landscape in literature……………………………………. .6
The role of the lunar landscape in music and painting.......................................12
Conclusion……………………………………………………………...15
List of references…………………………………..16

APPENDIX 1 The image of the moon in the poetry of S.A. Yesenin ……………… 17

APPENDIX 2 P. I. Tchaikovsky “Seasons”……………….18

APPENDIX 3 Benchmarking poetry of Bunin I.A.,

music by Tchaikovsky P.I. and paintings by Levitan………………20

Introduction

A picture of life cannot be complete without descriptions of nature. That is why landscape is used so often in literature, music and painting. The landscape creates an emotional background against which the action unfolds, emphasizes psychological condition heroes, he gives the depicted object or phenomenon a deeper meaning.

The subject of this work is the role of the lunar landscape in the works of Russian writers and poets, composers and artists of the second half of the 19th and early 20th centuries.

The purpose of the work is the definition of the concept of a lunar landscape, its role in art.

For the most complete disclosure of the topic and compliance with the set goal when performing the work, the following were set: tasks:

Study the available scientific literature on this topic;

Define the concept of lunar landscape;

Find examples of the use of lunar landscapes in Russian literature, music and painting;

Compare the data obtained and draw a conclusion.

In our opinion, the lunar landscape often plays a symbolic role and carries a special meaning. This is explained by the fact that in the minds of people the moon has always evoked mystical associations.

Relevance Our work is determined by the fact that the role of the lunar landscape in art is always dynamic, and therefore is of undoubted interest to us.

Methods used in the work : observation; study; description.

Practical significance of the work. this work is both theoretical and applied in nature. The results of this study can be used in a literature lesson when studying the work of poets and writers, when analyzing poems, for writing essays, in art and art classes.

Literature review.

When writing this work, we used the following articles and monographs.

Epstein M.N. in the book “Nature, the world, the hiding place of the universe...” draws attention to the image of the moon in literature. The book is devoted to landscape images in Russian poetry. Epstein traces repetitions of images in many poets.

Pereverzev V.F. “At the Origins of Russian Realism” (this book contains a chapter dedicated to the work of N.V. Gogol, in which the collection of stories “Evenings on a Farm near Dikanka” is analyzed).

Kaplan I.E. “Analysis of works of Russian classics” (the author analyzes the works of A.P. Chekhov, in particular, considers the image of Ragin from the story “Ward No. 6”).

Kataev V.B. “The Complexity of Simplicity: Stories and Plays by Chekhov” (the work contains an attempt to analyze the episode of the night in the cemetery from Chekhov’s story “Ionych”).

Shatalov S.E. " Art world I.S. Turgenev" (the author refers to Turgenev's story "Ghosts" and explains why Turgenev the realist turns to the fantasy genre).

Sokhryakov Yu.I. “Artistic discoveries of Russian writers” (the author notes the connection between man and nature in the works of Chekhov and Tolstoy).

encyclopedic Dictionary. Bunin, Tchaikovsky, Levitan. Biographies. The book reveals the work of the writer and poet I. Bunin, and provides an analysis of the works of Levitan and Tchaikovsky.

When analyzing the lunar image in literature, music and painting, we compared it with the image of the moon in mythology. For this purpose, the “Mythological Dictionary” // Edited by M.N. Botvinnik, “Dictionary of Antiquity” // Edited by R.I. Kuzishchin were used. In addition, in order to highlight the functions of the lunar landscape in literature, we studied the role of the landscape in general.

General concept of the lunar landscape

The author’s choice of one or another light source is determined by the psychological make-up of the writer’s personality, the artistic concept of the work, therefore the author’s preference for a solar or lunar landscape can give important information to understand his work.

It is generally accepted that sunny landscapes reflect the author’s optimistic mood, while lunar ones are typical for works with a pronounced elegiac tone. Thus, in poetry, S.A. Yesenin can rightfully be called the most “lunar poet”. According to M.N. Epstein, “of the luminaries, in the first place is the image of the moon-month, which is found in approximately every third work of Yesenin.” Like any description of nature, the lunar landscape in work of art always motivated by something, playing some role. So, we can distinguish the roles :

1. Designation of the place and time of action. It is with the help of the landscape that the reader can clearly imagine where and when events take place.

2. Plot motivation. Natural processes can direct the course of events in one direction or another.

3. Form of psychologism. It is the landscape that creates the psychological mood of perceiving the text, helps to reveal internal state heroes, prepares the reader for changes in their lives.

Sometimes the landscape can be "independent"- important in itself, as an independent character in the work. Such a landscape can exist separately from the work in the form of a miniature.

Landscape in literary work It is rarely a landscape in general: it usually has a national identity, which is manifested in the use of certain landscape images. Thus, the image of the moon is more typical for eastern literature and folklore, and in northern peoples The image of the sun is more dominant. For example, in the east beautiful girl is likened to the moon, and in the north to designate female beauty the image of the sun is used. If we talk about Russia, then it is impossible to give a clear answer to the question of which image is more characteristic. This is explained by the complex multi-layered nature of Russian culture, the history of whose formation was influenced by the East and West.

The lunar landscape is more typical for works of folklore and mythology, and is widely represented in the works of romantics and symbolists.

The role of the lunar landscape in literature

In epic works there are most opportunities for introducing a landscape that fulfills the most various roles. Naturally, the lunar landscape in any prose work explains the place and time of action in the work. But in addition to the background function, it also performs others.

Thus, a lunar landscape can perform psychological role - explanation of the character’s state and mood using the technique of psychological parallel or contrast.

For example, soft moonlight corresponds to the tremulous state of Doctor Startsev in the story Chekhov's "Ionych" fuels passion in him; the moon goes behind the clouds when he loses hope and his soul becomes dark and gloomy:

“...Startsev was waiting, and as if the moonlight was fueling passion in him, he waited passionately and pictured kisses and hugs in his imagination...”

“And it was as if a curtain had fallen, the moon went under the clouds, and suddenly everything went dark all around...”.

V.B. Kataev notes that the night at the cemetery gave Startsev the opportunity “to see for the first and only time in his life "a world unlike any other", touch the mystery. The magical night in the old cemetery is the only thing in the story that bears the stamp of familiarity and repetition. She alone remained stunning and unique in the hero’s life.” It is interesting that this is the last episode where Startsev appears against the backdrop of nature. Then the hero mentally “dies” and becomes an ossified philistine. Thus, the moon going into the clouds marks the moral “death” of Startsev. We see that in Chekhov's story nature and man are in close relationship.

Description of a moonlit night in Otradnoye in the novel L.N. Tolstoy “War and Peace” also helps us understand inner world character. Natasha admires the beautiful moonlit night and understands that every moment is unique:

“... the moonlight, as if it had been on guard at the window for a long time waiting for this, rushed into the room. The night was fresh and stillly bright. Just in front of the window there was a row of trimmed trees, black on one side and silver-lit on the other. Under the trees there was some kind of lush, wet, curly vegetation with silvery leaves and stems here and there. Further behind the black trees there was some kind of roof shining with dew, to the right a large curly tree, with a bright white trunk and branches, and above it was an almost full moon in a bright, almost starless spring sky.

- Oh, how lovely! “Wake up, Sonya,” she said, almost with tears in her voice. “After all, such a lovely night has never, never happened...”

The heroine of the novel has a keen sense of beauty, she is full of love for people and the whole world around her. Not everyone is capable of this. After all, nature “is not just a backdrop for emotional experiences; this is the sphere in which everything artificial, superficial, false is thrown off a person and his inner essence is exposed.”

The events in the story unfold against the backdrop of a beautiful moonlit night. “May Night, or the Drowned Woman” by N.V. Gogol. The description of nature creates a poetic mood in the work and allows you to look at the characters’ characters from a certain angle. The description of the moonlit night gives the story special lyricism and charm. Thus begins one of Gogol’s most poetic stories, included in the collection "Evenings on a Farm Near Dikanka":

“Do you know Ukrainian night? Oh, you don’t know Ukrainian night! Take a closer look at her. The moon is looking down from the middle of the sky. The vast vault of heaven opened up and spread even more vastly. It burns and breathes. The earth is all in a silver light; and the wonderful air is cool and sultry, and full of bliss, and moves with an ocean of fragrances. The forests, full of darkness, became motionless and inspired, and cast a huge shadow from themselves. The virgin thickets of bird cherry trees timidly stretched out their roots into the spring cold and occasionally babble with their leaves, as if angry and indignant, when the beautiful anemone - the night wind, creeping up instantly, kisses them. The entire landscape is asleep. And above everything is breathing, everything is marvelous, everything is solemn. But the soul is both immense and wonderful, and crowds of silver visions harmoniously appear in its depths.Divine night! Charming night! And suddenly everything came to life: forests, ponds, and steppes. The majestic thunder of the Ukrainian nightingale rains down, and it seems as if even a month could hear it in the middle of the sky...”

Phrase " Divine night! Charming night!” is repeated twice in a short passage. The author thereby encourages the reader to admire this beautiful picture of nature that he has recreated. Gogol conveys the feeling that nature is alive. Air "full of bliss"; bird cherry and sweet cherry “they timidly extended their roots into the spring cold and occasionally babble with leaves”; night wind - "beautiful windy"; village, "as if enchanted", "sleeping". The earthly and heavenly worlds inextricably merge in the landscape.

The author introduces another description of nocturnal nature when Levko, tired of the boys’ antics, finds himself near a pond, unnoticeably falls asleep and finds himself in the world fairy tale. The landscape here is the same: a majestic and gloomy maple forest, a “motionless pond”, a moon illuminating everything around, “the peals of a nightingale”, “a brilliant night”: “The maple forest, facing the moon, turned majestic and gloomy. The motionless pond breathed freshness on the tired pedestrian and forced him to rest on the shore. Everything was quiet; in the deep thicket of the forest only the rumbles of the nightingale could be heard.

…He looked around: the night seemed even more brilliant before him. Some strange, intoxicating radiance mixed with the shine of the month. Never before had I seen anything like him. A silver mist fell over the area. The smell of blossoming apple trees and night flowers flowed across the entire earth...”

This is how it goes unnoticed transition from the real world to the world of dreams, fairy tales. That is, again the silver light of the month turns out to be the border of the worlds of real and fictional, earthly and heavenly. From a poetic landscape "thoughtful evening" the story begins. In it, reality is closely intertwined with fiction, fantasy, and the world of legends. The work ends on the same poetic note:

“...And after a few minutes everyone in the village fell asleep; Only one month floated just as brilliantly and wonderfully in the vast deserts of the luxurious Ukrainian sky. It was breathing just as solemnly in the heights, and the night, the divine night, was majestically burning out. The earth was just as beautiful in its wondrous silver shine; but no one reveled in them: everything fell asleep.”

Thus, the night landscape frames the story, encloses its action in a frame composition, and it also fills the characters of Levko and Ganna with poetry.

In the story "The Night Before Christmas" Gogol again brings us back to the wonderful picture:

“The last day before Christmas has passed. A clear winter night has arrived. The stars looked out. The moon majestically rose to the sky to shine good people and to the whole world, so that everyone can have fun caroling and praising Christ...

…and the month, taking advantage of this opportunity, flew out through the chimney of Solokhin’s hut and smoothly rose through the sky. Everything lit up. The snowstorm was gone. The snow lit up in a wide silver field and was sprinkled with crystal stars. The frost seemed to have warmed up. Crowds of boys and girls showed up with bags. The songs rang, and under the rare hut there were no crowds of carolers..."

The month shines wonderfully! It’s hard to tell how good it is to hang around on such a night between a bunch of laughing and singing girls and between boys, ready for all the jokes and inventions that a cheerfully laughing night can inspire.

The image of the moon in the work may be symbolic , that is, it can express various figurative meanings. Since the symbol has many meanings, the lunar landscape can have a variety of interpretations. For example, the moon often appears symbol of death. Thus, the moon as a symbol of death is found in A.P. Chekhov. Moonlight floods many of Chekhov's landscapes, filling them with a sad mood, peace, tranquility and stillness. Behind the story about Belikov's death in the book "Man in a Case" follows a description of a beautiful rural picture, bathed in moonlight, from which freshness and peace emanate:

« It was already midnight. To the right the entire village was visible, the long street stretched far, about five miles. Everything was immersed in a quiet, deep sleep; no movement, no sound, I can’t even believe that nature can be so quiet. When on a moonlit night you see a wide rural street with its huts, haystacks, sleeping willows, your soul becomes calm; in this peace of hers, hidden in the shadows of the night from work, worries and grief, she is meek, sad, beautiful, and it seems that the stars look at her tenderly and with tenderness and that there is no longer evil on earth and everything is fine.”

The moon illuminates the cold corpse of Doctor Ragin in the story by A.P. Chekhov "Ward №6".

“There he lay on the table with with open eyes, and the moon illuminated it at night..."

The main character dies, so the author punishes him for his lack of will, for his unwillingness to fight evil. “Chekhov harshly and courageously condemned Doctor Ragin; his extreme indifference to people turns out to be disastrous not only for his patients, but also for Ragin himself.” The image of the moon also appears before Ragin’s death: when the hero finds himself in the place of his patients. It is an ominous omen, reflecting the feeling of fear in the hero’s soul:

“Andrei Yefimitch went to the window and looked out into the field. It was already getting dark, and on the horizon with right side the cold, crimson moon was rising... “This is reality!” - thought Andrei Yefimitch, and he felt scared. The moon, the prison, the nails on the fence, and the distant flame in the bone plant were scary..»

“Then everything went quiet. Liquid moonlight came through the bars, and a net-like shadow lay on the floor. It was scary…"

The description of the lunar landscape in this story is very laconic, but Chekhov is different in that, using only catchy, spectacular details, he creates an impressive picture of nature. Such expressive details are “cold, crimson moon”, “liquid moonlight”- they are filled with bright expressive colors and paint before us a truly ominous picture that accurately depicts what is happening in the soul of the main character. Ragin feels horror, because he saw the light and realized that all reality is a prison, he realized his guilt before people. Finding himself in the ward, in the patient’s robe, he realized that “it turns out that one cannot despise suffering; indifference is scary!”

IN lyrical works the landscape is presented no more sparingly than in prose. This function is reflected especially clearly in the poetry of the Symbolists.

Yes, for K. Balmont, like for many other symbolists, the moon is a symbol of the ideal world, the world of dreams, beauty, creativity. The poet shrouds the image of the moon in a haze of mystery, glorifying its sad beauty: “The moon is rich in the power of suggestion, // Mystery always hovers around it.//...//With its ray, a pale green ray,// It caresses, strangely so exciting // in the kingdom of the stars there is still the same pain of separation» (Balmont “Moon”). The connection between the moon and the ideal world is particularly clear in his sonnet "Moonlight":

“When the moon sparkles in the darkness of the night // With its sickle, brilliant and gentle,

My soul strives for another world, // Captivated by everything distant, everything boundless.”

The image of the moon in the “senior symbolist” is revealed somewhat differently D. Merezhkovsky. In a poem "Winter evening" the moon acts as the bearer of universal evil: “Oh dim moon // With evil eyes”, “Criminal moon, // You are full of horror”, “The cursed face of the moon // Filled with evil power.” In addition, the image of the moon here can also be seen as a symbol of death, because under the evil gaze of the night mistress of the sky, the image of a reed appears, “sick, dry and skinny...”

It must be remembered that in poetry the most important thing in a landscape is not the nature itself, but the feeling that the poet wanted to convey. The lunar landscape sets the theme of timeless space. The moon, reflecting the unconscious principle, could not help but be used by romantics.

As mentioned above, the image of the moon occupies a special place in poetry. S.A. Yesenina. Moreover, as M.N. Epstein notes, “in the early poems, until about 1920, the “month” predominates, in the later ones - the moon.” This is explained by the fact that in the poet’s early work there is more of a folklore element than in his mature work. It is interesting that in the image of the month Yesenin emphasizes its shape, appearance, various shades . (More detailsANNEX 1)

Behind the dark strand of copses,

In the unshakable blue,

Curly lamb - month

Walking in the blue grass. (1916)

An interesting interpretation of the image of the moon can be observed in creativity V. Mayakovsky, a prominent representative of futurism. As a representative of futuristic poetry, he belittles this image. This is not surprising, because for futurists nature is the embodiment of the old outdated order. So, Mayakovsky depicts the moon like this:

And then - having crumpled up the blankets - // the night fell in love, obscene and drunk,

and somewhere behind the suns of the streets a flabby moon, useless to anyone, hobbled.

We see that the lyrical hero is opposed to nature, he acts as a rebel and treats nature ironically. The poet deprives the moon of its aura of sublimity and holiness, treating it with extreme familiarity, and sometimes does not stop at using abusive expressions addressed to it: “the moon is like a fool.”

Functions of the lunar landscape in literature

Introduction …………………………………………………………...………. 2

Chapter 1 General concept of the lunar landscape.…….……………………….. 5

Chapter 2 The function of the lunar landscape in epic works………. 7

Chapter 3 The function of the lunar landscape in lyrical works....... 18

Conclusion ……………………………………………………………..... 25

Bibliography ………………………………………………………….... 27

Introduction

The depiction of life could not be complete without descriptions of nature. This is why landscape is used so often in literature. But this is not the only reason for using landscape in a work of art. 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. A short touch in the description of nature can change the opposite impression of the work, give individual facts additional meaning, to place emphasis in a new way. Nature is not only sketches from nature, it models life situations and comes to the forefront of events either as a silent witness, or an initiator of unexpected emotional decisions, or an irresistible force that forces people to discover their own individuality.

Subject of this study course work– functions of the lunar landscape in the works of Russian writers and poets such as N.V. Gogol, L.N. Tolstoy, A.P. Chekhov, I.A. Bunin, V.A. Zhukovsky, K.D. Balmont, Vyach . Ivanov, D. I. Merezhkovsky, S. A. Yesenin, V. Mayakovsky. Thus, the purpose of the work is to define the concept of a lunar landscape, its role in a work of art based on the material of Russian literature. To achieve this goal, the following tasks were put forward:

Study the available scientific literature on this topic;

Define the concept of lunar landscape;

Find examples of the use of lunar landscapes in Russian literature and analyze them from the point of view of the purpose of their inclusion in the text of the work

Compare the data obtained and draw a conclusion.

The topic of our work was not chosen by chance. It seems to us that it is quite new, interesting and unusual. In our opinion, the lunar landscape very often performs a symbolic function and carries a special meaning in a work of art. This is explained by the fact that in the minds of people the moon has always evoked mystical associations; people associated the activation of otherworldly forces with the night luminary. The ancients correlated all events occurring on Earth with the waning and remaining phases of the moon. The moon played a huge role in witchcraft practice [Dictionary of Antiquity: 324]. It is not surprising that the mythological image of the moon is so widespread among all nations.

The relevance of our work is determined by the fact that the role of the lunar landscape in literature has not been studied fully and deeply enough, as a result of which it is of undoubted interest to us.

Literature review. M. N. Epstein draws attention to the image of the moon in poetry in his book “Nature, the world, the hiding place of the universe...”. It is dedicated to landscape images in Russian poetry. Epstein traces repetitions of images in many poets.

When writing this work, we used articles and monographs such as:

I. E. Kaplan “Analysis of works of Russian classics” (here the author analyzes the works of A. P. Chekhov, in particular, considers the image of Ragin from the story “Ward No. 6”);

Semenko I.M. “The Life and Poetry of Zhukovsky” (the scientist notes the romantic features in Zhukovsky’s work);

Kataev V.B. “The complexity of simplicity: Stories and plays of Chekhov” (in this work there is an attempt to analyze the episode of the night in the cemetery from Chekhov’s story “Ionych”);

Shatalov S. E. “The artistic world of I. S. Turgenev” (the author refers to Turgenev’s story “Ghosts” and explains why Turgenev the realist turns to the fantasy genre);

Sokhryakov Yu. I. “Artistic discoveries of Russian writers” (the author notes the connection between man and nature in the works of Chekhov and Tolstoy).

When analyzing the lunar image in literature, we compared it with the image of the moon in mythology. For this purpose, the Mythological Dictionary edited by M. N. Botvinnik and the Dictionary of Antiquity edited by R. I. Kuzishchin were used. In addition, in order to highlight the functions of the lunar landscape in literature, we studied the role of the landscape in general. For this we used teaching aid in literary criticism (“Introduction to literary criticism”, edited by L. V. Chernets). The manual identifies four functions of landscape in a work of art.

Chapter 1 General concept of the lunar landscape

There's always a mystery around her

Balmont

Lunar, or as it is also called “lunar” landscape, is a type of landscape based on the light source. Its antipode is the solar (sunny) landscape. This opposition between the sun and the moon has been going on since time immemorial. Even in mythology, these images are inextricably linked with each other. One way or another, the sun and moon in the myths of different peoples are connected by family ties. Thus, in Egyptian mythology, the moon goddess Tefnut and her sister Shu, one of the incarnations of the solar principle, were twins. In Indo-European and Baltic mythology, the motif of the month's courtship of the sun and their wedding is widespread. In Roman mythology, the Moon is the sister of the sun god Helios [Mythological Dictionary: 38].

The author’s choice of a particular light source is determined by the psychological make-up of the writer’s personality and the artistic intent of the work, therefore the author’s preference for a solar or lunar landscape can provide important information for understanding his work. It is generally accepted that sunny landscapes reflect the author’s optimistic mood, while lunar ones are typical for works with a pronounced elegiac tone. Thus, in poetry, S. A. Yesenin can rightfully be called the most “lunar poet”. According to M. N. Epstein, “of the luminaries, in the first place is the image of the moon-month, which is found in approximately every third work of Yesenin (in 41 out of 127 - a very high coefficient)” [Epstein 1990: 248]. The preference for moonlight is explained by Yesenin’s expressed tragic, pessimistic worldview.

Like any description of nature, the lunar landscape in a work of art is always motivated by something and plays some role. Thus, a landscape can perform the following functions:

1. Designation of the place and time of action. It is with the help of the landscape that the reader can clearly imagine where and when events take place. But the landscape is not a “dry” indication of the time and place of action, so it always performs additional functions.

2. Plot motivation. Natural processes can direct the course of events in one direction or another.

3. Form of psychologism. This function is the most common. It is the landscape that creates the psychological mood for perceiving the text, helps reveal the inner state of the characters, and prepares the reader for changes in their lives.

4. Form of the author’s presence (indirect assessment of the hero, ongoing events, expression of one’s ideas, etc.). Thus, the landscape can become a field of the author’s statement, an area of mediated self-characterization. A writer, when he wants to be correctly heard and understood, often trusts the landscape to become the spokesman for his views [Introduction to Literary Studies 1999: 229].

Sometimes a landscape can be non-functional, that is, “independent” - important in itself, as an independent character in a work. Such a landscape can be isolated from the context and can exist separately from it in the form of a miniature.

A landscape in a literary work is rarely a landscape at all: it usually has a national identity. National originality is also manifested in the use of certain landscape images [Introduction to literary criticism 1999: 229]. Thus, the image of the moon is more characteristic of eastern literature and folklore, while among northern peoples the image of the sun is more prevalent. Let us remember, for example, that in the east a beautiful girl is likened to the moon, and in the north the image of the sun is used to denote female beauty. If we talk about Russia, then it is impossible to give a clear answer to the question of which image is more characteristic. This is explained by the complex multi-layered nature of Russian culture, the history of the formation of which was influenced by the East and West.

Chapter 2 Functions of the lunar landscape in epic works

In epic works there are most opportunities for introducing landscape, which fulfills the most various functions. Naturally, the lunar landscape in any prose work explains the place and time of action in the work. But in addition to the background function, it also performs others.

Thus, a lunar landscape can perform psychological function– explanation of the character’s state and mood using the technique of psychological parallel or contrast. For example, soft moonlight corresponds to the tremulous state of Doctor Startsev in the story Chekhov's "Ionych"; the moon goes behind the clouds when he loses hope and his soul becomes dark and gloomy.

(Chekhov, Ionych).

"a world unlike any other , touch the mystery. The magical night in the old cemetery is the only thing in the story that bears the stamp of familiarity, repetition, and routine. She alone remained stunning and unique in the hero’s life” [Kataev 1998: 18].

an ossified layman. Thus, the moon going into the clouds marks the moral “death” of Startsev. We see that in Chekhov's story nature and man are in close relationship. This feature of Chekhov’s landscapes was correctly noted by Yu. I. Sokhryakov: “Following Tolstoy and Chernyshevsky, Chekhov refuses to consider man in isolation from nature or as simply a contemplator of its beauties” [Sokhryakov 1990: 47].

Description of a moonlit night in Otradnoye in the novel L. N. Tolstoy “War and Peace” also helps us understand the character’s inner world. Natasha admires the beautiful moonlit night and tries to convey this idea to Sonya. Natasha says:

Wake up, Sonya, because such a lovely night has never, never happened

Natasha understands that every moment is unique. The heroine of the novel has a keen sense of beauty, she is full of love for people and the whole world around her. Not everyone is capable of this. Only those who are alien to pragmatism can enjoy the delight of a moonlit night, believes L. Tolstoy. After all, his nature is “not just a background for emotional experiences; this is the sphere in which everything artificial, superficial, false is thrown off a person and his inner essence is exposed” [Sokhryakov 1990: 43].

His reputation as a sharp social exposer and realist. “However, there is no doubt that the writer felt a creative need from time to time to turn to mystical subjects at the most different periods life" [Mineralov 2003: 111]. But if you look deeper into the story, you will notice that Turgenev has not ceased to be a realist: just as in other works, he raises social, moral and philosophical themes, but presents them in a fantastic light. “The fantastic technique allows the realist artist to reveal the secret motives of the hero” [Shatalov 1979: 280]. The plot of "Ghosts" is based on an extraordinary incident: the protagonist's flights with the ghost of Ellis around the world. But the author emphatically portrays this event as real, not fictitious. “Turgenev used all the means of realism here in order to assure the reader of the possibility of the incredible, in order to give him a feeling of involvement in a fantastic story unfolding as if with his own eyes” [Shatalov 1979: 275]. One of such means in the work, naturally, is the landscape. The landscape in the story is plastic and tangible. Throughout the narrative, the author periodically turns to the lunar landscape. On the one hand, the moon, of course, creates an atmosphere of mystery and mysticism; it is against the background of moonlight that a ghost appears. But on the other hand, this lunar landscape is described so realistically that the illusion of the authenticity of what is happening arises. Thus, the moon is described in great detail, it is not static, it constantly changes as the story progresses:

Moon trail quietly , slightly …

...The wind fluttered, the moon stood out more and more brightly in the blue sky - and soon the leaves of the trees began to sparkle with silver and black in its cold rays.

...The ghost quietly swayed forward, became confused, easily agitated, like smoke, - and the moon turned white peacefully again on a smooth floor(Turgenev, Ghosts).

In addition, the moon introduces elegiac, sad motifs into this work. F. M. Dostoevsky himself noted: “Ghosts” are like music,” “filled with melancholy.” This melancholy seems to be caused by a premonition. Turgenev himself appreciated in “Ghosts” the subjectivity, the lyrical principle, what the critic P. V. Annenkov called “elegy”, “the history of the artistic soul” [Grekov 1989: 10]. This mood is justified by the content of the story, because throughout the story the hero finds himself in the center of passions and human experiences, listens to human suffering and sorrow, and realizes the injustice of the social structure:

I felt sad and somehow indifferently boring... The earth itself, this flat surface that spread out beneath me; the entire globe with its population, momentary, weak, suppressed by need, grief, illness, chained to a block of despicable dust; this fragile, rough bark, this growth on the fiery grain of sand of our planet, along which mold appeared, which we call the organic, plant kingdom; these people are flies, a thousand times more insignificant than flies; their homes made of mud, tiny traces of their petty, monotonous fuss, their funny struggle with the unchangeable and inevitable - how did it suddenly happen to me? everything is disgusting ! in my slowly turned over , and not I wanted to to me to these insignificant pictures, for this …

The events in the story unfold against the backdrop of a beautiful moonlit night. “May Night, or the Drowned Woman” by N. V. Gogol. But the night landscape does not just frame the action and serve as a colorful backdrop. The description of nature here creates a poetic mood of the work and allows you to look at the characters’ characters from a certain angle. The description of the moonlit night gives the story special lyricism and charm. This is how one of Gogol’s most poetic stories begins, included in the collection “Evenings on a Farm near Dikanka”:

always inseparable from despondency. And the thoughtful evening dreamily embraced the blue sky, turning everything into uncertainty and distance(Gogol, May Night, or the Drowned Woman).

Do you know Ukrainian night? Oh, you don’t know Ukrainian night! Take a closer look at her. The moon is looking down from the middle of the sky. The vast vault of heaven opened up and spread even more vastly. It burns and breathes. silver light Divine night! Charming night! The forests, full of darkness, became motionless and inspired, and cast a huge shadow from themselves. These ponds are quiet and peaceful; the cold and darkness of their waters are gloomily enclosed in the dark green walls of the gardens. The virgin thickets of bird cherry and sweet cherry timidly stretched out their roots into the spring cold and occasionally babble with their leaves, as if angry and indignant, when the beautiful anemone - the night wind, creeping up instantly, kisses them. The entire landscape is asleep. And above everything is breathing, everything is marvelous, everything is solemn. But the soul is both immense and wonderful, and crowds of silver visions harmoniously appear in its depths. Divine night! Charming night! And suddenly everything came to life: forests, ponds, and steppes. The majestic thunder of the Ukrainian nightingale rains down, and it seems that month listened to him in the middle of the sky …

Divine night! Charming night!” is repeated twice in a short passage. The author thereby forces the reader to admire this beautiful picture of nature, which he so tangibly recreated. Gogol in his description conveys the feeling that nature is alive. Air "full of bliss"; bird cherry and sweet cherry “they timidly extended their roots into the spring cold and occasionally babble with leaves”; night wind - "beautiful windy"; village, "as if enchanted" , "sleeping". The landscape organically merges the earthly and heavenly worlds: month "in the middle of the sky" "listened to" nightingale. And unites these two worlds "divine night"

And what follows the picture of the night? It is interesting that then all the lyricism of the narrative, given by the landscape, disappears, as the story goes about the head, “an important person in the village,” imbued with the subtle irony of the author. Such an antithesis is not surprising; it is typical of Gogol’s work. Thus, V.F. Pereverzev says that in “Evenings on a Farm near Dikanka” one encounters, on the one hand, “everyday life, petty, terribly funny, devoid of strong passion, powerful thought and heroic impulse,” and on the other hand , “a different life is unfolding nearby,” “rich in strong joys, beautiful impulses, serious, deep experiences.” This is “a quiet, dreamy evening, a dark, mysterious night, the whisper of lovers, a soulful song, mysterious forces” [Pereverzev 1989: 288].

The author introduces another description of nocturnal nature when Levko, tired of the pranks of the boys overhead, finds himself near a pond, unnoticeably falls asleep and finds himself in the world of a fairy tale. The landscape here is the same: a majestic and gloomy maple forest, a “motionless pond”, a moon illuminating everything around, “the peals of a nightingale”, “a brilliant night”.

only the sounds of the nightingale.

...He looked around: the night seemed even more brilliant before him. some a strange, intoxicating radiance mixed with the shine of the month. Never before had I seen anything like him. Silver Mist fell on the surrounding area. The smell of blossoming apple trees and night flowers flowed throughout the land.

This is how the transition from the real world to the world of dreams and fairy tales is carried out imperceptibly. When does this transition take place? Most likely when " a silver mist fell over the area" When Levko wakes up, he literally returns to the sublunary world: “The moon, stopping over his head, showed midnight...”. That is, again the silver light of the month turns out to be the border of the worlds of real and fictional, earthly and heavenly.

"thoughtful evening"

...And after a few minutes everyone in the village fell asleep; only one month swam just as brilliantly and wonderfully divine night, burned out majestically. She was just as beautiful land in marvelous silver shine; but no one reveled in them: everything fell asleep.

The image of the moon in a work can be symbolic, that is, it can express various figurative meanings. Since the symbol has many meanings, the lunar landscape can have a variety of interpretations. For example, the moon is often a symbol of death. Thus, the moon as a symbol of death is often found in A.P. Chekhov. Moonlight floods many of Chekhov's landscapes, filling them with a sad mood, peace, tranquility and immobility, similar to what death brings. The story about Belikov's death is followed in the story by a description of a beautiful rural picture, bathed in moonlight, from which freshness and peace emanate.

It was already midnight. To the right the entire village was visible, the long street stretched far, about five miles. Everything was immersed in a quiet, deep sleep; no movement, no sound, I can’t even believe that nature can be so quiet. When on a moonlit night you see a wide rural street with its huts, haystacks, sleeping willows, then my soul becomes quiet Seems that the stars look at her tenderly and with tenderness and that there is no longer evil on earth and everything is fine

It is no coincidence that Chekhov uses the word here "Seems", because external well-being and absence of evil after Belikov’s death are deceptive. In fact, with Belikov’s death, case life did not disappear, since he was not its only representative in the city. Life,

And in fact, Belikov was buried, but how many more such people are left in the case, how many more will there be!(Chekhov, Man in a Case).

The moon illuminates the cold corpse of Doctor Ragin in the story "Ward №6".

There he lay on the table with his eyes open, and the moon illuminated him at night(Chekhov, Ward No. 6).

The main character dies, so the author punishes him for his lack of will, for his unwillingness to fight evil. “Chekhov sternly and courageously condemned the position of social indifference, because Oblomov’s attitude to life of Dr. Ragin, his extreme indifference to people turns out to be disastrous not only for his patients, but also for Ragin himself” [Kaplan 1997: 69].

The image of the moon also appears before Ragin’s death: when the hero finds himself in the place of his patients. It is an ominous omen and reflects the feeling of fear in the hero’s soul.

cold, purple moon…“This is reality!” - thought Andrei Yefimitch, and he felt scared. The moon was also scary (Chekhov, Ward No. 6).

Then everything became quiet. Liquid moonlight walked through the bars, and on the floor lay a shadow like a net. It was scary (Chekhov, Ward No. 6).

Chekhov himself spoke about this: “In descriptions of nature, you need to grab hold of small details, grouping them in such a way that after reading, when you close your eyes, a picture is given” [Sokhryakov: 47]. IN in this case such expressive details are "cold, crimson moon", "liquid Moonlight" and realized that all reality is a prison, he realized his guilt before people. Finding himself in a ward, and not in a cozy office, in a patient’s robe, and not in a uniform or a tailcoat, he realized that “it turns out that one cannot despise suffering; indifference is scary!” [Kaplan 1997: 73].

But the idea of the relationship between the moon and death is most clearly expressed in the story when Startsev sees the cemetery “a world where the moonlight is so good and soft, as if its cradle is here”

The moon can also act as a symbol of dark passion. Thus, Chekhov’s moon pushes towards a forbidden feeling, encourages infidelity. In the story "Lady with a 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.

They walked and talked about ; the water was lilac in color, so soft and warm, and along it golden came from the moon band

Olga Ivanovna from the story "Jumping"

- Yes, what a night! - she whispered, looking into his eyes, shining with tears, then quickly looked around, hugged him and kissed him hard on the lips (Chekhov, Jumping Girl).

Inexperienced Anya, the heroine of the story "Anna on the Neck", takes the first step on the path of a spoiled coquette on a moonlit night.

She went out onto the platform, under the moonlight, and stood so that everyone could see her in her new magnificent dress and hat... Noticing that Artynov was looking at her, she And spoke loudly French, and that's why that her own voice sounded so beautiful and that music and the moon reflected in the pond, and because Artynov was looking at her greedily and curiously... she suddenly felt joy...(Chekhov, Anna on the neck).

The main character is a poor girl who, for the sake of her family, marries a rich man who is actually disgusting and disgusting to her. Immediately after the wedding, the newly-made husband takes his young wife to pray at the monastery in order to show her “that in marriage he gives first place to religion and morality.” At the station, Anya is immersed in difficult thoughts about her family, but suddenly, in the moonlight, she notices interested glances from men and decides that she will certainly be happy. It is in this episode that a turning point occurs in the heroine’s soul; she embarks on the path of her moral decline. We see how Anya gradually turns from an immaculate, pure girl into a shameless socialite.

The moon fuels passion in Startsev in the story. He is overcome by erotic fantasies.

...Startsev was waiting, and for sure the moonlight fueled his passion, waited passionately and imagined kisses, hugs who loved, burned with passion at night, surrendering to affection... in front of him the pieces were no longer white marble, and beautiful bodies, he saw forms that shyly hid in the shade of trees, felt warmth, and this languor became painful(Chekhov, Ionych).

U I. A. Bunina The image of the moon most often acts as a symbol of unhappy love. So, in his story "Clean Monday" the main character and his beloved, on the eve of their unexpected separation, are walking under full moon. The moon foreshadows their separation; it is no coincidence that the heroine associates it with a skull.

On the way she was silent, bowing her head from the bright moonlit snowstorm flying towards her. Full month diving in the clouds above the Kremlin - “some kind of glowing skull", - she said(Bunin, Clean Monday).

The story “Clean Monday” repeats the characteristic “formula” of the plot of all Bunin’s stories about love - the meeting of a man and a woman, their rapid rapprochement, a dazzling outbreak of feelings and an inevitable separation. Moreover, in this story the parting is not immediately clear to us, it seems strange and mysterious at the beginning, because visible reasons he's not there. But this is the peculiarity of Bunin’s love, since it is always tragic, doomed, for only when the heroes part, as Bunin believed, will they preserve this love for the rest of their lives. For Bunin, the sphere of love is a sphere of unsolved mystery, unspokenness, opaque semantic depth. “Love,” as one of his contemporaries wrote, “has always seemed to him perhaps the most significant and mysterious thing in the world” [Mikhailova 2000: 58]. The lunar landscape in the story further emphasizes the mystery of the feelings of two loving people.

Chapter 3 Functions of the lunar landscape in lyrical works

In lyrical works, the landscape is presented more sparingly than in prose. But because of this, the symbolic load of the landscape increases. This function is reflected especially clearly in the poetry of the Symbolists.

Yes, for K. Balmont, like for many other symbolists, the moon is a symbol of the ideal world, the world of dreams, beauty, creativity. The poet shrouds the image of the moon in a haze of mystery, sings of its sad beauty: “The moon is rich in the power of suggestion, // always hovers secret.//…//With her ray, a pale green ray,// She caresses, ,//…// But, beckoning us with unforgettable hope,// She herself fell asleep in the pale distance,// Beauty of melancholy unvariable, // Supreme Lady of Sorrow"(Balmont, Luna). The connection between the moon and the ideal world is particularly clear in his sonnet “Moonlight”:

When the moon sparkles in the darkness of the night

With your sickle, brilliant and tender,

My soul yearns for another world,

Captivated by everything distant, everything boundless.

A Vyacheslav Ivanov in one of his poems, metaphorically calling the moon by the name of the demonic goddess Hecate, he directly calls it “the double of the world”:

The pale, warm night light,

Mirror of black dull agate

This is how the double calls

Mira - Hecate.

The image of the moon in the “senior symbolist” is revealed somewhat differently. For him, the moon acts as the bearer of universal evil. In his poem “Winter Evening,” the poet speaks about the moon like this: “O dim moon // With evil eyes,” “Criminal moon, // You are full of horror,” “The cursed face of the moon // Filled with evil power.” In addition, the image of the moon here can also be seen as a symbol of death, because under the evil gaze of the night mistress of the sky, the image of a drooping reed, “sick, dry and skinny,” appears. In addition to the moon, symbols of death are the images of silence and the crow:

The moon's cursed face

Filled with evil power...

The reeds drooped to the ground,

Crows hoarse cry

You can hear it from the bare grove.

And there is silence in the sky,

Like in a desecrated temple...

It is not surprising that in literature the symbolism of the lunar image is so diverse. After all, its roots are connected with mythology. And in mythology, the moon plays a very ambiguous role, and people’s attitude towards it was contradictory. On the one hand, the mistress of the night is a sorceress, unable to distinguish between good and evil. But at the same time, the moon is an eternal symbol of the feminine maternal principle, the first assistant to women in labor and young mothers. So, in Western (Ancient Greek and Roman) mythology we will meet various forms of the lunar deity. This is Selene - the goddess of femininity, and Artemis - a symbol of virgin nature, purity, and Hera - the goddess of motherhood, marriage, and Persephone, symbolizing rebirth, magic, and Hecate - the goddess of darkness and ghosts, the patroness of illusions and deceptions. Therefore, for example, interpretations of the lunar image in literature as a symbol of animal passion, a symbol of death go back to the mythological image of the moon like Hecate, a demonic goddess, and as a symbol of unhappy love - to a mythological image like Selene, who, according to myths, suffered from unrequited love [Mythological Dictionary: 129]

It must be remembered that in poetry the most important thing in a landscape is not the nature itself, but the feeling that the poet wanted to convey. The moon in works of art is more often used to create an elegiac mood, to immerse the reader in a world of melancholy, sadness, and dreams. This artistic solution is often used in many works of romantics. The spectacle of the romantic opposition between the world and the ideal hero is highlighted by twilight, the dying fire of the moon and stars, thanks to which the boundaries of reality, immersed in semi-darkness, are blurred. It is in such an atmosphere that the romantic hero gains confidence in the vastness of his own existence, in the absence of limits between him and existence. The lunar landscape sets the theme of timeless space; this is the sphere of the birth of the elements, the personality as an independent substance, the only one capable of comprehending the deep meaning of the universe. The moon, reflecting the unconscious principle, could not help but be used by romantics who were irrational in understanding the world.

Thus, the creator of a romantic landscape with a mysterious twilight flavor, V. A. Zhukovsky of which he remained an unsurpassed master, predecessor and inspirer of A. Blok. Zhukovsky is one of the most “lunar” poets, glorifying the night star in more than 10 poems and creating in his “Detailed Report on the Moon...” a unique poetic encyclopedia of lunar motifs in his own work” [Epstein 1990: 210]. Zhukovsky uses the image of the moon to immerse himself in the world of dreams and memories:

O quiet luminary of the pensive heavens,

How pale the coast has become!

I sit thinking; in the soul of my dreams;

I fly with memories of times gone by...

O spring of my days, how quickly you disappeared

With your bliss and suffering!

(Zhukovsky, Evening)

It is with the moon that the poet associates the mystery of existence, so he often uses the epithet “mysterious” in relation to it:

Him the moon through the dark forest

Lamp

(Zhukovsky, Detailed report to the moon)

Most often, the moon appears in Zhukovsky’s elegies, as it gives the lyrical plot a sad, despondent mood. But it should be noted that Zhukovsky’s lunar landscape is shrouded in light sadness, it feels like the poet is even enjoying it. So, in one of the poems the lyrical hero, addressing the month, says:

Covered the forest and valley again

He melted my soul

Sweet silence …

(Zhukovsky, By the month)

“Sweet silence”, given to the lyrical hero by the contemplation of a moonlit night, reflects the attitude of Zhukovsky himself. For him the sweetness of contemplation is key concept And the most important feature"life of the soul." Zhukovsky's lyrical hero is a contemplator of the world. “Zhukovsky is the first Russian poet who managed not only to embody in poetry the real colors, sounds and smells of nature - everything that makes up its “material” beauty, but to permeate nature with the feeling and thought of the person who perceives it” [Semenko 1975: 84].

As mentioned above, the image of the moon occupies a special place in poetry. S. A. Yesenina in the poet's early work there is more of a folkloric element than in his mature one (the month is closer to folklore, it is a fairy-tale character). It is interesting that in the image of the month Yesenin emphasizes its shape and appearance:

Behind the dark strand of woods, Time is a mill with a wing

In the unshakable blue, drops behind the village

Curly lamb month Month pendulum in rye

Walking in the blue grass. It rains unseen for hours.

1916 1917

Oh, and I myself am in the ringing thicket. Look around with a calm gaze,

I saw it yesterday in the fog: Look: damp in the darkness

The month is like a yellow raven

1917 1925

The sky is like a bell, Praise, my verse, who roars and rages

Month - language Who buries melancholy in his shoulder

I am a Bolshevik. Grab the bridle of the rays.

Moon's horn the cloud butts, cleans month in a thatched roof

Bathed in blue dust. .

No one will guess this night, 1917

Why did the cranes scream?

In the image of the moon, the poet describes more the light that it emits and the feeling that it inspires in the lyrical hero:

In the wooden wings of the window Cold gold of the moon ,

Along with frames in thin curtains The smell of oleander and gillyflower.

The eccentric moon is knitting

. Blue and affectionate country.

The light is so bright you can prick your eyes out … .

I bet on the queen of spades, it pleases my heart with quiet pain

And he played the ace of diamonds. Something to remember from my early years.

1925 1925

Uncomfortable liquid lunarness Oh, the moon has this

And the melancholy of endless plains, - .

This is what I saw in my playful youth, I don’t want peace

1925 1925

from the early years").

An interesting interpretation of the image of the moon can be observed in creativity V. Mayakovsky, a prominent representative of futurism. As a representative of urban poetry, he belittles this image. This is not surprising, because for futurists nature is the embodiment of the old, inert order. Thus, in his poem “Hell of the City,” Mayakovsky depicts the moon this way:

And then - having crumpled up the lanterns of the blanket -

the night is in love, obscene and drunk,

hobbled

useless, flabby moon .

We see that the lyrical hero is opposed to nature, he acts as a rebel and treats nature ironically. The poet emphatically “desacralizes” the moon, deprives it of the halo of sublimity and holiness, treating it with extreme familiarity, and sometimes does not stop at using abusive expressions addressed to it: “the moon, like a fool // ...// flat-faced pancake” [Epstein 1990: 246 ].

Conclusion

So, a lunar landscape is a type of landscape based on the light source. A lunar landscape will be called an image of an open space illuminated by moonlight. The author’s choice of the lunar image may indicate his pessimistic worldview (as, for example, in S. A. Yesenin). We have reflected the following functions of using the lunar landscape:

1. Explanation of the time and place of events - the lunar landscape determines the night time of the action.

2. Explanation of the state, mood of the hero with the help of a psychological parallel or opposition - most often this is a lyrical mood, forcing the hero to think about the meaning of life, about his place in this world, filling the hero with the expectation of something mysterious.

3. Creating an elegiac emotional tone - by including a lunar landscape, the author manages to immerse the reader in a world of melancholy, sadness, dreams, and mystery. This function is clearly represented in the lunar landscapes of Turgenev, Zhukovsky, Yesenin and others.

4. Expression of the author’s philosophical, ethical ideas - thus, Gogol, depicting a May night, wants to show the beautiful poetic world of Ukrainian nature, and Mayakovsky, emphatically reducing the lunar landscape, contrasts himself with nature, which in his eyes is a representative of the old inert order.

5. symbolic function - the moon can be a symbol of death (for example, in A.P. Chekhov), a symbol of unhappy love and separation (in I.A. Bunin), a symbol of dark passion (also in A.P. Chekhov), a symbol of the universal evil (in D. I. Merezhkovsky), a symbol of the ideal, heavenly world (in K. D. Balmont, Vyach. Ivanov), etc.

The lunar landscape is a component of the romantic landscape, because the motif of the night becomes an allegorical plot of dramatic events, shrouded in mystery and mysticism. The use of the lunar landscape by realist writers (A.P. Chekhov, N.V. Gogol, I.S. Turgenev, L.N. Tolstoy, I.A. Bunin) gives romantic features to their work.

BIBLIOGRAPHY

2. Grekov V.N. Russian fiction / From the book. Russian and Soviet science fiction. - M.: Pravda, 1989.

3. Kaplan I. E. Analysis of works of Russian classics: School course: A book for teachers, high school students, applicants. – M.: New School, 1997.

4. Kataev V. B. The complexity of simplicity: Stories and plays by Chekhov. To help teachers, high school students and applicants. – M.: Moscow State University Publishing House, 1998.

5. Mineralov Yu. I. History of Russian literature of the 19th century (40-60s): Textbook. allowance. - M.: Higher. school, 2003.

6. Mythological Dictionary: A Book for Teachers / M. N. Botvinnik, B. M. Kogan, M. B. Rabinovich. - M.: Education, 1985.

9. Semenko I. M. Life and poetry of Zhukovsky.: M., “Khudozh. lit.”, 1975.

10. Dictionary of Antiquity / Edited by R. I. Kuzishchin. - M.: Ellis Luck; Progress, 1993.

11. Sokhryakov Yu. I. Artistic discoveries of Russian writers: On the global significance of Russian literature. – M.: Education, 1990.

12. Shatalov S. E. The artistic world of I. S. Turgenev.: M., Publishing House “Science”, 1979.

13. Epstein M. N. “Nature, world, hiding place of the universe...”: System of landscape images in Russian poetry: Scientific. -popul. - M.: Higher. school, 1990.

T. N. Volkova (Shuya)
“THE MYSTERY ALWAYS HURTS AROUND HER”: THE IMAGE OF THE MOON IN THE POETRY OF K. BALMONT
(to Russian literature lessons)

The feeling of homeland, which pervades all Russian lyrics, is a deep ancient feeling, expressed in personifications, in “psychological parallelism,” in comparisons of natural phenomena with states of the soul. Russian classics always thought about the relationship between man and nature and found bright verbal colors to describe it, therefore, in literature lessons, it is necessary to reveal to students the charm of their native nature, its noble beauty, which will allow the teacher to carry out unobtrusive everyday work to cultivate a respectful attitude towards their native nature, so how the unity of man and nature is the key to spirituality and culture. Schoolchildren live, grow, are educated, and mature among Russian nature, but they do not always pay attention to its amazing beauty, they do not always notice the silver-violet forest in winter, blue shadows on the snow, golden spots of the sun on delicate spring foliage, golden-pink sunsets in summer. They need to see this and feel their connection with their native nature.

“Not what you think, nature:
Not a cast, not a soulless face.
She has a soul, she has freedom,
There is love in it, there is language in it...” –

said in a memorable poem by F.I. Tyutchev, who was an inspired singer of nature. Tyutchev's poems about nature are almost always a passionate declaration of love for it. It seems to the poet the highest bliss available to man to admire the diverse manifestations of natural life.

Nature was a source of inspiration for K. D. Balmont, who loved it very much, felt it subtly and personified it in his work, reflecting the connection between nature and the state of the human soul. In the poetry of K. Balmont we find intoxication with life, admiration for the beauty of the earth, its spring, its flowering. This attitude of the poet to nature is very clearly expressed in the poem “Say in a moment: stop!”:

Perhaps all of nature is a mosaic of flowers?
Perhaps all nature is a variety of voices?
Perhaps all of nature is just numbers and features?
Perhaps all of nature is a desire for beauty?

Thought has no instrument to measure depth.
There is no strength to slow down the running spring.
There is only one opportunity to say in an instant: stop!
Having broken the shackles of thought, to be shackled is a dream.

Balmont's poems about nature are filled with the sun, the affirmation of life, but at the same time, the poet devotes many poems to the queen of the night - the Moon. The moon occupies a special place in Balmont's poetry. Balmont's image of the Moon is always shrouded in mystery.

In literature classes in high school, it is advisable to offer students the topic “There is always a mystery around her...”. The image of the Moon in Balmont’s poetry is woven from contradictions, which appears very clearly in the poem “Moon”:

The moon is rich in the power of suggestion,
There is always a mystery around her.
She echoes us: “Life is a reflection,
But this ghost is breathing for a reason.”

With your ray, a pale green ray,
She caresses, strangely so exciting,
And induces the soul to long groans
The influence of a fatal kiss.

With its damage, two-week death
And with a new sovereign radiance
She talks about sadness that is not aimless,
That light awaits us after we die.

But beckoning us with unforgettable hope,
She herself fell asleep in the pale distance,
Beauty of constant melancholy,
Supreme mistress of sorrow!

What does the poet see as the contradictory nature of the Moon? How does the Moon affect the poet’s state of mind? Did you feel the life-affirming motive sounding in the poem?

On the one hand, the Moon is the “supreme mistress of sadness”, “the beauty of unchanging melancholy”, she encourages the soul to long groans, her pale green ray induces melancholy, sadness, but, on the other hand, this sadness is not aimless, the Moon beckons us with unforgettable hope to the fact that “the light awaits us after dying,” since after a flawed month a new “sovereign radiance” appears. And in this the poet sees the secret of the Moon, that is, life always triumphs. A life-affirming motif permeates the entire poem, but the mystery still remains.

The poem “New Moon” is shrouded in mysterious lightness and airiness. How is this expressed in the construction of the poem? What role do verbs play in each stanza?

The crescent moon is young,
Together with a magnificent star,
In the blue heights
Sees clearly to me.

The crescent moon is young,
Over frozen water
On a sleeping wave,
Seems strange to me.

The crescent moon is young,
With a radiant star,
In blue silence
Seems like a fairy tale to me.

The New Moon is Birth new moon, at this time its thin shiny crescent appears in the sky. The sky seems high, spacious, new life mysteriously arises and rejoices in it. The rhythmic and melodic structure of the poem is distinguished by the fact that each new stanza begins with the line “The young sickle of the Moon”, as a result, the image of the Moon appears in the poem three times. This makes it stand out as key and gives the poem special integrity. In the first stanza, the Moon is depicted “in the blue heights”, in the heavens; in the second - “on a sleeping wave,” that is, reflected in the water; in the third - “in blue silence,” which seems to absorb both the sky and the water, reflecting the color of the heights (“blue”) and the silence of the “sleeping” wave.”

Thus, the real image of the Moon becomes magical, reminding the poet of a fairy tale. The moon mysteriously turns into a fairy-tale image: it is simultaneously present in the sky, on the wave, and in the silence of the night. At first the poet sees the bright Moon, then it seems strange to him, and then he wonders, the Moon is gradually shrouded in a haze of mystery.

The mystery of the Moon also permeates the poem “Reeds”.

What mood is this poem permeated with?

The poet paints a sad image of the month without explaining its sadness: “In the swamp, a dying face trembles. / Then the crimson month sadly drooped”; and further: “But the sad month silently drooped. / Does not know. He bows his face lower and lower.” “The inclusion of the “sad” month, which bowed the face of the month, into the figurative system of the poem makes clear the motive of mystery, enigma, and in general the poem conveys a feeling of alarming (if not to say mystical) mystery. The questions that the reeds, rustling, ask (“Who? For what? Why are the lights burning between them?”) remain unanswered.”

The image of the Moon is also contradictory in the sonnet “Beatrice”. Here is an excerpt from this poem:

And you are still silent and sad,
Only your gaze sparkles and speaks at times.
Isn't it so sometimes, Lady Moon?

Hides his radiant face behind the mountain, -
But even beyond the rocks, bowing his forehead,
From the cramped darkness it burns brightly.

Why does the poet compare the heroine with the Moon?

Here the Moon is depicted as the faithful companion of love. The poet compares the heroine of the sonnet with the Moon, which “hides its radiant face” behind the mountain, but still “beyond the rocks<…>from the cramped darkness it burns brightly”; So is Beatrice - “silent and sad,” but her gaze is very expressive: “Only your gaze sparkles and speaks at times.”

In the poem “Silence,” the Moon is shrouded in mystery; she looks into the waters of a dozing river, connecting the earthly and heavenly worlds.

What language does the poet use to show this connection?

The Dormant River
Reflects the clouds
Quiet, pale light of heaven,
Quiet, dark, sleepy forest.

Into these waters from above
Looks at the pale light of the moon,
The stars stream a quiet light,
The eyes of angels are looking.

The poet draws a life-affirming, but full of contradictory mystery image of the Moon in the poem “My Home”:

In this house there is a tower, not one, four.
In this house the light and darkness are more joyful than in the world.
The sun shines from the ceiling, does not burn out during the day,
The moon plays like silver in the night with the stars.

And when I look out the window towards the deserts,
The moon is shining in the sky, the sun is in the blue sea,
They shine for the world, but sometimes clouds weave mourning for them...

What house is the poet talking about? Why is there “more joyful light and darkness in this house than in the world”?

The moon attracts Balmont with its sparkling secret mystery, it captivates the poet, bewitches his soul. All this is very clearly manifested in the sonnet “Moonlight”:

When the moon sparkles in the darkness of the night
With your brilliant and tender sickle,
My soul yearns for another world,
Captivated by everything distant, everything boundless.

To the forests, to the mountains, to the snow-white peaks
I rush in dreams, as if the spirit is sick,
I am awake over a serene world.
And I cry sweetly, and breathe - the Moon.

I drink in this pale radiance,
Like an elf, I swing in a grid of rays,
I listen to the silence speak.

The suffering of my relatives is far away.
The whole Earth with its struggle is alien to me.
I am a cloud, I am a breath of wind.

How does the poem convey the poet's admiration for the Moon? What feelings does the Moon awaken in the poet’s soul? How is the poet’s desire to merge with nature, his desire for will and freedom conveyed?

The poet admires the Moon, calling her brilliant and tender; he is captivated by the vast night sky, in which the Moon reigns. In his dreams, the poet seems to renounce the earthly world, he soars above the earth, soars “to forests, mountains, snow-white peaks,” he breathes the Moon, forgetting about everything in the world. The poet wants to say that the Moon awakens sublime feelings in a person, he cries sweetly, drinks in the “pale radiance” of the Moon. This is love for the world, love for native nature, admiration for the universe, the desire to merge with nature: “I am a cloud, I am the breath of the breeze.”

The poem “Autumn Moon” is imbued with the feeling of the poet’s merging with nature, in which a unique autumn picture, permeated with the “singing moon”:

Autumn moon over yellow leaves
Trees already preparing their winter sleep
Looks like a barely audible night tune,
In which the past days we are the same, ourselves.

The silver-chased river is silent,
The delights of summer days seem to have exhausted
The flow of these waters plays with damp dust.

And the silent melancholy freezes, subdued,
Having not satisfied myself from the former abundance,
We watch how moments pass through centuries.

How does the autumn “singing” Moon affect a person’s mood?

Here is the “Autumn Moon”, she looks down on yellow leaves trees preparing for winter. The life of nature gradually freezes in the fall, so the Moon “looks like a barely audible night tune,” it no longer shines, no longer triumphs in the autumn sky, and a person’s mood changes at this time: “We yearn for love, we are burdened with the earth, / We listen to the Singing Moon eyes." Under the quiet Moon, the river is silent, but remains very beautiful, “chased with silver,” it turns silver, but the waves no longer play, they “have exhausted the delights of summer days,” and again the motif of melancholy comes through in the poem, a person regrets the transience of life. The mood of nature and the mood of man again merge into one.

The poems of K. D. Balmont are filled with love for nature, dreams of freedom and a free life. Nature is a variety of colors, various herbs, delightful beauty, “music of flowers,” a brilliant, mysterious Moon and an eternally young Sun. In this Balmont saw the beauty of the world. “He sees beauty as the goal, the meaning, and the pathos of his life. Beauty as a goal. Beauty reigns over both good and evil. Beauty is the poet's fetish." His dreams were sublime, and this sublimity is always present in the poet in the image of the Moon, in the depiction of which sadness and joy, fading and rebirth, the beauty of life and its brevity merge into a triumphant hymn to life, mysterious but beautiful.

Notes

1. Poems by K. D. Balmont are quoted from the following publications: a) Balmont, K. Let's be like the Sun. Ivanovo, 2008; b) Balmont, K. Sonnets of the Sun, Honey and Moon. M., 1917; V) Balmont, K. Poems / intro. article and comp. L. Ozerova. M.: Artist. liter, 1990. (Classics and contemporaries. Poetic. bka.); G) Balmont, K. Poems / intro. article, compiled, prepared. text and notes Vl. Orlova. L.: Sov. pis., 1969. (Bka of the poet. Large series.); d) Balmont, K. Hundred-sounding songs: Op. (selected poetry and prose). Yaroslavl: Verkh.Volzh. book Publishing house, 1990.

2. Ozerov, L. Song of the Sun // Balmont, K. Poems. M.: Artist. liter, 1990. (Classics and contemporaries. Poetic book.)

3. Petrova, T.S. Analysis literary text And creative works At school. 6th grade. M.: Moscow Lyceum, 2004.

4. Tyutchev, F.I.“Not what you think, nature...” // Russian lyrics of the 19th century. M.: artist. lit., 1981. (Classics and contemporaries. Poetic book.)

Introduction…………………………………………………………...……….2

Chapter 1 General concept of the lunar landscape.…….………………………..5

Chapter 2 The function of the lunar landscape in epic works……….7

Chapter 3 The function of the lunar landscape in lyrical works.......18

Conclusion…………………………………………………………….....25

Bibliography…………………………………………………………....27

Introduction

The depiction of life could not be complete without descriptions of nature. This is why landscape is used so often in literature. But this is not the only reason for using landscape in a work of art. 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. A short touch in the description of nature can change the opposite impression of a work, give individual facts additional meaning, and place emphasis in a new way. Nature is not only sketches from life, it models life situations and comes to the fore of events either as a silent witness, or an initiator of unexpected emotional decisions, or an irresistible force that forces people to discover their own individuality.

The subject of this course work is the functions of the lunar landscape in the works of Russian writers and poets such as N.V. Gogol, L.N. Tolstoy, A.P. Chekhov, I.A. Bunin, V.A. Zhukovsky, K. D. Balmont, Vyach. Ivanov, D.I. Merezhkovsky, S.A. Yesenin, V. Mayakovsky. Thus, the purpose of the work is to define the concept of a lunar landscape, its role in a work of art based on the material of Russian literature. To achieve this goal, the following tasks were put forward:

Study the available scientific literature on this topic;

Define the concept of lunar landscape;

Find examples of the use of lunar landscapes in Russian literature and analyze them from the point of view of the purpose of their inclusion in the text of the work

Compare the data obtained and draw a conclusion.

Literature review. M.N. Epstein draws attention to the image of the moon in poetry in his book “Nature, the world, the hiding place of the universe...”. It is dedicated to landscape images in Russian poetry. Epstein traces repetitions of images in many poets.

When writing this work, we used articles and monographs such as:

Pereverzev V.F. “At the Origins of Russian Realism” (this book contains a chapter dedicated to the work of N.V. Gogol, which analyzes the collection of stories “Evenings on a Farm near Dikanka”);

I.E. Kaplan “Analysis of the works of Russian classics” (here the author analyzes the works of A.P. Chekhov, in particular, considers the image of Ragin from the story “Ward No. 6”);

Semenko I.M. “The Life and Poetry of Zhukovsky” (the scientist notes the romantic features in Zhukovsky’s work);

Kataev V.B. “The Complexity of Simplicity: Chekhov’s Stories and Plays” (this work contains an attempt to analyze the episode of the night in the cemetery from Chekhov’s story “Ionych”);

Shatalov S.E. “The Artistic World of I.S. Turgenev” (the author refers to Turgenev’s story “Ghosts” and explains why Turgenev the realist turns to the fantasy genre);

Grekov V.N. “Russian fiction” (the work examines Turgenev’s story “Ghosts”, explains the elegiac mood of the work, and provides critics’ reviews of the story);

Sokhryakov Yu.I. “Artistic discoveries of Russian writers” (the author notes the connection between man and nature in the works of Chekhov and Tolstoy).

When analyzing the lunar image in literature, we compared it with the image of the moon in mythology. For this purpose, the Mythological Dictionary edited by M.N. Botvinnik and the Dictionary of Antiquity edited by R.I. Kuzishchin were used. In addition, in order to highlight the functions of the lunar landscape in literature, we studied the role of the landscape in general. To do this, we used a textbook on literary criticism (“Introduction to Literary Studies,” edited by L.V. Chernets). The manual identifies four functions of landscape in a work of art.

Chapter 1. General concept of the lunar landscape

The moon is rich in the power of suggestion,

There's always a mystery around her

Balmont

The author’s choice of a particular light source is determined by the psychological make-up of the writer’s personality and the artistic intent of the work, therefore the author’s preference for a solar or lunar landscape can provide important information for understanding his work. It is generally accepted that sunny landscapes reflect the author’s optimistic mood, while lunar ones are typical for works with a pronounced elegiac tone. Thus, in poetry, S.A. Yesenin can rightfully be called the most “lunar poet”. According to M.N. Epstein, “of the luminaries, in the first place is the image of the moon-month, which is found in approximately every third work of Yesenin (in 41 out of 127 - a very high coefficient)” [Epstein 1990: 248]. The preference for moonlight is explained by Yesenin’s expressed tragic, pessimistic worldview.

Like any description of nature, the lunar landscape in a work of art is always motivated by something and plays some role. Thus, a landscape can perform the following functions:

2. Plot motivation. Natural processes can direct the course of events in one direction or another.

The lunar landscape is more typical for works of folklore and mythology, and is widely represented in the works of romantics and symbolists.

Chapter 2. Functions of the lunar landscape in epic works

Epic works provide the greatest opportunity for introducing landscapes that serve a variety of functions. Naturally, the lunar landscape in any prose work explains the place and time of action in the work. But in addition to the background function, it also performs others.

Thus, a lunar landscape can perform a psychological function - explaining the state and mood of the hero using the technique of psychological parallel or contrast. For example, soft moonlight corresponds to the tremulous state of Doctor Startsev in the story Chekhov's "Ionych"; the moon goes behind the clouds when he loses hope and his soul becomes dark and gloomy.

And it was as if a curtain had fallen, the moon went under the clouds, and suddenly everything went dark around(Chekhov, Ionych).

V.B. Kataev notes that the night at the cemetery gave Startsev the opportunity “to see for the first and only time in his life "a world unlike any other other", touch the mystery. The magical night in the old cemetery is the only thing in the story that bears the stamp of familiarity, repetition, and routine. She alone remained stunning and unique in the hero’s life” [Kataev 1998: 18].

It is interesting that this is the last episode where Startsev appears against the backdrop of nature. Chekhov shows against the background of nature only morally “living” heroes. After this episode, the hero mentally “dies” and becomes an ossified philistine. Thus, the moon going into the clouds marks the moral “death” of Startsev. We see that in Chekhov's story nature and man are in close relationship. This feature of Chekhov’s landscapes was correctly noted by Yu.I. Sokhryakov: “Following Tolstoy and Chernyshevsky, Chekhov refuses to consider man in isolation from nature or as simply a contemplator of its beauties” [Sokhryakov 1990: 47].

Description of a moonlit night in Otradnoye in the novel L.N. Tolstoy “War and Peace” also helps us understand the character’s inner world. Natasha admires the beautiful moonlit night and tries to convey this idea to Sonya. Natasha says:

Wake up, Sonya, because such a lovely night has never, never happened(L. Tolstoy, War and Peace).

The lunar landscape can also be used to express the author's intentions and to create a special atmosphere. This is the role the lunar landscape plays in the story. I. Turgenev “Ghosts”. This story, along with some others, occupies a special interesting place in his work. The story "Ghosts" is a mystical fantasy. This is not a completely characteristic direction for Turgenev, with his reputation as a sharp social exposer and realist. “However, there is no doubt that the writer felt a creative need to turn to mystical subjects from time to time in various periods of his life” [Mineralov 2003: 111]. But if you look deeper into the story, you will notice that Turgenev has not ceased to be a realist: just as in other works, he raises social, moral and philosophical themes, but presents them in a fantastic light. “The fantastic technique allows the realist artist to reveal the secret motives of the hero” [Shatalov 1979: 280]. The plot of "Ghosts" is based on an extraordinary incident: the protagonist's flights with the ghost of Ellis around the world. But the author emphatically portrays this event as real, not fictitious. “Turgenev used all the means of realism here in order to assure the reader of the possibility of the incredible, in order to give him a feeling of involvement in a fantastic story unfolding as if with his own eyes” [Shatalov 1979: 275]. One of such means in the work, naturally, is the landscape. The landscape in the story is plastic and tangible. Throughout the narrative, the author periodically turns to the lunar landscape. On the one hand, the moon, of course, creates an atmosphere of mystery and mysticism; it is against the background of moonlight that a ghost appears. But on the other hand, this lunar landscape is described so realistically that the illusion of the authenticity of what is happening arises. Thus, the moon is described in great detail, it is not static, it constantly changes as the story progresses:

Moon trail on the floorstarts quietlyrise up, straighten up , slightlyrounded at the top …

...The wind fluttered, the moonstood out more and more brightly in the blue sky - and soon the leaves of the trees began to sparkle with silver and black in its cold rays.

...The ghost quietly swayed forward, became confused, easily agitated, like smoke, - andthe moon turned white peacefully again on a smooth floor(Turgenev, Ghosts).

In addition, the moon introduces elegiac, sad motifs into this work. F. M. Dostoevsky himself noted: “Ghosts” are like music,” “filled with melancholy.” This melancholy seems to be caused by a premonition. Turgenev himself appreciated in “Ghosts” the subjectivity, the lyrical beginning, what the critic P.V. Annenkov called “elegy”, “the history of the artistic soul” [Grekov 1989: 10]. This mood is justified by the content of the story, because throughout the story the hero finds himself in the center of passions and human experiences, listens to human suffering and sorrow, and realizes the injustice of the social structure:

I felt sad and somehow indifferently boring... The earth itself, this flat surface that spread out beneath me; the entire globe with its population, momentary, weak, suppressed by need, grief, illness, chained to a block of despicable dust; this fragile, rough bark, this growth on the fiery grain of sand of our planet, along which mold appeared, which we call the organic, plant kingdom; these people are flies, a thousand times more insignificant than flies; their homes made of mud, tiny traces of their petty, monotonous fuss, their funny struggle with the unchangeable and inevitable - how did it suddenly happen to me?everything is disgusting ! Heart in myslowly turned over , and not I wanted to to memore stare to these insignificant pictures,for this vulgar exhibition … (Turgenev, Ghosts).

The events in the story unfold against the backdrop of a beautiful moonlit night. "May Night, or the Drowned Woman"N.V.Gogol. But the night landscape does not just frame the action and serve as a colorful backdrop. The description of nature here creates a poetic mood of the work and allows you to look at the characters’ characters from a certain angle. The description of the moonlit night gives the story special lyricism and charm. This is how one of Gogol’s most poetic stories begins, included in the collection “Evenings on a Farm near Dikanka”:

A sonorous song flowed like a river through the streets of the village*** There was a time when boys and girls, tired of the day's labors and worries, noisily gathered in a circle, in the brilliance of a clear evening, to pour out their joy in sounds that were always inseparable from despondency. And the thoughtful evening dreamily embraced the blue sky, turning everything into uncertainty and distance(Gogol, May Night, or the Drowned Woman).

But in the second chapter we are presented with a truly amazing picture of a moonlit May night:

Do you know Ukrainian night? Oh, you don’t know Ukrainian night! Take a closer look at her. The moon is looking down from the middle of the sky. The vast vault of heaven opened up and spread even more vastly. It burns and breathes.The earth is all in silver light ; and the wonderful air is cool and sultry, and full of bliss, and moves with an ocean of fragrances.Divine night! Charming night ! The forests, full of darkness, became motionless and inspired, and cast a huge shadow from themselves. These ponds are quiet and peaceful; the cold and darkness of their waters are gloomily enclosed in the dark green walls of the gardens. The virgin thickets of bird cherry trees timidly stretched out their roots into the spring cold and occasionally babble with their leaves, as if angry and indignant, when the beautiful anemone - the night wind, creeping up instantly, kisses them. The entire landscape is asleep. And above everything is breathing, everything is marvelous, everything is solemn. But the soul is both immense and wonderful, and crowds of silver visions harmoniously appear in its depths.Divine night! Charming night ! And suddenly everything came to life: forests, ponds, and steppes.The majestic thunder of the Ukrainian nightingale rains down , and it seems thatmonth listened to him in the middle of the sky …

It is no coincidence that the phrase “ Divine night! Charming night!” is repeated twice in a short passage. The author thereby forces the reader to admire this beautiful picture of nature, which he so tangibly recreated. Gogol in his description conveys the feeling that nature is alive. Air "full of bliss"; bird cherry and sweet cherry “they timidly extended their roots into the spring cold and occasionally babble with leaves”; night wind - "beautiful windy"; village, "as if enchanted", "sleeping". The landscape organically merges the earthly and heavenly worlds: month "in the middle of the sky" "listened to" nightingale. And unites these two worlds "divine night"

The maple forest, facing the moon, looked majestic and gloomy. The motionless pond breathed freshness on the tired pedestrian and forced him to rest on the shore. Everything was quiet; in the deep thicket of the forest only the rumbles of the nightingale could be heard.

...He looked around: the night seemed even more brilliant before him. some . Never before had I seen anything like him.Silver Mist fell on the surrounding area. The smell of blossoming apple trees and night flowers flowed throughout the land.

This is how the transition from the real world to the world of dreams and fairy tales is carried out imperceptibly. When does this transition take place? Most likely when " a strange, intoxicating radiance mixed with the shine of the month" and when " a silver mist fell over the area" When Levko wakes up, he literally returns to the sublunary world: “The moon, stopping over his head, showed midnight...”. That is, again the silver light of the month turns out to be the border of the worlds of real and fictional, earthly and heavenly.

From a poetic landscape "thoughtful evening" the story begins. In it, reality is closely intertwined with fiction, fantasy, and the world of legends. The work ends on the same poetic note:

...And after a few minutes everyone in the village fell asleep; only onemonth swam just as brilliantly and wonderfully in the vast deserts of the luxurious Ukrainian sky. The night breathed just as solemnly in the heights,divine night , burned out majestically. She was just as beautifulland in marvelous silver shine ; but no one reveled in them: everything fell asleep.

Thus, we see that the night landscape frames the story, encloses its action in a kind of frame composition, it fills the characters of Levko and Ganna with poetry.

The image of the moon in a work can be symbolic, that is, it can express various figurative meanings. Since the symbol has many meanings, the lunar landscape can have a variety of interpretations. For example, the moon is often a symbol of death. Thus, the moon as a symbol of death is often found in A.P. Chekhov. Moonlight floods many of Chekhov's landscapes, filling them with a sad mood, peace, tranquility and immobility, similar to what death brings. Behind the story of Belikov's death in the story "Man in a Case" follows a description of a beautiful rural picture, bathed in moonlight, from which freshness and peace emanate.

It was already midnight. To the right the entire village was visible, the long street stretched far, about five miles. Everything was immersed in a quiet, deep sleep; no movement, no sound, I can’t even believe that nature can be so quiet. Whenon a moonlit night you see a wide rural street with its huts, haystacks, sleeping willows, thenmy soul becomes quiet ; in this peace of hers, hidden in the shadows of the night from work, worries and grief, she is meek, sad, beautiful, and,Seems that the stars look at her tenderly and with tenderness andthat there is no longer evil on earth and everything is fine (Chekhov, Man in a Case).

And in fact, Belikov was buried, but how many more such people are left in the case, how many more will there be!(Chekhov, Man in a Case).

The moon illuminates the cold corpse of Doctor Ragin in the story "Ward №6".

There he lay on the table with his eyes open, and the moon illuminated him at night(Chekhov, Ward No. 6).

The image of the moon also appears before Ragin’s death: when the hero finds himself in the place of his patients. It is an ominous omen and reflects the feeling of fear in the hero’s soul.

Andrei Yefimitch went to the window and looked out into the field. It was already getting dark, and on the horizon on the right side was risingcold, purple moon… “This is reality!” - thought Andrei Yefimitch, and he felt scared.The moon was also scary , and the prison, and the nails on the fence, and the distant flame in the bone plant(Chekhov, Ward No. 6).

Then everything became quiet.Liquid moonlight walked through the bars, and on the floor lay a shadow like a net.It was scary (Chekhov, Ward No. 6).

The description of the lunar landscape in this story by Chekhov, and indeed in all others, is very laconic, but Chekhov is different in that, using only catchy, spectacular details, he creates an impressive picture of nature. Chekhov himself spoke about this: “In descriptions of nature, you need to grab hold of small details, grouping them in such a way that after reading, when you close your eyes, a picture is given” [Sokhryakov: 47]. In this case, such expressive details are "cold, crimson moon", "liquid Moonlight"- they are filled with bright expressive colors and paint before us a truly ominous picture that accurately depicts what is happening in the soul of the main character. Ragin feels horror, because he saw the light and realized that all reality is a prison, he realized his guilt before people. Finding himself in a ward, and not in a cozy office, in a patient’s robe, and not in a uniform or a tailcoat, he realized that “it turns out that one cannot despise suffering; indifference is scary!” [Kaplan 1997: 73].

But the idea of the relationship between the moon and death is most clearly expressed in the story "Ionych" when Startsev sees the cemetery “a world where the moonlight is so good and soft, as if its cradle is here”, Where “breathes of forgiveness, sadness and peace”(Chekhov, Ionych).

They walked and talked abouthow strangely the sea is lit ; the water was lilac in color, so soft and warm, and along itgolden came from the moon band (Chekhov, Lady with a Dog).

Olga Ivanovna from the story "Jumping", enchanted on a quiet moonlit night, decides to cheat on her husband.

- Yes, what a night! - she whispered, looking into his eyes, shining with tears, thenquickly looked around, hugged him and kissed him hard on the lips (Chekhov, Jumping Girl).

Inexperienced Anya, the heroine of the story "Anna on the Neck", takes the first step on the path of a spoiled coquette on a moonlit night.

Shewent out onto the platform, under the moonlight , and stood so that everyone could see her in her new magnificent dress and hat... Noticing that Artynov was looking at her, sheshe narrowed her eyes coquettishly Andspoke loudly French,and that's why that her own voice sounded so beautiful and that music andthe moon reflected in the pond , and because Artynov was looking at her greedily and curiously... she suddenly felt joy...(Chekhov, Anna on the neck).

The moon fuels passion in Startsev in the story "Ionych". He is overcome by erotic fantasies.

...Startsev was waiting, and for surethe moonlight fueled his passion , waited passionately andimagined kisses, hugs . He sat near the monument for half an hour, then walked along the side alleys, hat in hand, waiting and thinking about how many women and girls were buried here, in these graves, who were beautiful, charming, who loved, who burned with passion at night, surrendering to caress... in front of himthe pieces were no longer white marble, and beautiful bodies , he saw forms that shyly hid in the shade of trees, felt warmth, and this languor became painful(Chekhov, Ionych).

U I.A.Bunina The image of the moon most often acts as a symbol of unhappy love. So, in his story "Clean Monday" The main character and his lover, on the eve of their unexpected separation, walk under the full moon. The moon foreshadows their separation; it is no coincidence that the heroine associates it with a skull.

On the way she was silent, bowing her head from the bright moonlit snowstorm flying towards her.Full month diving in the clouds above the Kremlin - “some kind ofglowing skull ", - she said(Bunin, Clean Monday).

The story “Clean Monday” repeats the characteristic “formula” of the plot of all Bunin’s stories about love - the meeting of a man and a woman, their rapid rapprochement, a dazzling outbreak of feelings and an inevitable separation. Moreover, in this story the separation is not immediately clear to us; at the beginning it seems strange and mysterious, because there are no visible reasons for it. But this is the peculiarity of Bunin’s love, since it is always tragic, doomed, for only when the heroes part, as Bunin believed, will they preserve this love for the rest of their lives. For Bunin, the sphere of love is a sphere of unsolved mystery, unspoken, opaque semantic depth. “Love,” as one of his contemporaries wrote, “has always seemed to him perhaps the most significant and mysterious thing in the world” [Mikhailova 2000: 58]. The lunar landscape in the story further emphasizes the mystery of the feelings of two loving people.

Chapter 3. Functions of the lunar landscape in lyrical works

Yes, for K. Balmont, like for many other symbolists, the moon is a symbol of the ideal world, the world of dreams, beauty, creativity. The poet shrouds the image of the moon in a haze of mystery, sings of its sad beauty: “The moon is rich in the power of suggestion, // Around her always hovers secret.//…//With her ray, a pale green ray,// She caresses, strange so exciting,//…// But, beckoning us with unforgettable hope,// She herself fell asleep in the pale distance,// Beauty of melancholy unvariable, // Supreme Lady of Sorrow"(Balmont, Luna). The connection between the moon and the ideal world is particularly clear in his sonnet “Moonlight”:

When the moon sparkles in the darkness of the night

With your sickle, brilliant and tender,

My soul yearns for another world,

Captivated by everything distant, everything boundless.

A Vyacheslav Ivanov in one of his poems, metaphorically calling the moon by the name of the demonic goddess Hecate, he directly calls it “the double of the world”:

The pale, warm night light,

Mirror of black dull agate

This is how the double calls

Mira - Hecate.

The image of the moon in the “senior symbolist” is revealed somewhat differently D. Merezhkovsky. For him, the moon acts as the bearer of universal evil. In his poem “Winter Evening,” the poet speaks about the moon like this: “O dim moon // With evil eyes,” “Criminal moon, // You are full of horror,” “The cursed face of the moon // Filled with evil power.” In addition, the image of the moon here can also be seen as a symbol of death, because under the evil gaze of the night mistress of the sky, the image of a drooping reed, “sick, dry and skinny,” appears. In addition to the moon, symbols of death are the images of silence and the crow:

The moon's cursed face

Filled with evil power...

The reeds drooped to the ground,

Sick, dry and skinny...

Crows hoarse cry

You can hear it from the bare grove.

And there is silence in the sky,

Like in a desecrated temple...

It is not surprising that in literature the symbolism of the lunar image is so diverse. After all, its roots are connected with mythology. And in mythology, the moon plays a very ambiguous role, and people’s attitude towards it was contradictory. On the one hand, the mistress of the night is a sorceress, unable to distinguish between good and evil. But at the same time, the moon is an eternal symbol of the feminine maternal principle, the first assistant to women in labor and young mothers. So, in Western (Ancient Greek and Roman) mythology we will meet various forms of the lunar deity. This is Selena - the goddess of femininity, and Artemis - a symbol of virgin nature, purity, and Hera - the goddess of motherhood, marriage, and Persephone, symbolizing rebirth, magic, and Hecate - the goddess of darkness and ghosts, the patroness of illusions and deceptions. Therefore, for example, interpretations of the lunar image in literature as a symbol of animal passion, a symbol of death go back to the mythological image of the moon like Hecate, a demonic goddess, and as a symbol of unhappy love - to a mythological image like Selene, who according to myths suffered from unrequited love [Mythological Dictionary: 129]

Thus, the creator of a romantic landscape with a mysterious twilight flavor, V.A.Zhukovsky very often uses the lunar image. M.N. Epstein says about him: “Zhukovsky discovered the poetry of the fading day, the “evening transfiguration of the earth.” The poet’s worldview is close to the sunset hour, in the depiction of which he remained an unsurpassed master, predecessor and inspirer of A. Blok. Zhukovsky is one of the most “lunar” poets, glorifying the night star in more than 10 poems and creating in his “Detailed Report on the Moon...” a unique poetic encyclopedia of lunar motifs in his own work” [Epstein 1990: 210]. Zhukovsky uses the image of the moon to immerse himself in the world of dreams and memories:

The moon's flawed face rises from behind the hills…

O quiet luminary of the pensive heavens,

How your shine ripples in the darkness of the forests!

How pale the coast has become!

I sit thinking; in the soul of my dreams;

I fly with memories of times gone by...

O spring of my days, how quickly you disappeared

With your bliss and suffering!

(Zhukovsky, Evening)

It is with the moon that the poet associates the mystery of existence, so he often uses the epithet “mysterious” in relation to it:

Him the moon through the dark forest

Lamp mysterious shining...

(Zhukovsky, Detailed report to the moon)

Covered the forest and valley again

Your misty shine:

He melted my soul

Sweet silence…

(Zhukovsky, By the month)

“Sweet silence”, given to the lyrical hero by the contemplation of a moonlit night, reflects the attitude of Zhukovsky himself. For him, the sweetness of contemplation is a key concept and the most important sign of the “life of the soul.” Zhukovsky's lyrical hero is a contemplator of the world. “Zhukovsky is the first Russian poet who managed not only to embody in poetry the real colors, sounds and smells of nature - everything that makes up its “material” beauty, but to permeate nature with the feeling and thought of the person who perceives it” [Semenko 1975: 84].

As mentioned above, the image of the moon occupies a special place in poetry. S.A. Yesenina. Moreover, as M.N. Epstein notes, “in the early poems, until about 1920, the “month” predominates (18 out of 20), in the later ones - the moon (16 out of 21)” [Epstein 1990: 248]. In our opinion, this is explained by the fact that in the poet’s early work there is more of a folklore element than in his mature one (the month is closer to folklore, it is a fairy-tale character). It is interesting that in the image of the month Yesenin emphasizes its shape and appearance:

Behind the dark strand of woods, Time is a mill with a wing

In the unshakable blue, drops behind the village

Curly lamb - month Month pendulum in rye

Walking in the blue grass. It rains unseen for hours.

1916 1917

Oh, and I myself am in the ringing thicket. Look around with a calm gaze,

I saw it yesterday in the fog: Look: damp in the darkness

Red moon as a foal The month is like a yellow raven

He harnessed himself to our sleigh. It circles and soars above the ground.

1917 1925

The sky is like a bell, Glory, my verse, who roars and rages

Month - language Who buries melancholy in his shoulder

My mother is my homeland, Horse face of the month

I am a Bolshevik. Grab the bridle of the rays.

1918 1919

Moon's horn the cloud butts, cleans month in a thatched roof

Bathed in blue dust. Blue-rimmed horns.

No one will guess this night, 1917

Why did the cranes scream?

In the image of the moon, the poet describes more the light that it emits and the feeling that it inspires in the lyrical hero:

In the wooden wings of the window Cold gold of the moon,

Along with frames in thin curtains The smell of oleander and gillyflower.

The eccentric moon is knitting It's good to wander among peace

On the floor lace patterns. Blue and affectionate country.

1925 1925

Ah, the moon comes through the frame, Blue fog. Snow expanse,

The light is so bright you can prick your eyes out… Subtle lemon moonlight.

I bet on the queen of spades, it pleases my heart with quiet pain

And he played the ace of diamonds. Something to remember from my early years.

1925 1925

Uncomfortable liquid lunarness Oh, the moon has this

And the melancholy of endless plains, - It's shining - at least throw yourself into the water.

This is what I saw in my playful youth, I don’t want peace

That, while loving, not only one cursed. In this blue weather.

1925 1925

The moon brings sadness, melancholy and even despair into the soul of the lyrical hero, taking him into the world of memories of a bygone youth (compare: “Thin lemon moonlight.// It is pleasant to the heart with quiet pain// To remember something from the early years”).

And then - having crumpled up the lanterns of the blanket -

the night is in love, obscene and drunk,

and behind the suns of the streets somewhere hobbled

useless, flabby moon.

Conclusion

So, a lunar landscape is a type of landscape based on the light source. A lunar landscape will be called an image of an open space illuminated by moonlight. The author’s choice of the lunar image may indicate his pessimistic worldview (as, for example, in S.A. Yesenin). We have reflected the following functions of using the lunar landscape:

1. Explanation of the time and place of events - the lunar landscape determines the night time of the action.

2. Explanation of the hero’s state, mood with the help of a psychological parallel or contrast - most often this is a lyrical mood, forcing the hero to think about the meaning of life, about his place in this world, making the hero expect something mysterious.

4. Expression of the author’s philosophical and ethical ideas - thus, Gogol, depicting a May night, wants to show the beautiful poetic world of Ukrainian nature, and Mayakovsky, emphatically reducing the lunar landscape, contrasts himself with nature, which in his eyes is a representative of the old inert order.

5. symbolic function - the moon can be a symbol of death (for example, in A.P. Chekhov), a symbol of unhappy love and separation (in I.A. Bunin), a symbol of dark passion (also in A.P. Chekhov), a symbol of the universal evil (in D.I. Merezhkovsky), a symbol of the ideal, heavenly world (in K.D. Balmont, Vyach. Ivanov), etc.

BIBLIOGRAPHY

1. Introduction to literary criticism / edited by L.V. Chernets. - M.: Education, 1999.

2. Grekov V.N. Russian fiction / From the book. Russian and Soviet fiction. - M.: Pravda, 1989.

3. Kaplan I.E. Analysis of works of Russian classics: School course: A book for teachers, high school students, and applicants. - M.: New School, 1997.

4. Kataev V.B. The complexity of simplicity: Stories and plays by Chekhov. To help teachers, high school students and applicants. - M.: Moscow State University Publishing House, 1998.

5. Mineralov Yu.I. History of Russian literature of the 19th century (40-60s): Textbook. manual. - M.: Higher school, 2003.

6. Mythological Dictionary: A Book for Teachers / M.N. Botvinnik, B.M. Kogan, M.B. Rabinovich. - M.: Education, 1985.

7. Mikhailova M.V. I.A.Bunin / from the book. Russian literature of the 19th-20th centuries: in 2 volumes. T.2: Russian literature of the 20th century / Comp. and scientific editor B.S.Bugrov, M.M.Golubkov. - M.: Aspect Press, 2000.

8. Pereverzev V.F. At the origins of Russian realism. - M.: Sovremennik, 1989.

9. Semenko I.M. Life and poetry of Zhukovsky.: M., “Khudozh.lit.”, 1975.

10. Dictionary of Antiquity / Edited by R.I. Kuzishchin. - M.: Ellis Luck; Progress, 1993.

11. Sokhryakov Yu.I. Artistic discoveries of Russian writers: On the global significance of Russian literature. - M.: Education, 1990.

12. Shatalov S.E. The artistic world of I.S. Turgenev.: M., Publishing House "Science", 1979.

13. Epshtein M.N. “Nature, the world, the hiding place of the universe...”: The system of landscape images in Russian poetry: Popular Science. - M.: Vyssh.shk., 1990.

A picture of life cannot be complete without descriptions of nature. This is why landscape is used so often in literature. 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. The subject of our research is the functions of the lunar landscape in the works of Russian poets such as S. A. Yesenin, A. A. Fet, V. Bryusov. Thus, the purpose of the work is to define the concept of a lunar landscape, its role in a work of art based on the material of poems by Russian poets. The lunar landscape very often performs a symbolic function and carries a special meaning in a work of art. This is explained by the fact that in the minds of people the moon has always evoked mystical associations; people associated the activation of otherworldly forces with the night luminary. M. N. Epstein draws attention to the image of the moon in poetry in his book “Nature, the world, the hiding place of the universe.” It is dedicated to landscape images in Russian poetry. Epstein traces repetitions of images in many poets.

Lunar landscape in lyrical works

The image of the moon in the poems of S. A. Yesenin

Lunar, or as it is also called “lunar” landscape, is a type of landscape based on the light source. Its antipode is the solar (sunny) landscape. This opposition between the sun and the moon has been going on since time immemorial. The author’s choice of a particular light source is determined by the psychological make-up of the writer’s personality and the artistic intent of the work, therefore the author’s preference for a solar or lunar landscape can provide important information for understanding his work. It is generally accepted that sunny landscapes reflect the author’s optimistic mood, while lunar ones are typical for works with a pronounced elegiac tone.

Thus, in poetry, S. A. Yesenin can rightfully be called the most “lunar poet”. According to M. N. Epstein, “of the luminaries, in the first place is the image of the moon-month, which is found in approximately every third work of Yesenin (in 41 out of 127 - a very high coefficient).” Moreover, as M. N. Epstein notes, “in the early poems, until about 1920. , the “month” predominates (18 out of 20), in the later ones – the moon (16 out of 21).”

This is explained by the fact that in the early work of the poet there is more of a folklore element than in his mature one (the month is closer to folklore, it is a fairy-tale character). It is interesting that in the image of the month Yesenin emphasizes its shape and appearance:

Behind the dark strand of woods, Time is a mill with a wing

In the unshakable blue, drops behind the village

Curly lamb - month Moon pendulum in rye

Walking in the blue grass. It rains unseen for hours.

Oh, and I myself am in the ringing thicket. Look around with a calm gaze,

I saw it yesterday in the fog: Look: damp in the darkness

The red moon is like a foal, the moon is like a yellow raven,

He harnessed himself to our sleigh. It circles and soars above the ground.

In the image of the moon, the poet describes more the light that it emits and the feeling that it inspires in the lyrical hero:

In the wooden wings of the window, the cold gold of the moon,

Along with frames in thin curtains The smell of oleander and gillyflower.

The eccentric moon is knitting It’s good to wander among peace

There are lace patterns on the floor. Blue and affectionate country.

The moon brings sadness, melancholy and even despair into the soul of the lyrical hero, taking him into the world of memories of a bygone youth. Yesenin preserved and transferred into his poems the folk understanding of the moon, which existed in the 19th century. And the innovation of his lyrics lies in the fact that the poet sees harmony in nature, a single world, puts it in first place, unlike the poets of the 19th century, who only dreamed of it.

Lunar landscape by F. I. Tyutchev

Tyutchev is a recognized master of lyrical landscape, but his landscape poems are difficult to separate from philosophical ones. With two or three succinct strokes, he knows how to create a symbolic landscape that simultaneously expresses inner life nature, and the important spiritual state of man.

In his work, Tyutchev constantly compares man with nature - and often, it would seem, not in favor of man: human life fragile, insignificant - nature is eternal, imperishable.

It is not surprising that in his poems the poet often turned to eternal images of nature, such as the moon. Approximately, out of 241 poems, the image of the moon appears 16 times, which is 6.6%.

Tyutchev has a twofold attitude towards the moon: on the one hand, the poet admires it, idolizing it:

Look at the month: the whole day is like a skinny cloud,

He almost fainted in heaven, -

Night has come - and, luminous god,

It shines over the sleepy grove!

On the other hand, this image for him is something ominous and threatening:

It's like a grave ghost,

The moon has risen

More often, of course, the first perception of the image of the moon occurs. The example of using the image of the moon shows the peculiarities of the poet’s worldview, which constantly connects man with nature and shows their unity. For example, the poem "Rome at Night":

Rome rests in the azure night.

The moon rose and took possession of him,

And the sleeping city, deserted and majestic,

Filled with your silent glory

How sweetly Rome slumbers in its rays!

How the eternal ashes of Rome became related to her!

As if the lunar world and the city had died -

Still the same world, magical, but outdated!

In this poem, the city, which always personifies the world of people, is associated with the moon, already another world - the world of nature. Tyutchev writes that they became akin, that is, man became akin to nature. It is known that Tyutchev was a supporter of the religious philosophical doctrine that identifies God with nature and considers nature as the embodiment of deity. This is exactly what is said in the analyzed poem. It is clear that Tyutchev welcomes the unity of these two worlds: there are many exclamation marks in the poem. Judging by this poem, the poet simply deifies the moon.

The Moon in the poems of V. Bryusov

With all the abundance of images in Bryusov’s work, one can notice that some of the most characteristic poems and “favorite images” move from collection to collection.

One of these images is the image of the moon. It cannot be said that Bryusov often uses this image in his poems, but the moon is undoubtedly loved by the poet and appears in some of his poems (“Creativity”, “Meeting after Separation” and others).

Of the selected 148 poems by Bryusov, only 13 of them use the word “moon” (this is approximately 8.8%), but when reading these poems, one feels that the poet had a special relationship with the moon.

For example, the poem “When I’m sitting alone and the room is dark”:

When I'm sitting alone and the room is dark,

And someone behind the wall plays scales for a long time, -

Suddenly the lanterns will be lit, and the light will pass through the window,

Draw two window frames on the wall;

And then I think, tired and sick:

Lantern, unknown friend! You're close! Are you with me!

And then the moon will rise from behind the roofs,

And, having flared up, the clouds will leave like incense,

And the bright ray of the moon, passing through the glass of the window,

Draw two window frames more clearly;

Oh, how animated! Trembling, I dream:

Luna, dear friend! You're close! You are mine!

In this poem one can feel the heightened perception of the world underlying the poetic inspiration that was highly characteristic of Bryusov. At first, in the lifeless image of a lantern, he sees a friend, the only companion who breaks his loneliness. The poet is happy about this, but later the image of the moon appears, and he becomes animated and worried. It is immediately noticeable that Bryusov is sensitive to the moon. Lines from another poem, “I would die with secret joy at the hour when the moon rises,” prove this once again.

It seems to me that in the image of the moon the poet sees the embodiment of incredible calm and harmony. On the other hand, the moon for Bryusov is the personification of a miracle, some kind of mystery (“And, as if carried away into the moonlight, I reveled in an impossible miracle”). And in the poem “The Pale Horse” Bryusov no longer sees the same moon, his quiet and calm companion, there is something frightening and dangerous in him:

Lily the light of the merciless chained moon,

Moons created by the lords of nature.

In this light, in this hum, the souls were young,

The souls of intoxicated, city-drunk creatures.

The continuity in Bryusov’s work lies in the fact that the epigraphs of many of Bryusov’s poems belong to Lermontov (“Dagger”, “Near the Ground”), Tyutchev (“I Remember the Evening, I Remember Summer”, “I Love”), Pushkin (“Beginner”, “First Russian book after distant wanderings"). In fact, one can notice a commonality in the works of the poet and the classics. Like Lermontov and Tyutchev, in Bryusov’s poems one can trace the poet’s connection with nature, their unity, especially since most of the images used by the poet in his poems relate to nature, including the image of the moon, to which the classics often turned.

What is new in Bryusov’s lyrics is that, in fact, in his poems Bryusov depicts a picture, an object so clearly and accurately, as not every drawing is able to do this, and conveys the mood or movement of the soul. The poet's poetry is diverse, multifaceted, polyphonic, like the life it reflects. Bryusov introduced a lot of new things into creating the image of the moon: the openness of expressed feelings, the creation of a very clear, specific image, and unusual epithets.

III Conclusion

Having carried out work on studying poems by poets of various literary trends, the following conclusions can be drawn. Every poet uses the image of the moon in his lyrics, but how often he does this and for what purpose depends on his views, on literary movement, to which he belonged.

In fact, every poet relates to the moon differently.

For poets of the 19th century, the moon is an image of nature, and nature for them is the Divine. For the poets of the Silver Age, the moon was not just a picture of nature, but a kind of symbol that meant something different for everyone.

Thus, the use and attitude of poets to the image of the moon depends on the era in which they lived.