Who painted the picture Bezhin Meadow. Landscape in the story by I.S.

The theme of the painting arose under the impression of Turgenev’s story “Bezhin Meadow”. Turgenev was one of Makovsky's favorite writers. Peasant children, with their spontaneity, their closeness to nature, attracted and excited the artist. It is no coincidence that poetic images of peasant children will run through all of his work . More than once he returned to the theme “Night”, finding new colors, new nuances in the motif that captivated him. The most successful of these paintings is the late version of his competition work “Night” (1879), which is in the collection of the State Russian Museum in St. Petersburg.
V.E. Makovsky’s painting “Night” coincides in theme with Turgenev’s story “Bezhin Meadow”, but is not a direct illustration, since it diverges from it in detail: Turgenev has five boys, in the painting there are seven boys and a girl; There is no fire in the picture, and there is no figure of a hunter. But the figure of a boy telling something, the teenage listeners captivated by an interesting story, the background of the picture - an early summer morning before sunrise, the figures of horses grazing in the distance - all these are Turgenev’s features; they evoke in the audience's memory the landscapes and characteristics of the boys from Bezhin Meadow. We are trying to find in the picture the heroes of Turgenev's story, the boys Fedya, Pavlusha, Ilyusha, Kostya and Vanya.

“...the morning was beginning. The dawn had not yet blushed anywhere, but it was already turning white in the east...” Turgenev’s landscape gives an earlier picture of dawn in time: in Makovsky’s the east is already colored, the golden-scarlet tone of the flaring dawn is already approaching pale gray. The second, final landscape in the story is more consonant with the picture. This landscape seems to continue what is visible in the picture: here there is a “thinning fog” covering the horizon, and “scarlet, then red, golden streams of young, hot light” illuminating the faces and figures of children.
Which image of nature is more complete and versatile: in a picture or in words? In a painting it is impossible to depict the blinking of stars, the variability of the color of the sky, the appearing dampness (dew), the sounds heard, the fluttering of the breeze... On the canvas, the artist captured one moment of the landscape - in the words of the writer, a picture of dawn and sunrise is given in motion.(From the book: Smirnov S.A. Teaching literature in grades 5-8. - M.: Uchpedgiz, 1962)

“Bezhin Meadow” is a work about the complex connections between man and nature, which, according to Turgenev, has not only a “welcomingly radiant” face, but also a menacingly indifferent face. In a letter to Bettina Arnim in 1841, Turgenev wrote: “Nature is one miracle and a whole world of miracles: every person should be the same - that’s what he is... What would nature be without us, what would we be without nature? And both are unthinkable!.. how infinitely sweet - and bitter - and joyful and at the same time hard life!<...>One has only to go out into an open field, into a forest - and if, despite all the joyful state of the soul, you still feel in its innermost depths some kind of oppression, an inner constraint that appears precisely at that moment when nature takes possession of a person. "( Turgenev I. S. Complete collection of works and letters. Letters. - M.; Leningrad, 1961. - T. 1. - P. 436.)
Pictures of nature are closely related to the content of the story “Bezhin Meadow”. Their roles are different.
The description of the hunter's wanderings, the story of the feeling of fear that gripped him when he fell into the ravine, helps to better understand what effect pictures of night nature must have had on illiterate village children. The mystery and anxiety of the situation suggests to the boys the themes of their scary stories.
The picture of a beautiful July day with its soft colors is in tune with the characters of the boys. It allows you to better understand the discreet inner beauty of children and the author’s loving attitude towards them.
The description of the early morning ends the story on an optimistic note. A feeling of joy and confidence fills the writer’s soul. Many contemporaries saw in the words “the morning was beginning” a huge faith in the fate of Russia, its future. These lines echo the prose poem “Russian Language”: “But one cannot believe that such a language was not given to a great people!” Yu.V. Lebedev writes: “Bezhin Meadow opens and closes with the rise of the mighty sun - one of the best stories about Russian nature and its children. In Notes of a Hunter, Turgenev created a single image of living poetic Russia, crowned with life-affirming solar nature. In peasant children, living in alliance with her, he saw “the embryo of future great deeds, great national development.” (Lebedev Yuri. Turgenev. – M: Molodaya Gvardiya, 1990. ZhZL)

* Vladimir Egorovich Makovsky(1846 – 1920) – Russian Itinerant artist, painter and graphic artist, teacher, master of the genre scene; academician (1873), full member of the St. Petersburg Academy of Arts (1893).
* The competition painting “Peasant Boys Guarding Horses at Night,” completed in 1869, brought Makovsky widespread success. The Council of the Academy of Arts awarded him a gold medal for expression and the title of class artist of the 1st degree.

Story I.S. Turgenev “The Burmister” and the painting by N.V. Nevrev “Bargaining” (1866)

When studying the works of I.S. Turgenev, especially when studying the anti-serfdom orientation of “Notes of a Hunter,” you can use the painting “Bargaining” (1866) by Nikolai Vasilyevich Nevrev.
In the writer’s work, a large place is occupied by the depiction of the cruelty and heartlessness of the feudal landowners, the exposure of their external gloss, their apparent enlightenment. The story "The Burmister" is typical in this regard.

Here is a short excerpt from this story.
“Having had a hearty breakfast and with visible pleasure, Arkady Pavlych poured himself a glass of red wine, raised it to his lips and suddenly frowned.
- Why isn’t the wine heated? – he asked one of the valets in a rather harsh voice.
The valet was confused, stopped dead in his tracks, and turned pale.
– I’m asking you, my dear? - Arkady Pavlych continued calmly, not taking his eyes off him.
The unfortunate valet hesitated in place, twirled his napkin and did not say a word. Arkady Pavlych lowered his head and looked at him thoughtfully from under his brows.
“Pardon, mon cher,” he said with a pleasant smile, touching my knee in a friendly manner, and again stared at the valet. “Well, go ahead,” he added after a short silence, raised his eyebrows and rang the bell.
A man entered, fat, dark, black-haired, with a low forehead and completely swollen eyes.
“About Fyodor... make arrangements,” said Arkady Pavlych in a low voice and with perfect composure.”
Here is a classic example of landowner hypocrisy. One question from the master terrifies the serf. A servant for the most insignificant mistake (which may not have happened) is subjected to flogging. An interesting artistic detail: in the above passage, not one of the master’s servants utters a word: the serfs are reduced to the position of uncomplaining, wordless creatures.

Serfdom was severely condemned not only by writers, but also by artists. The painting “Bargaining” depicts a typical scene of the sale of peasants for the serf era. The content of the picture is extremely simple.
The landowners are having a peaceful conversation at the table. They are apparently preparing to wash down the most ordinary trade deal with wine. The subject of trade is also... the most common - serfs. The action takes place in the house of a rich and “enlightened” landowner. There are books on his shelves, books even on the floor. A barometer is prominently displayed. There is a large picture on the wall. Next to her are portraits of Mirabeau, a famous figure in the French bourgeois revolution, and Alexander I, the Russian emperor, who wanted to appear as an enlightened monarch...
Reading books and being passionate about liberal ideas does not in the least prevent landowners from remaining cruel and despotic, nor does it prevent them from engaging in human trafficking. The artist’s painting, as it were, complements the writer’s story and concretizes our ideas about autocratic-serf Russia, about the Russia about which V.G. Belinsky wrote: “...Russia... is a terrible spectacle of a country where people trade in people.. ... where... there are not only no guarantees for personality, honor and property, but there is not even police order, but there are only huge corporations of various official thieves and robbers." (“Letter to Gogol.”).
From the book: Shchiryakov N.N. Fine arts in literature lessons. – Minsk. 1968

* Nevrev Nikolay Vasilievich(1830 – 1904) – Russian historical and genre painter, one of the prominent representatives of the Association of Traveling Art Exhibitions.

I.S. Turgenev and V.D. Polenov’s painting “Moscow Courtyard” (1878)

When, in the decline of his life, Tolstoy, attacking empty, meaningless “art for art’s sake,” also included landscape painting as an art of this kind, Repin resolutely objected to him. Landscape is dear to us not only because, he said, it depicts nature correctly, but also because it reflects the impression of the artist, his personal attitude towards nature, and understanding of its beauty. The best landscape artists with all their creativity confirmed Repin’s correctness in this dispute.
In 1882, Turgenev’s friend M.V. Olsufiev visited the writer, who was living at that time in France, near Paris. Turgenev was ill and sad. He was sad and thought about Russia. “The first thing that caught my eye,” recalled Olsufiev, this is my old familiar painting by Vasily Dmitrievich Polenov “Moscow Courtyard”.
Who is not familiar with this picture now, this small green courtyard, lost among the quiet alleys of the Arbat! Clear summer day. Everything seems to be dozing, warmed by the gentle rays of the sun: trees hanging over the fence, an old white house, grass with well-trodden paths, a rickety barn, a five-domed church with golden onions, a horse harnessed to a cart. Sleepy chickens wander around the well. Pinkish clouds are dozing in the sky... However, what Olsufiev saw at Turgenev’s in France was not the painting itself (it was already in the Tretyakov Gallery), but only one of the sketches for it. And this is how this sketch came to Turgenev.
In 1876, Polenov returned to his homeland after several years of retirement abroad. He graduated from the academy together with Repin, received a gold medal with him, and together with him languished living abroad and was eager to go to Russia. “No one wants to return to their homeland more than me,” he wrote from France, “so that through my work I can prove in practice my ardent love for her and my sincere desire to be as useful to her as I can.” Having returned, he decided to settle in Moscow with Repin and Vasnetsov, away from the academy, from St. Petersburg officialdom, from official supervision.
One day, wandering along the Arbat alleys in search of an apartment, he entered one of the houses on the door of which there was a note: “For rent,” and right from the window he saw a sunlit courtyard with a well covered with a lid and a church visible behind the barn. “I immediately sat down and wrote it,” he later recalled. This line eloquently testifies to the irresistible impression that captured the artist and was so clearly expressed in his painting. “Moscow Yard” reflected the artist’s immediate impression of a fine summer day, the shining domes of a church, a manor house with a pediment, a barn with a broken roof, simple linen hung to dry, children on the grass. From the feeling of serenity and ordinariness of Moscow life. “This is Turgenev’s corner,” said Polenov, and he said so not only because it was here, near Arbat and Devichye Pole, that the action of Turgenev’s famous novel “Smoke” began. “Turgenevsky” was the artist’s very gaze, full of peaceful love for everything native – albeit dim, inconspicuous, but dear.
When Ivan Sergeevich Turgenev came from Paris to Moscow for the opening of the monument to Pushkin, dozens of people came to him, for whom the name of the writer, his novels, stories and short stories became something immeasurably dear and close. Polenov was among these people. It was then that, as a sign of love and gratitude, he gave Turgenev the sketch that Olsufiev recalled. And Turgenev took with him to Paris a precious corner of his native land, with its sky, air, with its colors and smells, with its white-headed children and the familiar warmth of the native sun - with everything that resonates so much in a person’s heart when, after a long absence, enters the house where he spent his childhood, where he grew up and for the first time learned with his soul the meaning of the word “homeland”.
It was not for nothing that Garshin called painting “the most sincere of the plastic arts.” Thinking about this property of painting, about its ability to respond and respond to the deepest human feelings, one cannot help but recall the “Moscow Courtyard” by the sick and melancholy Turgenev in the distant suburbs of Paris. (From the book: Naumovich V.L. Face of time. Children's lit. M. 1965)

Ivan Turgenev is a true master of words, who in his works skillfully mixed words of the literary language and dialectisms of the Oryol province. Let's consider the role of the description of nature in the story “Bezhin Meadow,” which is part of the wonderful cycle “Notes of a Hunter,” which is introduced in high school.

Features of the landscape

Nature occupies a special place in Turgenev’s short story, as if it becomes another character in it. Being a true patriot, the writer describes the scene of action so soulfully and accurately that truly beautiful pictures come to life before the reader’s eyes. Let's see how the description of nature in the story “Bezhin Meadow” helps bring the author’s plan to life.

First, the writer describes in detail the scene of the action. His hero goes hunting in the Tula province, while the time of action is also indicated - “a beautiful July day.” What picture appears before the eyes of readers who get acquainted with the story?

• Early clear morning. It is interesting that, being a true expert on folk signs, Turgenev means that such weather, as a rule, does not last long.
• The morning dawn is filled with a meek blush, like a timid, bashful girl.
• The sun is friendly, radiant, benevolent, the image itself gives a good mood.
• Describing the sky, Turgenev actively uses diminutive vocabulary: “clouds”, “snake”, compares clouds with islands scattered across the endless sea surface.

The picture is truly delightful, and every word of the description of nature in the story “Bezhin Meadow” breathes with the author’s sincere love and cannot leave thoughtful readers indifferent, causing a response in their souls.

Composition

Despite the fact that the work is small in volume, several semantic parts can be distinguished in it:

• Description of a beautiful morning that turns into a fine day, as if ideally created for hunting.
• The hunter is lost, darkness is gathering around him.
• Meeting the boys, the world regains its beautiful colors.
• The night becomes solemn and majestic.
• Morning comes.

A brief description of nature in the story “Bezhin Meadow” can be found in each of these semantic parts. Moreover, everywhere the landscape will be alive, psychological, not just a background, but an active character.

Nature and mood of the hero

So, first Turgenev paints us a picture of the early morning, it was then that his hero’s hunt for black grouse began. Nature itself seems to express the character’s high spirits. He shot a lot of prey, enjoyed amazing landscape views, and breathed in the cleanest air.

Further, the description of nature in the story “Bezhin Meadow” becomes even more important - the surrounding world begins to express the hero’s mood. He realized that he was lost. And nature changes along with the change in his mood. The grass becomes tall and thick, it is “creepy” to walk on it, and inhabitants of the forest that are not at all pleasant to humans appear - bats, hawks. The landscape itself seems to empathize with the lost hunter.

Picture of the night

Night falls, the hunter realizes that he is completely lost, tired and does not know how to get to the house. And nature becomes corresponding:

• The night is approaching “like a thundercloud.”
• The darkness is pouring.
• “Everything around was black.”
• An image of a timid bird appears, which, having accidentally touched a person, hastily disappeared into the bushes.
• The darkness becomes gloomy.
• A frightened animal squeaks pitifully.

All these images are full of psychologism, helping Turgenev convey the inner state of his hero. Note that very little is directly said about the fact that the hunter is scared, tired, and begins to feel annoyed. The author expresses his entire inner state through a description of nature in the story “Bezhin Meadow”. And his skill amazes him.

Therefore, the landscape becomes not just a place of action, but also a way to express the thoughts and experiences of the hero.

Meeting with the boys

In the analysis of the description of nature in the story “Bezhin Meadow”, the passage telling about the hero’s meeting with the village boys has a special meaning. Noticing lights in the distance, a tired hunter decides to go out to the people to wait out the night. This is how he meets simple and simple-minded boys who deserve his sympathy and admiration for their closeness to nature and complete sincerity. After talking with them, the author’s perception of the surrounding landscape also changes, its gloom, dullness and black colors disappear. To quote: “The picture was wonderful.” It would seem that nothing has changed, it’s still the same night, the hero is still far from home, but his mood has improved, the description of nature in the story “Bezhin Meadow” becomes completely different:

• The sky became solemn and mysterious.
• The characters are surrounded by animals that have long been considered friends and helpers of people - horses and dogs. In this case, sounds are very important - if before the hunter heard a plaintive squeak, now he perceives how the horses are “vigorously chewing” the grass.

Extraneous frightening noises do not disturb the hero; he found peace next to the village children. Therefore, the description of nature in the story “Bezhin Meadow” helps not only to recreate the scene of action, but also to express the feelings and experiences of the hero.

Artistic drawing methods

To create pictures of the landscape surrounding the hunter, the writer uses color and sound images, as well as smells. That is why the description of nature in the story “Bezhin Meadow” by Turgenev turns out to be lively and vivid.

Let's give examples. To recreate the beautiful pictures that appear before the hero’s gaze, the prose writer uses a huge number of epithets:

• "Round reddish reflection."
• "Long Shadows"

There are also a large number of personifications, because the description of nature in the story “Bezhin Meadow” shows it as a living character:

• dust rushes;
• the shadows are approaching;
• darkness fights light.

There are also sounds in the image of the surrounding world: dogs “bark angrily”, “children’s ringing voices”, boys’ ringing laughter, horses chew grass and snort, fish quietly splash. There is also a smell - “the smell of a Russian summer night.”

In a short passage, Turgenev uses a huge number of visual and expressive techniques that help him paint a truly magnificent, life-filled picture of the world around him. That is why we can say that the role of the description of nature in the story “Bezhin Meadow” is great. The sketches help the author convey the mood of the hero, who is close in spirit to Turgenev himself.

Nature in “Bezhin Meadow” is presented in the richness of its colors, sounds and smells. This is the richness of color Turgenev gives in the picture of the early morning: “I had not gone two miles before... first scarlet, then red, golden streams of young hot light began to pour around me... Large drops of dew began to glow everywhere like radiant diamonds... ."

These are the sounds that permeate Turgenev’s majestic power: “Almost no noise was heard all around... Only occasionally in a nearby river a large fish would splash with sudden sonority, and the coastal reeds would rustle faintly, barely shaken by the oncoming wave... Only the lights crackled quietly.” Or: “Suddenly, somewhere in the distance, a drawn-out, ringing, almost moaning sound was heard, one of those incomprehensible night sounds that sometimes arise in the midst of deep silence, rise, stand in the air and slowly spread, finally, as if dying out. If you listen, it’s as if there’s nothing, but it’s ringing. It seemed as if someone had shouted for a long, long time under the very horizon, and someone else seemed to respond to him in the forest with a thin, sharp laugh. and a weak, hissing whistle rushed along the river.”

And here’s how fun and noisily Turgenev wakes up on a clear summer morning: “Everything moved, woke up, sang, made noise, spoke... the sounds of a bell came towards me, clean and clear, as if... washed by the morning cool.”

Turgenev also loves to talk about the smells of the nature he depicts. The writer is not at all indifferent to the smells of nature. Thus, in his essay “Forest and Steppe” he talks about the warm smell of the night,” that “the whole air is filled with the fresh bitterness of wormwood, the honey of buckwheat and porridge.” Also, describing a summer day in “Bezhin Meadow”, he notes:

“The dry and clean air smells of wormwood, compressed rye, and buckwheat; even an hour before night you don’t feel damp.”

Depicting the night, the writer also talks about its special smell:

“The dark, clear sky stood solemnly and immensely high above us with all its mysterious splendor. My chest felt sweetly ashamed, inhaling that special languid and fresh smell - the smell of a Russian summer night.”

Turgenev depicts nature in motion: in shifts and transitions from morning to day, from day to evening, from evening to night, with a gradual change in colors and sounds, smells and winds, sky and sun. Depicting nature, Turgenev shows the constant manifestations of its full-blooded life.

As a realist writer, Turgenev portrays nature deeply truthfully. His description of the landscape is psychologically based. Thus, to describe a clear summer day, Turgenev preferably uses a visual epithet, because the author sets himself the goal of showing the richness of the colors of sunlit nature and expressing his strongest impressions of it. When depicting the coming night, the character and meaning of the visual means are completely different. This is understandable. Here the author sets the goal of showing not only pictures of the night, but also the growth of nighttime mystery and the feeling of increasing anxiety that arose in him in connection with the onset of darkness and the loss of the road. Therefore, there is no need for a bright figurative epithet. A thoughtful artist, Turgenev uses in this case an emotional, expressive epithet that well conveys the anxious feelings of the narrator. But he is not limited to them either. The author manages to convey the feeling of fear, anxiety and anxiety only through a complex set of linguistic means: an emotionally expressive epithet, a comparison, a metaphor, and personification:

“The night was approaching and growing like a thundercloud; It seemed that, along with the evening vapors, darkness was rising from everywhere and even pouring from above... approaching with every moment, gloomy darkness rose in huge clouds. My steps echoed dully in the frozen air... I desperately rushed forward... and found myself in a shallow hole. a plowed ravine all around. A strange feeling immediately took possession of me. The hollow had the appearance of an almost regular cauldron with gentle sides; at the bottom of it stood several large white stones standing upright - it seemed that they had crawled there for a secret meeting - and it was so mute and dull in it, the sky hung so flat, so sadly above it that my heart sank. Some animal squeaked weakly and pitifully between the stones.”

The writer in this case is not so much concerned with depicting nature as expressing the restless feelings that it evokes in him.

The picture of the onset of night in the figurative means of language

The examples given are quite enough to finally convince students of how thoughtfully Turgenev selected the figurative means of language. It should be especially emphasized that the picture of the approaching night is revealed through the perception of a worried, alarmed person who has finally become convinced that he is lost. Hence the darkening of colors in the description of nature: to a troubled imagination everything appears in a gloomy light. This is the psychological basis of the picture of night in its initial stage.

The alarming night landscape is replaced by highly solemn and calmly majestic pictures of nature, when the author finally went out onto the road, saw peasant children sitting around two fires, and sat down with the children near the cheerfully crackling flames. The calmed artist saw the high starry sky in all its splendor and even felt the special pleasant aroma of the Russian summer night.

Summer night at Turgenev's

Full of mysterious sounds, the nature of the night instills in boys a feeling of unaccountable fear and at the same time enhances their heightened, almost painful curiosity for stories about the mysterious and terrible.

Thus, nature is shown by Turgenev as a force that actively influences both the author and his heroes. And for the reader, we will add on our own behalf.

“...the morning was beginning. The dawn had not yet blushed anywhere, but it was already turning white in the east...” Turgenev’s landscape gives an earlier picture of dawn in time: in Makovsky’s the east is already colored, the golden-scarlet tone of the flaring dawn is already approaching pale gray. The second, final landscape in the story is more consonant with the picture. This landscape seems to continue what is visible in the picture: here there is a “thinning fog” covering the horizon, and “scarlet, then red, golden streams of young, hot light” illuminating the faces and figures of children.
Which image of nature is more complete and versatile: in a picture or in words? In a painting it is impossible to depict the blinking of stars, the variability of the color of the sky, the appearing dampness (dew), the sounds heard, the fluttering of the breeze... On the canvas, the artist captured one moment of the landscape - in the words of the writer, a picture of dawn and sunrise is given in motion. (From the book: Smirnov S.A. Teaching literature in grades 5-8. - M.: Uchpedgiz, 1962)

“Bezhin Meadow” is a work about the complex connections between man and nature, which, according to Turgenev, has not only a “welcomingly radiant” face, but also a menacingly indifferent face. In a letter to Bettina Arnim in 1841, Turgenev wrote: “Nature is one miracle and a whole world of miracles: every person should be the same - that’s what he is... What would nature be without us, what would we be without nature? And both are unthinkable!.. how infinitely sweet - and bitter - and joyful and at the same time hard life!<...>One has only to go out into an open field, into a forest - and if, despite all the joyful state of the soul, you still feel in its innermost depths some kind of oppression, an inner constraint that appears precisely at that moment when nature takes possession of a person. "( Turgenev I. S. Complete collection of works and letters. Letters. - M.; Leningrad, 1961. - T. 1. - P. 436.)
Pictures of nature are closely related to the content of the story “Bezhin Meadow”. Their roles are different.
The description of the hunter's wanderings, the story of the feeling of fear that gripped him when he fell into the ravine, helps to better understand what effect pictures of night nature must have had on illiterate village children. The mystery and anxiety of the situation suggests to the boys the themes of their scary stories.
The picture of a beautiful July day with its soft colors is in tune with the characters of the boys. It allows you to better understand the discreet inner beauty of children and the author’s loving attitude towards them.
The description of the early morning ends the story on an optimistic note. A feeling of joy and confidence fills the writer’s soul. Many contemporaries saw in the words “the morning was beginning” a huge faith in the fate of Russia, its future. These lines echo the prose poem “Russian Language”: “But one cannot believe that such a language was not given to a great people!” Yu.V. Lebedev writes: “Bezhin Meadow opens and closes with the rise of the mighty sun - one of the best stories about Russian nature and its children. In Notes of a Hunter, Turgenev created a single image of living poetic Russia, crowned with life-affirming solar nature. In peasant children, living in alliance with her, he saw “the embryo of future great deeds, great national development.” (Lebedev Yuri. Turgenev. - M.: Molodaya Gvardiya, 1990. ZhZL)

Composition

The place and meaning of landscape in the story. (A lot of space is given to the description of nature in Turgenev’s story; nature here is one of the characters, and this is marked by the title of the story. “Bezhin Meadow” begins and ends with a description of nature, and its central part - the boys’ stories - is also depicted against the background of a description of a summer night. )
A beautiful July day. (At the beginning of the story, Turgenev describes a July day when he, having gone hunting, got lost. The author is an observant person who knows the signs of the weather well. He writes about a clear sky, a bright and radiant sun, motionless clouds, the constant clarity of the sky. Turgenev notes in everything softness of colors and “touching meekness.”)
Description of Bezhin meadow.
View of the meadow from the cliff of a hill. (A plain surrounded by a semicircle of a river, a fire and people by the fire.)

Night in the meadow. (The picture of the night complements the children's stories, gives them special expressiveness and mystery. Turgenev shows how ordinary objects are transformed in the light of a fire; how significant every sound becomes in the silence of the night. Listening to the children's stories, the writer notices how the colors, smells and sounds of the summer gradually change nights.)
Dawn in the meadow. (Pre-dawn silence, freshness of the morning, gradual change in the color of the sky, sunrise, the first sounds of the coming day.)
Turgenev is a master of landscape. (The pictures of nature in the story were created by a subtle and observant person with the ability of an artist. He notices the smallest details, changes in shades of colors, halftones and shadows. His hearing captures the most subtle sounds. For Turgenev, nature is not only the background, but also a kind of character in the story: it constantly changing, living its own life. And at the same time, nature occupies a significant place in human life).

Other works on this work