Budgetary educational institution of the Trosnyansky district of the Oryol region "Trosnyansky secondary school"

Essay
on literature on the topic:
“Problems of ecology in modern Russian literature”

Completed:
11th grade graduate
Egorov Dmitry Yurievich
Checked:
teacher of Russian language
and literature
Kisel T.V.

Trosna 2005

Plan.
1. Introduction.
2. Problems of ecology in modern Russian literature.
2.2. Ecological problems in Ch. Aitmatov’s novel “The Scaffold”.
2.3. The relationship between man and nature in narration in the stories of V.P. Astafiev "Tsar Fish".
3. Conclusion.
4. List of references.

1. Introduction
A modern person, educated, with a high level of intellectual development, surrounded by powerful technology, is able to tame any element, change everything as he needs, conquer, take possession, and, if necessary, destroy. But, if you think about it, what does a person destroy, what does he conquer? Nature, his mother - the ancestor who gave him life. But people seemed to have forgotten about this, forgot that they are children of nature, its integral part, that by destroying nature, they are gradually bringing their own death, their last hour closer. A person cannot live without air, without water, without food, so why deprive yourself of this?
Realizing the impending danger, many sounded the alarm, and the first among them were writers, who with their words were trying to awaken and revive the hardened souls of people, and prevent the terrible disaster looming over humanity. In their works it sounds: stop the barbaric attitude towards nature, which then boomerangs on people.
Grandiose plans to subjugate nature actually turn out to be unnecessary and sometimes even harmful; nature and its particles—people—suffer from them.
In the story “Farewell to Matera,” Valentin Rasputin showed how the construction of a hydroelectric power station turned out to be a misfortune for the population of villages and towns. The country needs energy, which means it needs to build hydroelectric power stations, and for this it is necessary to change the water level in the rivers and build dams. Are small villages with ancient old women and dilapidated cemeteries disturbing? Flood! Residents should be relocated to urban-type settlements! And no one, giving these orders, thought: what would it be like for old people to leave their native places, where they spent their whole lives, where their ancestors were buried. How many tears the women shed over their dilapidated huts, and one of the old women, saying goodbye to the house, carefully cleans it, washes it, whitewashes it, as if dressing it up for a long journey. Would it be good for old people to live out their lives in stone boxes, where they can neither sit by the samovar nor gossip in the evening to the rustle of the trees? It hurts people, it hurts nature. Flooding villages means destroying fertile lands, forests, animals and birds. Nature resists such a barbaric attitude, and the old foliage, a mighty hero, does not succumb to either saw or fire. Ruined nature is a grave sin of humanity.
What will happen tomorrow, what will remain for our children? They demand more and more from nature. They bite into the ground and turn rivers. During the years of stagnation there was the following slogan: “The leading edge of the fight against nature today is BAM - attack, youth!” What a terrible call. The meaning of the following lines is no less terrible: “And then the river was declared: war, war!” Who are we fighting with? With nature? With yourself?
People are becoming bitter. Where have such qualities as compassion, love for one's neighbor, and pity gone? Can the people described by Chingiz Aitmatov in the novel “The Scaffold” be called compassionate?
The plan for meat procurement was not fulfilled in the region, but the leaders “with honor” got out of the difficult situation: beef meat was replaced with the meat of saigas, defenseless, timid inhabitants of the steppe. The scene of the massacre of saigas is shocking. People, enraged by the flow of blood, shot herds of maddened animals with machine guns; wounded and killed saigas were thrown directly into the backs of cars. These "hunters" have no soul. Otherwise, how can we understand their satisfaction from the sight of blood, from the pile of saigas they killed? The cruelty of people forces the she-wolf Akbar to take revenge on them. Her cubs, small, funny wolf cubs die due to lack of humanity: some die during the execution of saigas, others are carried away by a greedy shepherd. The grief of a mother who has lost her children is immeasurable, even if the mother is a beast. And Akbara takes revenge on people by kidnapping a child from a man who seems not to blame for the tragedy of the wolf family. But someone must pay for the ruined children of Akbara. Nature punishes man for his senseless cruelty.
Also V.P. Astafiev in the narration of the stories “The King Fish” speaks of the need, the urgency of a “return to nature.” The connection between man and nature interests the author from a moral and philosophical aspect. Ecological issues become the subject of philosophical discussion about the biological and spiritual survival of people. The attitude towards nature acts as a test of the spiritual viability of an individual.
Although all the named works of these authors are multifaceted and multi-problematic, I would like to bring environmental problems to the fore and consider these works from this point of view.
Thus, the purpose of this work can be formulated as follows: to explore environmental problems in Russian literature of the 20th century using the example of the story by V.G. Rasputin “Farewell to Matera”, narratives in the stories of V.P. Astafiev’s “The Tsar Fish” and the novel by C.T. Aitmatov “The Scaffold”.
The most appropriate way to achieve this goal is the principle of sequential presentation of the material.
Now let's move on to our research.

Problems of ecology in modern Russian literature.

2.1. Ecological problems in the story by V.G. Rasputin "Farewell to Matera".
Let's try to find out the nature of the tragic situation that Rasputin reveals in his story. We all understand - and the author of "Farewell to Matera", of course, too - that the flooding of Matera was caused by goals that, of course, are aimed at the well-being of not only the residents of Matera, but the entire people; We all understand just as clearly that this “will” cannot, is not even obliged to foresee all possible cases of perception of its decisions by each of those people whom it somehow captures in the sphere of its influence. But, if we proceed from the interests of the entire state, even in this case it is difficult to discern a tragedy. And the destruction of graves, and even in front of the children and grandchildren of the dead? A special case? Yes, private, but this is a “private” of the kind in which and through which Valentin Rasputin sees the tragic and is no longer private.
Who is the earth for us: our mother or our stepmother? The earth that raised and nourished us, or just “territory”? Let us remember that this is exactly how the question is asked in Rasputin’s story: “I was born in Matera. And my father was born in Matera. And grandfather. “I am the owner of Tutaka,” says grandfather Yegor; “This land belongs to everyone - who came before us and who will come after us.... And what have you done with it?” - this is the voice of Aunt Daria, or rather, the voice of the owner people, the guardian of the earth. This is not a voice “against” the state will, one that is for its own good. He is “opposite” the “tourist”, alienated (“You don’t care where to live - here or where else”) attitude towards the land. For the same Beetle, the lake is not a lake, but a “bed of a reservoir”, not an island, “but a flood zone”, not land, but a “territory”. That is why people are not people, but “citizens who are flooded”
The attitude towards a specific land, towards specific people as a stranger qualitatively reveals the type of attitude towards the Motherland, towards the Earth as a whole.
Preservation and movement are phenomena, as we understand, interdependent. It is no coincidence that the idea of ​​preservation - in the most diverse, concrete manifestations of this concept in the realities of the artistic image - becomes central in the work of many of our writers. And this has a deep meaning: we have something to preserve, we realized the need for this idea. And among other values, we are obliged to preserve those spiritual and moral principles that are embodied in such conservative, age-old concepts as mother, home, land. This is what “Farewell to Matera” reminds us of. “Your own” must be protected, but “someone else’s” can be treated as you please. It is in this attitude towards “his own” as a “stranger” that, it seems to me, Rasputin sees the germs of spiritual dissoluteness, which in other cases leads to blasphemy. In the story, this is blasphemy over “other people’s graves. But we know from history much more terrible blasphemies. The writer warns us, makes us think, resist such phenomena and manifestations at least in consciousness. And a clear consciousness will force you to fight them really effectively.

2.2 Environmental problems in Ch. Aitmatov’s novel “The Scaffold”.
It's time for us to rush through the pages of one of the most profound and visionary novels of our time - a novel that became not only an artistic phenomenon, but also a page in our history. It is not difficult to guess that we are talking about “The Scaffold” by Chingiz Aitmatov. Quite a lot has already been written and said about this novel, but it, like any true work of art, is in principle inexhaustible, and each new generation will find in it something important, interesting and useful for itself. This novel carries within itself the secret of endless life, of the individual and the many types of human communities, and, of course, of the cosmos, to which we belong not only because we managed to escape beyond the limits, but by our very origin and destiny. Ecumenical affairs take place not only at a distance of hundreds of parsecs, but also on our sinful earth, and we are all indispensable participants in them. “The scaffold” is a direct call to all of us to remember this and never forget, for isolation from the Universe leads a person to become isolated in his own shell, to fall away from the world, from an eternally living life. The most terrible type of individualism is collective, socially obligatory individualism, which kills the soul, and after it the body.
Immediately after this book was published, many assumed that the modern line of “The Scaffolding” - ecological (however, also thoroughly imbued with the poetics of myth: the wolf is a traditional figure in myth, the novel depicts the amazing fate of one wolf family) would receive the highest praise from readers and critics. , if the severity of social problems (bureaucracy, poaching, drug addiction) is “positively noted”, then sharp reproaches will remain for the biblical scenes of the novel. Others (for example, Leonid Vukolov in the article “The Scaffold or the Cross. (About the novel by Chingiz Aitmatov)" believe that the main thing in the novel is biblical motifs.
But we must not forget that “The Scaffold” is a complex book, which reflected not the first steps of Christianity on Earth, but the result of the development of mankind over the next two thousand years, which were given to mankind for the free choice between good and evil, between sin and spirituality. cleanliness. Here it is appropriate to remember the word ecology and talk about the death of all living things around (animals are dying, Taynyshar and Akbar are being deprived of their final refuge, virgin lands are turning into desert), but this is not what Aitmatov writes about: the one who was called upon to protect all these rivers is rapidly approaching death and water, the human soul is destroyed, his mind is plunged into darkness, and he no longer hears, does not want to hear the word of truth.
Naturally, we will not find answers to all the questions posed in the novel for a long time, since a true work of art is a self-developing thing, living not only within its own framework, but also outside of it, in constant contact with general and individual thought, entering our lives not only as an object of study and enjoyment, but also as a subject of thought, feeling and morality.
Contradictory principles have always existed in the world and will always exist. From childhood, all of us were taught the idea that everything in the world moves, that life itself is one of the manifestations of movement, that humanity inevitably moves towards perfection and one system is replaced by another for the sake of this perfection. But if we take a dialectical position, then we are obliged to recognize something opposite. For example, that history does not develop in a straight line, progress is adjacent to regression, what seems inevitable today can turn into its opposite tomorrow. And not because the performers are bad, because the theory is incorrect, but because dialectics requires it, because humanity does not have the opportunity to foresee, much less foresee, its future, which is made up of an infinite number of options.

2.3 The relationship between man and nature in the narration in the stories of V.P. Astafiev "Tsar Fish".
In the works of V. Astafiev, the problem of “man and earth” is considered in the aspect of the relationship between man and nature. The writer’s attitude towards nature is an indicator of spirituality and the most essential criterion for a person’s moral assessment; all other qualities are built on this basis. The theme of childhood, family, work and nature, social and natural in man, eternal questions of existence, human solidarity, philosophical perception of nature and the natural, organic attitude towards it of a person living in unity with it and according to its laws - all these diverse aspects of the general problem of “man and nature” are already outlined in the first story, “Boye”. Such a direct, emotional, sensory and aesthetic experience of nature is the most natural, organic, according to Astafiev. Everything that happens in nature is eternal, reasonable, purposeful, and a person living in accordance with natural laws does not need a rationalistic awareness of them.
The story “The Fish King” presents three types of human relationship to nature: rational-creative - with the ability to perceive it spiritually and poetically, unspiritually-rationalistic and predatory-consumer.
The unity of man and nature is shown through the associations between man and nature. The images of characters and artistic techniques (comparisons, metaphors) are subordinated to Astafiev’s basic concept: he sees man through nature, and nature through man. A child is associated with a green leaf, which was “attached to the tree of life with a short rod,” and the death of an old person evokes an association with how “over-aged pine trees are served in an old forest, with a heavy crunch and a long exit.” The image of a mother and child is the image of a tree feeding its Sprout: “Shuddering at first, from the greedily, animal-like gums that were crushing, tensing in advance in anticipation of pain, the mother felt the ribbed, hot palate of the baby, blossomed with all the branches and roots of her body, drove along There were drops of life-giving milk in it, and along the open bud of the nipple it flowed into such a flexible, living, native sprout.” It is said about the Oparikha River: “A little blue vein trembling at the temple of the earth.” Another, noisy river is also compared to a person: “Distressed, drunk, like a recruit with a shirt torn on his chest, the stream, rumbling, rolled down towards the Lower Tunguska, falling into its soft maternal embrace.” And there are a lot of such bright, living metaphors and comparisons in the book. Astafiev reminds us that man and nature are a single whole, that we are all a product of nature, part of it, that willy-nilly, man, no matter how civilized he may be, is under the rule of the laws of nature. Therefore, the writer views the relationship between man and nature as the relationship between a mother and her children.
The theme of poaching and predatory attitude towards nature runs through the entire book. At the heart of poaching in all its many forms and manifestations is consumerism as a psychology. Lifestyle, behavior and philosophy Several stories with individualized images of poaching at the center of the narrative are devoted to the artistic exploration of the spiritual essence of poaching: “At the Golden Hag”, “The King of Fish”. The concept of poaching does not mean only a consumer attitude towards nature, it also includes an attitude towards humans. Considering nature and man in unity, the writer has in mind every manifestation of lack of spirituality, regardless of whether it is directed at nature or at man. The author examines the typologically related features of poachers in accordance with his moral and philosophical concept of man: the good and bad in a person are revealed in his attitude to traditional values ​​developed among the people and deposited in the people's consciousness as the basis of their worldview and as an unshakable law of life and behavior.
Poachers lead a difficult life for profit. “The unenviable, risky lot of a poacher” - this motif is consistently developed in all the stories. In terms of physical and spiritual stress, poaching can be compared with sapper, military work, with the only difference that its goal and results are shameful
All poachers from V. Astafiev are punished. “No crime passes without a trace” is a principled and artistic position consistently implemented by the author. The idea of ​​the age-old unity of man with nature, that they have one destiny and one future, is figuratively embodied in the story “Tsar Fish”. The central episode of this story - the martial arts of Utrobina with the sturgeon - is presented in a fairy-tale-epic light, as the struggle of man (the "king of nature") with nature itself (the king-fish). The image of the king-fish simultaneously embodies both the power of nature and defenselessness against the exterminating her modern man. In the symbolic picture of the combat between man and nature, as depicted by V. Astafiev, there can be no victory on either side, man and nature are “tied by one mortal end”
The moral of this parable expresses the general ideological and artistic concept of the work: the harmonious relationships between man and nature that have developed over centuries as the basis of spiritual and material life on earth can be preserved and continued in the present thanks to the spiritual and historical experience of previous generations.
There are numerous images of poaching, destroying all living things. Astafiev considers poachers not only those who directly destroy nature, like the “Chushans” who literally rob their native river and mercilessly poison it. Poacher and “free man” Goga Gertsev, who tramples the souls of lonely women he meets on his way. Poachers and those government officials who designed and built a dam on the Yenisei in such a way that they rotted the great Siberian river and the lands adjacent to it.
Perhaps, of all the works under consideration, it is in “The Fish King” that the composition of stories, the construction of the entire work and lyrical sketches help the author in realizing his plan. For example, the hero of the second part, Akimka, is spiritually united with nature (“Ukha on Boganida”). His image is contrasted with the images of the anti-heroes of the first part, poachers. The hero’s ability to survive is rooted in the ability to work. He accepts life as it is. Without neglecting everyday little things, Akim is spiritually connected with nature, feeling in him prevails over reason: “Akim somehow guessed and felt everything.” Other people appear next to Akim, who take care of their native land as best they can. In the story “Ear on Boganida” the fishing village is depicted utopianly, like a promised land. There are good relations between the inhabitants of the village, covered by good-natured humor. The ritual from the first team catch of “feeding all the guys indiscriminately with fish soup” is “the crown of all the day’s accomplishments and worries.” At a common artel table, next to other people's fathers, other people's children sit and eat fish soup from a common cauldron. This picture is the embodiment of the author’s ideal, the unity of people living in harmony with nature and with each other.
In the story, “a drop of nature turns its brightest side to the one whose soul is open to meet it: “At the pointed end of an oblong willow leaf, an oblong drop swelled, ripened and, filled with heavy strength, froze, afraid to bring down the world with its fall. And I froze () “Don’t fall! Do not fall!" - I conjured, asked, begged, with my skin and heart listening to the peace hidden in myself and in the world.” This poetic sketch is about possible harmony in the relationship between man and nature. The narrator, admiring the beauty of the taiga, thinks: “It’s good that I wasn’t killed in the war and I lived to see this morning.” The author's excited experiences about the fragility and trepidation of life, about the fate of children, translate the momentary, everyday into the scale of eternity, acquiring a generalizing, philosophical meaning.
On the last pages of “The Fish King,” the author turns for help to the age-old wisdom captured in the Holy Book of Humanity: “There is an hour for everything, and a time for every task under heaven. A time to be born and a time to die () A time for war and peace.” But these aphorisms do not console, and “The King Fish” ends with the author’s tragic question: “So what am I looking for, why am I suffering, why, why? - no answer".
In these questions there is pain for the whole earth, pain for man, who has so unreasonably alienated himself from nature. And hope for the restoration of harmony between mother nature and her creation - man.

3. Conclusion
It should be noted that when writing this work, only three works were studied, which have already become textbooks and very clearly illuminate the problem stated in the title. But these works are not isolated. And therefore, in conclusion, I would like to talk about other, including journalistic, works on this issue.
People are accustomed to taking resources from nature without thinking about their quantity and restoration. Siberia, the richest region of the country, what awaits it in the future? Publicist Konstantin Lagunov discusses this in his article “After Us.” The region's main resources, gas and oil, are the main export products supplied to various European countries. To increase the currency fund, they increase the production of “black gold”, and our natural wealth flows through the pipes without ceasing. Twenty-five years ago this terrible devastation of the green interior began. “Increase oil production!”, “Reach the million mark!” And we got there. Not only to the millionth, but also to the billionth: a billion cubic meters of gas began to be produced per day. Having pumped out oil and gas in one place, they went to another, and what was left was left. In place of clear taiga lakes - dead, stinking puddles, rivers with scalding cold water were turned into sewers of oil waste. The reindeer pastures of the North were dug up and plowed by the tracks of tractors and all-terrain vehicles. Nature is dying, and the people working there are deteriorating morally: drunkenness, lack of culture, thirst for big money - this is the bitter reality of today’s workers in the North.
The sacred Lake Baikal, the pride of the country, a unique creation of nature, was also destroyed by human hands. Andrei Voznesensky in the poem “Ditch” exclaims:
And will we really be in history?
“these who ruined Baikal”?
It is necessary to prevent the death of Baikal, to preserve it for future generations, so that later they will not say: “The Dead Sea is sacred Baikal.” Not only can the sea be dead, in the zone of the Chernobyl nuclear power plant accident the land and the air are dead. The original conditions of existence of all living things have become destructive. Vegetation and fauna are affected by an incurable disease, and people's lives are in danger. Yuri Shcherbak speaks about the terrible catastrophe and its causes in his documentary story “Chernobyl”. Technology can bring a blow to a person if the people who created it do not have a moral core. You need to think not only about the present, but also about the eternal. As American professor Robert Gale said: “Chernobyl is the last warning to humanity.” It's time to come to your senses! But you don’t have to look into different parts of your native country. If you look closely, you can find in your native land the same lack of spirituality and indifference of people, cruel attitude towards the land, towards nature.
Evgeny Nosov, in his essay “Hills, Hills,” conveys the pain he experienced when meeting a foal standing next to its dead mother. Small and defenseless, he did not leave her side, trying to lead her. Nosov was amazed that no one: neither the women riding in the car, nor the driver, nor the village residents took the foal. He didn't have an owner. Nosov could not take the foal away, and perhaps it will die near its mother from hunger and cold. A cruel death, cruel and the people who allow it. Nosov wants people to wake up from their terrible oblivion, to look with different eyes at nature, which they have brought to such a state. We must stop the slow process of dying. The most important thing is that people overcome their indifference and callousness, so that no one will ever pass by someone in need of help. Only then will it be possible to stop the environmental catastrophe. The life of future generations depends on us, and if we do not stop our barbaric attitude towards nature, then perhaps, without dying in a nuclear war, we will die from the natural catharsis of the Earth.
And more than crazy
Get off –
Go beyond the line
Where is the abyss
catches
emptiness
Where is the globe - if not the earth,
Not a ball - but a skull under the moon
flies -
Bezbrov,
Beznos –
And - not a worm
This forecast is
Take it as "SOS"
Like our alarm bell.

Bibliography.
1. Aitmatov Ch.T. Scaffold. – M.: Fiction, 1996.
2. Astafiev V.P. Tsar-fish.//Tales. Stories. – M.: Bustard, 2002, pp. 33-462.
3. Vukolov L.I. No one will live your life instead of you. About the stories of Valentin Rasputin // Let's talk about true values. – M.: Education, 1992.
4. Vukolov L.I. Block or cross. About the novel by Chingiz Aitmatov // Let's talk about true values. – M.: Education, 1992.
5. Rasputin V.G. Farewell to Matera. // Stories. Stories in volumes. vol. 2. – M.: Bustard, 2002, pp. 5-185.
6. Russian writers. XX century Bibliographical dictionary in 2 parts. – M.: Education, 1998.
7. Encyclopedia of literary heroes. Russian literature of the 20th century in 2 books. – M.: Olympus.

REVIEW
for an essay on literature on the topic: “Problems of ecology in modern Russian literature” by 11th grade graduate Dmitry Yuryevich Egorov.

The abstract fully corresponds to the topic: “Problems of ecology in modern Russian literature.”
The work is divided into 3 substantive parts: introduction, main part and conclusion, designed in the same style. Further, the material is structured into sections, paragraphs and paragraphs. Successful headings have been selected for parts of the text.
The introduction provides a rationale for the relevance of the topic, the author of the abstract sets the goal of the research, identifies a range of problems and identifies the main works designed to serve to reveal the topic of the abstract.
The main part consists of 3 parts (according to the number of works studied). To write the work, Dmitry Yuryevich used both a bibliographic dictionary, an encyclopedia of literary heroes, and literary works.
The graduate demonstrates knowledge of the texts of the works being studied.
Dmitry Yuryevich successfully notes the presence of different points of view on the problem and expresses his point of view (in particular, when studying the novel by Ch. T. Aitmatov “The Scaffold”).
The semantic blocks of the main part are logically interconnected.
The method of sequential presentation of the material chosen by the graduate, rather than the method of parallel comparison, can be considered successful, due to the specifics of the works being studied.
It should also be noted that the graduate is not limited to covering the topic of the essay only with program works: in conclusion, to prove his point of view and to confirm the relevance of the chosen topic, he talks about non-program works, and not only artistic, but also journalistic, thereby demonstrating a broad outlook and the ability to synthesize and compare material.
The author of the abstract successfully introduces quotations into his work, formatting them in accordance with the punctuation norms of the Russian language.

The abstract deserves an “excellent” rating.

Reviewer: teacher of Russian language and literature Kisel T.V.


Today, environmental problems are talked about everywhere: in the press, on television, on the Internet, at the bus stop, in the subway. But who was the first to say, who addressed this topic back in the 19th century, who noticed the beginning of this destructive trend even then, when the range of environmental problems was limited to the unjustified cutting down of the landowner's grove? As often happens, the first here were the “voices of the people” - writers.

Anton Pavlovich Chekhov "Uncle Vanya"

One of the main conservationists among writers of the 19th century was Anton Pavlovich Chekhov. In the play "Uncle Vanya", written in 1896, the theme of ecology sounds quite clearly. Everyone, of course, remembers the charming Doctor Astrov. Chekhov put his attitude towards nature into the mouth of this character: “You can heat stoves with peat and build sheds with stone. Well, I admit, cut down forests out of necessity, but why destroy them? Russian forests are cracking under the ax, billions of trees are dying, the homes of animals and birds are being devastated, rivers are shallowing and drying up, wonderful landscapes are disappearing irrevocably, and all because a lazy person does not have enough sense to bend down and pick up fuel from the ground.”

Recently, the prefixes “eco” and “bio” have become increasingly popular. And this is not surprising - against the backdrop of scientific and technological progress, our planet is being subjected to painful torture. Recently, scientists made a discovery: it turns out that cows emit more greenhouse gases than all the vehicles in the world. Recently, scientists made a startling discovery: it turns out that cows emit more greenhouse gases than all the vehicles in the world. It turns out that agriculture, the greenest area of ​​the economy, harms the environment the most?

It’s amazing how Astrov, and in his person a progressive person of the 19th century, assesses the state of nature: “Here we are dealing with degeneration as a result of an unbearable struggle for existence, this degeneration from inertia, from ignorance, from a complete lack of self-awareness, when a cold, hungry, sick person “In order to save the remains of life, in order to save his children, he instinctively, unconsciously grabs onto everything that can satisfy his hunger, keep warm, destroys everything, without thinking about tomorrow... Almost everything has already been destroyed, but nothing has yet been created in its place.”

To Astrov, this state seems extreme, and he in no way imagines that fifty or a hundred years will pass and the Chernobyl disaster will break out, and the rivers will be polluted with industrial waste, and there will be almost no green “islands” left in the cities!

Leonid Leonov “Russian Forest”

In 1957, the first laureate of the revived Lenin Prize was the writer Leonid Leonov, nominated for his novel “Russian Forest”. “Russian Forest” is about the present and future of the country, which is perceived in close connection with the preservation of natural resources. The main character of the novel, Ivan Matveich Vikhrov, a forester by profession and vocation, speaks about Russian nature like this: “Perhaps no forest fires have caused as much damage to our forests as this seductive hypnosis of the former forest cover of Russia. The true number of Russian forests has always been measured with approximate accuracy.".

Valentin Rasputin "Farewell to Matera"

In 1976, Valentin Rasputin’s story “Farewell to Matera” was published. This is a story about the life and death of the small village of Matera, on the Angara River. The Bratsk hydroelectric power station is being built on the river, and all “unnecessary” villages and islands must be flooded. The residents of Matera cannot come to terms with this. For them, the flooding of the village is their personal Apocalypse. Valentin Rasputin is from Irkutsk, and the Angara is his native river for him, and this only makes him talk louder and more decisively about it, and about how organically everything in nature was originally arranged, and how easy it is to destroy this harmony.

Victor Astafiev "Tsar Fish"

In the same 1976, another Siberian writer Viktor Astafiev’s book “Tsar Fish” was published. Astafiev is generally close to the topic of human interaction with nature. He writes about how barbaric practices of natural resources, such as poaching, are disrupting the order of the world.

Astafiev in “The King Fish”, with the help of simple images, tells not only about the destruction of nature, but also about the fact that a person, “spiritually poaching” in relation to everything that surrounds him, begins to collapse personally. The fight with “nature” forces the main character of the story, Ignatyich, to think about his life, about the sins he has committed: “Ignatyich let his chin go from the side of the boat, looked at the fish, at its wide, emotionless forehead, protecting the cartilage of its head with armor, yellow and blue veins intertwined between the cartilage, and with illumination, in detail, what he had been defending himself from almost all his life was outlined to him in detail. which I remembered immediately as soon as I fell for the planes, but I pushed the obsession away from myself, defended myself with deliberate forgetfulness, but I had no strength to continue resisting the final verdict.”

Chingiz Aitmatov “The Scaffold”

The year is 1987. The Roman-Gazeta published a new novel by Chingiz Aitmatov, “The Scaffold,” where the author reflected the modern relationship between nature and man with true power of talent.

One day a psychic lady I know told me: “The world used to be full of magic, but at some point humanity stood at a crossroads - the world of magic or the world of machines. The machines won. It seems to me that this is the wrong path and sooner or later we will have to pay for this choice.” Today, remembering this, I understand that it is worth replacing the word “magic” with the word “nature”, which is more understandable to me - and everything said will become the holy truth. Machines have conquered nature and swallowed us, their creators. The problem is that we are alive. Bones and flesh. To survive, we must be tuned to the rhythm of the Universe, not to news broadcasts or traffic jams.

The ecological component of the novel is conveyed through a description of the life of wolves and the confrontation between wolves and humans. Aitmatov’s wolf is not a beast, he is much more humane than man himself.

The novel is imbued with a sense of responsibility for what is happening in the world, in the nature around us. He carries good principles and noble life guidelines, calling for respect for nature, because it was not created for us: we are all just part of it: “And how cramped a person is on the planet, how afraid he is that he won’t have room, won’t be able to feed himself, won’t get along with others of his own kind. And isn’t it that prejudice, fear, hatred are narrowing the planet to the size of a stadium in which all the spectators are hostages, because both teams brought nuclear bombs with them to win, and the fans, no matter what, shout: goal, goal, goal! And this is the planet. But every person also faces an inescapable task - to be human, today, tomorrow, always. This is what history is made of.”

Sergey Pavlovich Zalygin “Ecological novel”

In 1993, Sergei Pavlovich Zalygin, writer, editor of the magazine “New World” during perestroika, thanks to whose efforts A.I. Solzhenitsyn, writes one of his last works, which he calls “Ecological Novel”. Creativity of S.P. Zalygin is especially important in that he does not have a person in the center, his literature is not anthropocentric, it is more natural.

The main theme of the novel is the Chernobyl disaster. Chernobyl is not only a global tragedy, but also a symbol of man’s guilt before nature. Zalygin's novel is imbued with strong skepticism towards man, towards the thoughtless pursuit of the fetishes of technical progress. Realize yourself as a part of nature, not destroy it and yourself - this is what the “Ecological Novel” calls for.

Tatyana Tolstaya "Kys"

The 21st century has arrived. The problem of ecology has already acquired completely different shapes than was imagined half a century or a century ago. In 2000, Tatyana Tolstaya wrote the dystopian novel “Kys”, where all the themes previously developed in Russian “natural” literature are, as it were, brought to a common denominator.

Humanity has made mistakes more than once, finding itself on the very brink of disaster. A number of countries have nuclear weapons, the presence of which threatens every minute to turn into tragedy if humanity does not realize itself. In the novel “Kys” Tolstaya describes life after a nuclear explosion, showing the tragedy of the ecological plan and the loss of moral guidelines, which are very close to the author, as it should be for every person.





Man and nature in the lyrics of Kuzbass poets

Osinniki

O.V. Dmitrieva


Workbook

course "Man and Nature"

in the lyrics of Kuzbass poets"

students_____ 8th grade _____

School No. ______________________

Full name___________________________

Osinniki

2006
Table of contents
Topic No. 1

Development of the literary process in Kuzbass...................................5
Topic No. 2

Works of Igor Mikhailovich Kiselyov...................................8

Topic No. 3

Confessional lyrics of Igor Mikhailovich Kiselyov........................10

Topic No. 4

Igor Mikhailovich Kiselyov...............................................12

Topic No. 5

Philosophical lyrics of Igor Mikhailovich Kiselyov........................15

Topic No. 6

The river motif in the works of Gennady Evlampievich Yurov........17

Topic No. 7

Analysis of visual and expressive means

in the lyrics of G. Yurov................................................... ......19
Bibliography................................................ ....21

Dear friend!
You are holding in your hands a textbook that will allow you to better understand the course “Man and Nature in the Lyrics of Kuzbass Poets.”

Kuzbass is the “industrial heart” of Siberia. In our region already in 1960 there were numerous metallurgical and chemical plants “Azot”, “Karbolit”, a coke plant, the Kuznetsk Metallurgical Plant, the Novokuznetsk Chemical Plant, open pit mines, and mines. These objects of civilization turned out to be destructive for the nature of Kuzbass. Therefore, it is not surprising that the poets of Kuzbass sounded the alarm.

The workbook contains poems by Kuzbass poets and various tasks.

Please note that all workbook materials are preceded by symbols:
before material of an informative nature,

before the assignment to be completed in class,

before a creative task,

before the homework assignment.
As a result of completing the program material, you will get an idea of ​​the literary process in Kuzbass, learn more about the work of poets of your region, improve your skills in working with the text of a lyrical work, hone your ability to use visual and expressive means when analyzing two or more lyrical works, and identify themes and motifs.

I wish you success!!!

Topic No. 1

Development of the literary process in Kuzbass

On April 28, 1962, the board of the Union of Writers of the RSFSR adopted a resolution: “To organize a branch of the Union of Writers in the city of Kemerovo.” On June 14, an organizational meeting of writers of Kuzbass was held, which elected Evgeniy Sergeevich Buravlev as the executive secretary. The young organization consisted of five people.

Alexander Nikitich Voloshin informed the country and the planet (his novel was translated into several foreign languages) about the existence of the Kuznetsk land. The novel “Kuznetsk Land” was awarded the USSR State Prize and became a significant phenomenon of Soviet wartime literature. Voloshin’s pen later produced the following works: “All about Natasha”, “Roads are calling”, “Green courtyards”.

Gennady Modestovich Molostnov also belongs to the front generation. Known for the novels “Between the Rivers”, “Blue Lights”, “Giving Life”, books of poems, novellas, and short stories.

Herbert Henke wrote in German. His books were published in translations by Valentin Makhalov. To become a member of the USSR Writers' Union, he was given a recommendation by the world-famous writer Anna Zegers.

Tamara Yan is a poet and playwright. Her plays were performed on the stage of the Novokuznetsk Drama Theater. The heroes of the poetry books published in Kuzbass were the young builders of Zapsib.

Evgeniy Sergeevich Buravlev- the first head of the writers' organization. Author of many lyrical books. In collaboration with composer Martynov, he created the operetta “The Pearl of Kuzbass,” which was in the repertoire of the Kemerovo Operetta Theater. He was a close friend of Vasily Dmitrievich Fedorov, our illustrious fellow countryman, a famous Russian poet.

The organization grew and became stronger. Front-line poets Vladimir Izmailov and Mikhail Nebogatov, critic Anatoly Sryvtsev, and prose writer Anatoly Sobolev became members of the Writers' Union. Then the work of the poet Viktor Bayanov and prose writer Vladimir Mazaev received all-Russian recognition. This is already the second post-war generation of Kuzbass writers associated with the so-called “Khrushchev Thaw” of the sixties.

Vladimir Mazaev - author of the books “The End of the Moose Stone”, “Birds Don’t Sing in the Fog”, “Thunderstorm Anomaly”, “The Last Flower of Summer” takes the reins of the Kemerovo Writers’ Organization (1971 - 1983), edits the almanac “Lights of Kuzbass”.

It was in Kemerovo in 1966 that a zonal seminar of young writers from Western Siberia and the Urals was held. Masters of words Leonid Sobolev, Vasily Fedorov Mark Sobol, Antonina Koptyaeva, Yaroslav Smelyakov, Viktor Astafiev, Vasily Kazaniev came to Kuzbass to evaluate the work of young writers and poets.

Despite the acquisition of new names, the Kemerovo writers' organization did not grow numerically for a long time, gravitating towards the number 13. First of all, because it suffered bitter losses: many writers and poets passed away, many left the region.

The third generation of Kuzbass writers are students of the Pritomye literary studio, which began operating in October 1979. The now famous poets and prose writers Nikolai Kolmogorov, Sergei Donbai, Lyubov Nikonova, Vladimir Ivanov, Joseph Kuralov, Alexander Katkov, Vladimir Shiryaev, Alexander Raevsky... and others became members of the Writers' Union.

In 1997, Vladimir Konkov compiled the first anthology, “Literature of the Kuznetsk Land,” which included the works of fourteen deceased writers.

The number of members of the Writers' Union in Kuzbass today numbers more than 50 people. The sphere of concern of Boris Vasilyevich Burmistrov, who now heads the Kuzbass Writers' Union, is becoming more complicated. Over the forty years of the existence of the Kuzbass writers’ organization, hundreds of books have been published that have enriched the spiritual field of the province, the Fedorov Readings and the Chivilikhin Readings, the literary festival “Spring in Pritomye”, meetings of poets and prose writers of Kuzbass with readers have become traditional.



Read the poems by V. Bayanov “Windmills” and M. Nebogatov “Miner”. Answer the question: what is the relationship between man and nature in these poetic texts?

Read the poem by V. Izmailov “The tree from which the pillar was made...”. Explain what is dramatic about the incomplete inclusion of man in the natural world?

How do you understand expressions


  • humanization of nature_-_______________________________________

  • naturalness of man -

Prepare an expressive reading of a poem about the native land of one of the Kuzbass poets.

Topic No. 2

Works of Igor Mikhailovich Kiselyov


Igor Kiselev was born in 1933 in the village of Pavlovsky, Altai Territory. He graduated from the Novosibirsk Pedagogical Institute, worked as a teacher at school, as a literary employee of the newspaper “Komsomolets Kuzbassa”, served in the army, worked as an editor at the Bureau of Technical Information of the Kemerovo Economic Council, the Novosibirsk Television Studio, and the Kemerovo Book Publishing House. Member of the USSR Writers' Union.

I. Kiselev - author of the essay book “Next to the Legend” (1965), poetry books “Peretsvet” (1966), “Yaroslavna” (1968), “Four Rains” (1971), “Man Comes to Man” (1975), “Night Rivers” (1980).

Read an excerpt from Ilya Fonyakov’s article “DESTINY, DUTY, WORK.” Underline those sentences that reveal the peculiarity of Igor Kiselyov’s perception of nature.

It seems that just recently Igor Kiselev and I traveled around Kuzbass as part of a small writing group: the Days of Soviet Literature were taking place in the mining region. There was great interest in them; they had to perform more than once a day. I remember the club halls filled to capacity in Kemerovo, Novokuznetsk, Osinniki, Myski, Mezhdurechensk, I remember the feeling of joy and responsibility from the awareness of what a wonderful reader we have: attentive, kind, filled with deep trust in the word of the writer. But even for the most interested reader-listener, an hour and a half of intense attention is not a trifle. And when it was felt that the audience was beginning (just a little, very imperceptibly) to get tired, the floor was given to Igor Kiselev. He came to the forefront and said:

If things ever get tough

Nomad, boots of dust,

I'll buy myself a true friend

Along with fleas for three rubles...

A smile passed across their faces, and fatigue disappeared as if by hand. And people were already ready for further conversation, which, as it turned out, was serious:

And in the name of neighborhood and brotherhood, -

I can do it, I can handle everything, -

I'll teach him to smile

And I’ll stop him from biting.

Just suddenly

In the human world

Lost like a drunk in the forest,

The dog will start smiling

Bruiser,


Will lick your hands

Scoundrel?..


The theme of nature, its complicated relationship with man in the era of the scientific and technological revolution, occupied a large place in the work of Igor Kiselev in recent years, and this was also not a tribute to fashion. Readers, perhaps, can discern some kind of contradiction in the poet’s position. Indeed: With on the one hand - “Take me, Zapsib, as a student!” Or - a hymn to his hometown, which Igor Kiselev sees as “a miner, a chemist, a doctor,” and most of all, “a foreman in a tarpaulin raincoat.” And on the other:

They wander wearily through the snowstorm, driving you crazy,

square blocks,

Square houses...

The heart asks for space.

Spacious...

Everything takes us away steeper

From soil and grass...

There is a contradiction. How would you like it? Can there be any significant poet without internal contradictions, without mental struggle, without the search for truth? And aren’t these same contradictions tormenting any of us today? We all cherish the beauty of creation, which has received its highest embodiment in the great construction projects of our time. And we are all concerned about the unintended consequences of global interference with nature. The calming “golden mean” has not yet been found!

Prepare an expressive reading of two poems by I. Kiselyov about the relationship between nature and man. Select works that reflect different models of human relationships with nature.

Topic No. 3

Confessional lyrics by Igor Mikhailovich Kiselyov

Continue filling out the diagram. Use a literary dictionary, if necessary.

lyrics

confessional

philosophical


Read the poems “Moose” and “Wandering on the Moss in a Lingonberry Tale.” What do these two works have in common? What is the contradiction in the author's position? Describe two models of man's relationship to nature.


Elk

Along a confusing path,

Where are the roots at random,

Like I used to run from the wolf,

An elk ran from the car.
He ran, straining his legs,

Swift as an arrow

So that the speed does not let you down.


He ran, gasping, delirious, -

Don't perish, don't perish! –

Confident of victory

“Victory” was chasing him.


The moose thought, believing in salvation,

Leaving my hills

That people will help the beast.

...And we were the animals.


Much scarier than a wolf

And an elk met them,

Fearless double-barreled shotgun

And the rustle of tight wheels.


But now the city is nearby.

Through the screams, through the roaring in my ears

The elk rushed with a bloody look,

Those who do not see are not one step away.



Falling rocket

Broken arrow...

Cowardly swerving, “Victory”

Disappeared - as if she never existed.


But nearby doors exploded,

But loudly from the chaos

Catch the beast!

...And we were the animals.
And someone was jumping and shaking

The whole body - because

What jumps half a ton of meat

Free. No one's.


At the school, running into the fence,

And the sky fell apart.


He slowly fell to the ground

He thought: I’m going to die now...

And with a cold eye

He looked at the kids.


And the children roared with all their might,

They have to cry for a long time now,

The only ones who are not animals

To which the beast rushed.


Wander through the moss in a lingonberry fairy tale,

And on a timid animal

Look trustingly, brotherly,

And the sky drinks from the spring,

When the clouds drown in it

To the stars -

Timid hints

That the night is already close.

Follow the same path

Where moose wander to water;

And think simply, without any fuss,

That you are not bypassed by fate...

With blind anxiety

Instantly feel sorry for the children.
Model one:

Model two:


Define the term " comparison". Find this trope in the poem “Moose”. For what purpose does the author use it in the work?

Comparison is

For example (from the analyzed text):

With the aim of


Imagine that you have to act as a designer for a collection of poems by Igor Kiselev. Prepare several illustrations for the collection. Justify (orally) your proposals regarding the design of the collection.
Topic No. 4

Accusatory and journalistic lyrics

Igor Mikhailovich Kiselyov

Perform an analysis of the poem “And yet there is in the world...” according to the following plan:


  1. Date of writing.

  2. Real biographical and factual commentary.

  3. Genre originality.

  4. Ideological content:

  1. Leading topic.

  2. Main thought.

  3. The emotional coloring of feelings expressed in a poem in their dynamics or statics.

  4. External impression and internal reaction to it.

  5. The predominance of public or personal intonations.

  1. Poem structure:

a) by similarity;

b) by contrast;

c) by contiguity;

d) by association;

d) by inference.



  2. Speech features in terms of intonation and syntactic figures: epithet, repetition, antithesis, inversion, ellipse, parallelism, rhetorical question, address and exclamation.

a) tonic, syllabic, syllabic-tonic, dolnik, free verse;

b) iambic, trochaic, pyrrhic, spondean, dactyl, amphibrachic, anapest.



  2. Stanza (couple, tercet, quintet, quatrain, sextine, seventh, octave, sonnet, Onegin stanza).

BUT STILL THERE IS IN THE WORLD...

And yet there is in the world

Among other miracles

Ordinary wind

Ordinary forest.

Long, blue winter

Among the city buildings -

And you don't find them.

They wander wearily into the snowstorm,

Driving you crazy

square blocks,

Square houses.

You're fed up -

Such a stripe -

Both radio and television,

And the cinema is wonderful.

And I want something simple:

Radiance and space

of the dawn star,

Well water.

The heart asks for space.

Spacious...

But alas: we are being carried away more and more steeply

From soil and grass.

And the call of the earth is getting louder and louder

On a crazy highway

Where our souls rush

Like squirrels in a wheel.

But sometimes in spring,

Under the wind there is witchcraft,

Will come to us as salvation

The consciousness of

What else is there in the world

Among other miracles

Ordinary wind

Ordinary forest.

Follow the same plan to analyze the poem “Upsetting the Old Lady Nanny...”


Upsetting the old nanny -

Look out for such an arrow!

The child took it and broke the toy:

See what's inside her.


What can you take from such a baby?

Before him, roaring, appeared

A pile of useless metal,

From which the soul has been taken out.


Junk, trifle, scrap metal.

Is it time for toys in the scorching summer?

The kid himself forgot about it long ago,

Yes, and I’m talking about something else.

In the bustle of spring and autumn,

In the Kuril Islands, in the Asian haze

There's been a lot of upheaval

In our cradle - on Earth.

Hurricanes rumble over the house,

The garden and the roofs - everything is falling into darkness,

And dormant volcanoes for centuries

They come to life in ashes and smoke.

The person became more and more anxious

Wait for trouble to come from:

Floods, landslides, avalanches,

Heat, earthquakes, cold.

Not anticipating the severity of retribution -

And she will come, and rightly so! -

In nature we are like occupiers

In the city that has completely surrendered to us.
Without hesitation, spending energy generously, -

Needless to say, heroes! -

We are hacking into the depths of the planet:

See what's inside her.


And the planet, in abrasions and scars,

Getting angry more and more often

On our inquisitive and stubborn ones,

And careless sons.

Topic No. 5

Philosophical lyrics by Igor Mikhailovich Kiselyov

Read the poem and... Kiseleva “What’s wrong with me, what’s wrong...”. Highlight the lines that reflect a philosophical understanding of the problem of the relationship between man and nature, awareness of the coexistence of two models of life.


What's wrong with me, what's wrong...

Or are the years knocking harder?

I dream of horses, I dream of horses,

As soon as I fall asleep, I will see horses.


The horses are waving their red bangs,

The night is full of dew and crunch,

And the cuckoo screams and looms

There is a big moon above the horses.


I'm on a rattling tram,

I swallow dust and breathe smoke,

I am this night's reverie,

I carry it with me like a blade of grass.


In the daytime carousel, doing business,

It seems like I have no time to remember,

What's in the distant July clearing

A horse wanders knee-deep in the moon.


But still, like a companion on the road,

Walks after me, not a step away from me,

Feeling of vague anxiety

That I don’t live there... And not like that...

Describe the artistic space in I. Kiselyov’s poem “Thank you, Earth, thank you...” according to the following plan:


  1. Basic spatial oppositions (north-south, sky-earth, friend-foe, etc.). __________________________________________________________________________________________________________________________________________________________________________________________________________

  2. Elements that fill space (water, earth, air, fire) __________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

  3. Symbolic images of space ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

  4. The relationship of a person with space (the meaning of life drama) ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Compose an acrostic poem, reveal the features of I. Kiselev’s work in the content of the verse.

TO_____________________________________________

AND_____________________________________________

WITH_____________________________________________

L_____________________________________________

E_____________________________________________

IN_____________________________________________

Topic No. 6

The river motif in the works of Gennady Evlampievich Yurov


Gennady Yurov was born in Kemerovo in 1937. Graduated from Tomsk University. He worked in newspapers in Tomsk, Kemerovo, Magadan, and in the Kemerovo book publishing house. Member of the Union of Writers of the USSR, laureate of the Union of Journalists of the USSR (behind essay “Toiler Tom”, 1973).

G. Yurov is the author of the poetic books “Blue Torch” (1964), “Running Distance” (1968), “Shores” (1970), “Valley in September” (1975), “Song about the City "(1978), essay book "Toiler Tom" (1974) and a book for children (1979), "Aborigine" (1982), "Trusting Channel" (1987), "Alma- mater" (1988), "Comradely Circle" (1993), "Lyrical Poems" (1997).

Define the term "motive". Use a dictionary of literary terms for this.

Motive is

Prove that one of the main motives of G. Yurov’s work river motif. Use as evidence works from the collection “Aboriginal” (1979-1982)



I am the speech of the river.

I am a call to human reason and will.

I am the pain of the river and the healer of pain,

The melancholy of the river and the victim of that melancholy.

I live by one of the parting words given to me:

Then the pain will go away.

I am the son of the river.

Read the poem “I am the son of the river”, write down examples of artistic tropes.

Whose shore has become cruel.

I say - my origins are pure.

I say - my sprouts are bright.

There is no need for hopelessness in reproach,

Roots grow from one

The words "river" and "speech".


Art trails

Quotes from the text of the work


Observe how associative chains develop in a poem dedicated to the Tom River and draw a conclusion about the specifics of metaphorization.


Ancient ancestor

On a steep stone

Carved the light tread of a deer,

He whispered admiringly:

T - o - o --o - m!-

And, shaman.

Fell to his knees.

For the fire.

Blazing from the darkness,

For good luck


In the hunt or battle

He prayed.

It must be us too

They were mentioned in prayer.

Because he's alive

That deer

K. has rushed us through the eras.

Isn't it his branched shadow?

I lay down

Having identified the origins?

Here we go again

Feels the line

The attraction of the native foothills,

Where is the river -

Like the flight of a spring,

Who wished to meet the sea.

Here we go again

I differentiate.

And sounding affectionate - Tom

My strict rhyme

Softens.

I marked in my valley

Enchanted Dream Beach

And the sparkling shore of luck.

____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________


Complete one task of your choice (the poem “Here we go again”):

Topic No. 7

Analysis of figurative and expressive means in the lyrics of G. Yurov

Determine the meter and rhyme of the poem “As if you, river, had become blind.” Draw a conclusion about the rhythmic features of the work.


podstrophnik

________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________


As if I were blind

You have become a river.

Became opaque

And you're a little bitter.

Let's start over

Let's find the connection:

Where did the song sound?

Where did it break?

The power that broke through

To life as a spring,

Where was it extinguished?

In what kind of pool?

Why is everything getting quieter?

Your underwater buzz?

Who, cruel, into the soul

Was fuel oil thrown away?

So as not to wither

Talniks to death,

In the lower reaches of the fishermen,

Let's start over

From the forest piers,

March snows

And from springs.

From reciprocal love,

From the grass up to your chest,

From a cherished dream

The journey ends at sea. ...

morning dawn,

Mother earth.
__________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Independent work

Perform a comparative analysis of figurative and expressive means in the lyrics of I. Kiselev and G. Yurov. Based on the results of your work, fill out the table:



Aspects of analysis

Lyrics by I. Kiseleva

Lyrics by G. Yurov

Comparison and development of basic verbal images:

a) by similarity;

b) by contrast;

c) by contiguity;

d) by association;

d) by inference.

The main visual means of allegory used by the author: metaphor, metonymy, comparison, allegory, symbol, hyperbole, litotes, irony (as a trope), sarcasm, periphrasis.

Speech features in terms of intonation and syntactic figures: epithet, repetition, antithesis, inversion, ellipse, parallelism, rhetorical question, address and exclamation.

Main rhythmic features:

a) tonic, syllabic, syllabic-tonic, dolnik, free verse;

b) iambic, trochaic, pyrrhic, spondean, dactyl, amphibrachic, anapest.


Rhyme (masculine, feminine, dactylic, accurate, inaccurate, rich; simple, compound) and methods of rhyming (paired, cross, ring), rhyming game.

Stanza (couple, tercary, quintet, quatrain, sextine, seventh, octave, sonnet).

Euphony (euphony) and sound recording (alliteration, assonance), other types of sound instrumentation.

Finish filling out the table at home.

Bibliography


  1. Kazarkin A.P. Pulse of time. Sketches about the poets of Kuzbass. - Kemerovo:
    Book publishing house, 1985. - 136 p.

  2. Kiselev I. Man comes to man. Poems. - Kemerovo:
    Book publishing house, 1975. - 109 p.

  3. Kiselev I. Night rivers. Poems. - Kemerovo, 1980.- 223 p.

  4. Kiselev I. Thank you, Earth, thank you... Poems. - Kemerovo, 1983. - 207 p.

  5. Kiselev I. Under the sun and bad weather. Poems. - M: Sov. Russia,
    1989.-224p.

  6. Dictionary of symbols / Comp. N. Julien. Translation from French by S. Kayumov,
    I. Ustyantseva. - “Ural”, 1999.

  7. Yurov G. E. Spiritual field of the province. Literature of the Kuznetsk land: Chresto
    matia. T. 1. -Kemerovo: Siberian spring, 1998.

  8. Yurov G. Berega. Poems and poems. - Kemerovo: Book. publishing house, 1970. - 99 p.

  9. Yurov G. Native river. Documentary story about Tom. - Kemerovo:
    Book publishing house, 1979. - 239 p.

BBK 83.32 Ros6-4k


Published by decision of the pedagogical council of the municipal educational institution “Gymnasium No. 36” in the city of Osinniki

Dmitrieva O.V.

Man and nature in the lyrics of Kuzbass poets. Workbook for 8th grade. – Osinniki, 2006. – 22 pages.

The workbook for the course “Man and Nature in the Lyrics of Kuzbass Poets” is a small manual that contains poems by Kuzbass poets and various assignments for them.

The tasks presented in this notebook provide an opportunity to get an idea of ​​the literary process in Kuzbass, learn more about the work of poets of their native land, improve skills in working with the text of a lyrical work, hone the ability to use visual and expressive means when analyzing two or more lyrical works, and identify themes and motives.

Reviewer:

Candidate of Pedagogical Sciences, Associate Professor of the Department of Theory and Methodology of Teaching the Russian Language KuzGPA Irina Vladimirovna Zhuravleva

Sections: Literature

The purpose of the lesson: acquaintance with the work of Kuzbass poets and their attitude to environmental problems of the region.

Tasks:

  1. Show the evolution of the relationship between man and nature, leading to their modern confrontation, to the extreme aggravation of environmental problems.
  2. Fostering love for nature and native land.
  3. Development of speech and attention.

Equipment:

  • portraits of poets;
  • musical works;
  • video “Nature of Kuzbass”;
  • reproductions of paintings.

Techniques:

  • teacher's story;
  • expressive reading of poems;
  • working with the text of a work;
  • students' monologue response;
  • commented reading;
  • conversation on issues.

During the classes

But among the cranes' sobs
Not for the first time I heard the speech:
We are native spaces and gave
And loving we do not know how to take care...
I. Kiselev.

1. Organizational moment.

Teacher: What does the word confession mean?

Repentance for sins. What sins do we, living in the 21st century, need to repent of? This idea is well revealed in the epigraph to the lesson - poetic lines by Igor Kiselev. (I'm reading.)

Yes, we love nature, but we often harm it. And today in the lesson we will repent of the sins called “anthropogenic impact on nature.”

(I show it on the board.)

Let us repent in the words of wonderful Kuzbass poets: Gennady Yurov, Igor Kiselev, Lyubov Nikonova, Valentin Makhalov.

2. Main part.

Sounds like "Moonlight Sonata". We light the candles.

Teacher: So. Gennady Yurov.

Student 1: The book of poems by Gennady Yurov is not for easy reading. Its exciting power and core motive are determined by turbulent times and the fate of its native land. This is the experience of an impressionable and restless nature. This is a sad song in which there is nothing petty, vain, or insignificant, because the life of the hero of the poems, in many ways the author himself, is closely connected to the large and complex life of society, the nature that surrounds us.

For example, an excerpt from the poem “Planet-Kemerovo”.

Student 1:

We built - we took coal in a hurry.
The earth at first with a kind smile
I watched my sons play.
Let them have fun! –
I naively believed
And even, as best she could, she helped,
Opening up to us in the banks and rocks
Natural outcrops.

When explosions shot up along the spurs,
The earth looked with pain and anxiety.
The lights burned fiercely in the night
Then she looked with bitterness and fear.
It was going under construction, like going to the chopping block,
Within the lines of the cuts she became dust,
Losing pegs, rivers, cedar trees.

Teacher: In Yurov's poems, next to the motives of guilt, reproach, protest, some vague resentment, the motives of confession, repentance and hope are much stronger.

Student 2:


Traits change
Without having time to freeze.
No longer Coal, Chemistry, Metal -
Like three whales, they dictate their will.
They became whales
Forest, River and Field.
From now on our joys and pains
They will be subject to these three pillars.

Student 2: He does not try to solve environmental problems; the poetic line, unfortunately, does not have any directive. For him, ecology is a screen for showing our moral distress.

Student 3:

I am a chronicler of the cruel truth.
I walked with the river to the mouth - from the source
On the road to the evil done.
For us, the fairy tale of generations has faded away.
The arrow mortally wounded the deer.
And the prophetic owl is silent in confusion.
And the music of the valley died.

Student 3: A good, great poet, he tried to awaken our conscience with his words, appealing to kindness and prudence. We all need to print the mental constant work, torment, anxiety, excitement. It is not for nothing that the poet included “Lyrical Poems” in the title of his book.

Student 4:

My friends!
Now necessary
The last peak is human concern
About a butterfly that lives one day,
About the air we breathe
...Peak of conscience.
Mutual love peaks,
As long as nature agrees to believe us,
Until the spring in the soul is dried up,
The sprout is not crushed
And the word did not go out...

Student 4: Yurov writes a lot about our Tom River. In one essay, he shares his thoughts and observations of the processes taking place in the Tom River valley. The topic is still the same: our attitude to the natural environment.

The river cries out to us for mercy.
The rapids became cloudy from horror.
Like a lizard
With a crunch, in half
A living body was cut into pieces by the river.
What is our delight worth to the valley?
Then we will launch powerful turbines,
The river will completely lose its source
Or, on the contrary, he will lose.

Teacher: A very clearly defined area of ​​discord is the loss of natural values ​​as a result of human economic activity. For the industrial valley of the Tom River it has acquired catastrophic proportions.

People, for economic and industrial purposes, shovel crushed stone and sand with excavators anywhere in Tom, without preliminary examinations, analyzes - what the consequences will be. And so, before the eyes of one generation of Kuzbass residents, rivers, including the Tom, became shallow, coniferous tracts in the catchment area disappeared, large areas were disturbed by mining, springs and small rivers disappeared, the water basin was polluted by emissions from industrial enterprises. And on behalf of the river, which cannot scream about the pain that people cause it, Yurov addresses the readers, showing his purpose:

Song "Lube" "Carry me, river."

I am a call to human reason and will.
I am the pain of the river and the healer of pain.
The melancholy of the river and the victim of that melancholy.
I live by one of the parting words given to me:
Its trout fish must be preserved until the mouth...
Then the pain will go away.
I am the son of the river.

Student 5: Gennady Yurov emphasizes that our anthropogenic impact on nature has irreversible consequences:

I am creating a portrait of my native land.
Traits change
Without having time to freeze.
No longer coal, Chemistry, Metal -
How three whales dictate their will.
They became whales
Forest, River and Field.
From now on our joys and pains
They will be subject to these three pillars.

Teacher: Gennady Yurov was asked: “Why don’t you say directly where is the way out of the current ecological impasse and how can we save the dying nature?” To which he replied: “So you show the way out. I am waiting for a solution to the problem from you."

Student 5:

Here the seeds are in the ground again.
But it takes a century for the shoots to become a forest...
An era is coming
Doctors of the Earth,
Skillful healers of nature!

Restore all your rights
Our planets split atom
They will come.
We will praise them
How we honor astronauts today.

And giving free rein to welcoming speeches,
To solemn music
Let's celebrate the opening of the cedar tree,
Early launch
Birch tree...

Student 6: And again this desire to feel how “the shore of the spring grows into the shore of the ocean.” It so happened that everything that happened to the country in the last decade for him revolves around the fate of the primordial, original spring. Spring on Krasnaya Gorka.

What kind of disasters do we need?
To clarify the minds of the shocked:
The country's high groundwater level
Determined by the spring saved?
What will be the new trouble?
So that we can understand time and space
From the destruction of a bird's nest
before the news of the collapse of the state?

Teacher: And here are the lines written during the construction of the Krapivinsky hydroelectric complex with a reservoir:

Those who give light are proud of their destiny.
Their work is deservedly awarded with orders...
I'll say this:
The source of light is pain,
Nature caused by us.

Coal and ore are painful.
The shooting holes dry up the field.
Cities are rising from this pain.
Factories rise in pain.

You see:
Lights are burning in the night
In river valleys,
In the decays of mountains and above -
The earth is torn apart
The pain radiates.
She's screaming,
But we just don’t hear.

My friends!
The process is not reversible.
Nature will condemn the return.
There will be no dam removal.
And there will be no revival of the mammoth.

Student 6: And at the end of his poem “Planet Kemerovo” the poet says with bitter, bitter reproach:

I'm talking about this
My era
How bad we feel
When nature is bad,
What will we leave to our sons?
Or maybe this region should be given to a car?
And immediately open up the layers throughout the valley,
So that there is a cut in the Kuznetsk Basin -
The merciless final pit?

Teacher: And a call to everyone who masters open-pit coal mines:

The Kuznetsk land is beautiful.
Don't torture her in vain.
Take care of the layer.
She will repay you a hundredfold.

Song "Birch Sap".

Student 7: Kuzbass is the “industrial heart” of Siberia. In our region already in 1960 there were numerous metallurgical and chemical plants “Azot”, “Karbolit”, a coke plant, the Kuznetsk Metallurgical Plant, the Novokuznetsk Chemical Plant, open-pit mines, and mines. These objects of civilization turned out to be destructive for the nature of Kuzbass. Therefore, it is not surprising that the poets of Kuzbass sounded the alarm.

The theme of nature, its complicated relationship with man in the era of the scientific and technological revolution, occupied a large place in the work of Igor Kiselev in recent years, and this was not a tribute to fashion. Readers, perhaps, can discern some kind of contradiction in the poet’s position. Indeed: on the one hand - “Take me, Zapsib, as a student!” Or - a hymn to his hometown, which Igor Kiselev sees as “a miner, a chemist, a doctor,” and most of all, “a foreman in a tarpaulin raincoat.”

Student 7: And on the other:

They wander wearily into the snowstorm, driving you crazy
square blocks,
Square houses...
The heart asks for space.
Space...
But alas:
Everything takes us away steeper
From soil and grass...

Student 8: There is a contradiction. How would you like it? Can any significant poet exist without internal contradictions, without mental struggle, without the search for truth? And aren’t these same contradictions tormenting any of us today? We all cherish the beauty of creation, which has received its highest embodiment in the great construction projects of our time. And we are all concerned about the unintended consequences of global interference with nature. The calming “golden mean” has not yet been found!

Student 8: Igor Kiselev emphasizes the idea that he and all of humanity are not the masters of nature, but only a part of it. He comes into rapture because he sees, hears, and breathes. And it’s as if he takes an oath that he will never offend this “environment”. Sadness is the most natural and stable state of mind in Kiselev’s lyrics. In his poems, sadness has many names. And many shades.

The person became more and more anxious
Wait for trouble to come from:
Floods, landslides, avalanches,
Heat, earthquakes, cold.

Not anticipating the severity of retribution -
And she will come, and rightly so! –
In nature we are like occupiers
In the city that has completely surrendered to us.

Without hesitation, spending energy generously, -
Needless to say, heroes! –
We are hacking into the depths of the planet:
See what's inside her.

And the planet is bruised and scarred,
Getting angry more and more often
On our inquisitive and stubborn ones,
And careless sons.

Student 1: His poems are characterized by awareness of oneself as an equal part of the forest, birds, and grass. He asked them for forgiveness for what humanity had “done.”

Forgive us, trees and grass!
We forget, having barely matured,
That the words have a common root:
People and Nobility and Nature.
Sorry, Earth!
Drunk on victories
We value your high light little.
You lived without us for millions of years -
We won't live even a year without you.

Student 9: If you carefully read Lyubov Nikonova’s poems from the series “Faces of Ecology,” you can note that both the selection of poems and the composition of the collection meet the main goal: to show the path of the human soul, the Russian soul. The lyrical hero observes the “convulsions of stinking souls” who cannot cope with the low and dark in themselves. And first of all, his attitude towards nature. What did he do to her, “a reasonable man.”

A bird of heaven flew by
Above the ground, light and white.
And the ground continued to smoke.
And the whole earth was dug up.
The sky bird turned gray.
And then it turned black.
But, at the risk of being about to smoke,
She hovered above the ground...

Teacher: People litter nature! Lack of spirituality is everywhere, there is no escape from it, neither the birds, nor the earth, nor the flowers...

And the ground under the rusting crowbar
As if imbued with something in response -
And in the flower it reflected purple
All your trepidation, and pain, and secret.

He stood among the smoke and disasters,
Unusually handsome, lonely,
Ah, flower, bell, bell.
Orphan. Lilac flower...

Student 10: Despite the gloomy pictures in the poems of this cycle, Lyubov Nikonova does not lose hope for better times, when the unity of man with nature comes. She seems to be calling on nature not to lose this hope:

You are the wide expanse, you are the former,
Overcome your illness, respond!
And the blue one will spread out again
There is a pure height above you!

Song “I’ll get off at a distant station.”

Student 2: The poetry of Valentin Makhalov is life-affirming. It is based on love for everything good and truly beautiful on earth.

I admire the cheerful flock,
And the soul does not hide kindness.
Come to me more often,
My golden-breasted birds.

Student 1: In addition, great human conscience and moral purity are emphasized. For example, in the poem “Spring in the Taiga” he does not just admire the pictures of spring nature:

The taiga has a hundred flowers,
But come spring
And the taiga will make noise
Green is green.
And again - cheerful,
And again - young,
Like a girl in her
Golden years...

Student 3: But he also calls to preserve this pristine beauty:

Sings with every stream,
Every branch blooms,
Take care of her!
Don't ruin her!

The song “Trees” plays.

Student 2: V. Makhalov has many poems about trust, about the trust of the beast to man. For example, the poem “Pigeons”.

What they coo to each other
I guess I'll never understand.
Pigeons walk as if in a circle.
Approaching my window.
In this quivering bird trust
I can see the happy ones.

Teacher: Poems by Kuzbass poets force us to be more thoughtful about everything around us, to weigh our actions, to think about the concepts of “humanism”, “mercy”, “deed”, “defender of nature”, “moral and moral values”. Only then will we and our descendants be able to see a blue sky, a cloudless blue, flowers that are not rare, not disappearing, animals that trustingly approach a person...

And at the end of the lesson, let us take an oath, expressed in verse by Igor Kiselev:

Student 3:

Thank you, Earth, thank you!
For seeing the lake, the dawn,
For everything around me that I know, hear, see.
And these are your bright ones,
For now I have enough blood and love.
I will not offend you either by word or deed

Teacher: Thank you for the lesson.

Results.

Homework.

Group 1: read the poem “I am the son of the river”, write down examples of artistic tropes.

I am the son of the river
Whose shore has become cruel.
I say – my origins are pure.
I say - my sprouts are bright.
There is no need for hopelessness in reproach,
Roots grow from one
The words "river" and "speech".

Group 2: make up puzzles about Kuzbass.

Group 3: perform a comparative analysis of visual and expressive means in the lyrics of I. Kiselev and G. Yurov. Based on the results of your work, fill out the table.

Aspects of analysis Lyrics by I. Kiselev Lyrics by G. Yurov
Comparison and development of basic verbal images:
a) by similarity;
b) by contrast;
c) by contiguity;
d) by association;
d) by inference.
The main visual means of allegory used by the author: metaphor, metonymy, comparison, allegory, symbol, hyperbole, litotes, irony (as a trope), sarcasm, periphrasis.
Speech features in terms of intonation and syntactic figures: epithet, repetition, antithesis, inversion, ellipse, parallelism, rhetorical question, address and exclamation.
Main rhythmic features:
a) tonic, syllabic, syllabic-tonic, dolnik, free verse;
b) iambic, trochaic, pyrrhic, spondean, dactyl, amphibrachic, anapest.
Rhyme (masculine, feminine, dactylic, accurate, inaccurate, rich; simple, compound) and methods of rhyming (paired, cross, ring), rhyming game.
Stanza (couple, tercet, quintet, quatrain, sextine, seventh, octave, sonnet).
Euphony (euphony) and sound recording (alliteration, assonance), other types of sound instrumentation.

“The sense of nature is one of the main
links of ethical and aesthetic education,
once this link falls, and the moral
the world is suffering damage... Grow, be sure
develop a sense of nature in a person.”
F. Gladkov


Images of nature are most often found in poems by Russian poets. Kuzbass poets are no exception. In most cases, these motives are colored by love, admiration, admiration for the forces of the surrounding world.

But increasingly, poets draw the reader’s attention to the problem of “man and nature,” in which the former is the destroyer of the beautiful world of nature. Kuzbass poets loudly declared their general enthusiasm for plans to restructure Siberian nature for the benefit of people, having seen the shadow side of the process.

One of the poets who addressed the problem of the destruction of nature by man is Evgeny Buravlev. In the poem “Earth,” the poet angrily denounces the unreasonable treatment of nature, protests against the endless “conquest” of the Earth, against its squandering, against “bringing the Earth to the brink.”

In general, the poem “Earth” had a difficult fate: it was not accepted for publication for a long time by editors who did not see in it a topical meaning or a relevant topic. In the poem, an image of a depleted and littered Earth appeared, an image of warning. In the sixties, it seemed like a baseless exaggeration. And this was foresight.

It resonated piercingly with the theme of natural forces that have died out due to the fault of man, the theme of the earth that has become a black, barren field.

In the works of Viktor Bayanov, the “troubled view of his native land” did not become the leading motive, but the poet did not remain indifferent to the problem of the destruction of nature by man. This is a “time bomb” that somehow needs to be neutralized, not brought to “critical mass”, after which it will be too late to regret.

In the meantime, there is only regret, that is, a memory of healthy nature, once given to us “for free.” Bayanov seems to have stepped over this stage of sentimental regret; something more weighty and stern is heard in his poems:


Would you go to the spring now?

Remember, he is here, in the middle of the blackness.
But the tractor crushed the tracks into the spring -
And he died down, he was gone.

It turns out that the poet has a very specific addressee in mind; the source of the trouble is clear to him. After all, it is not the cars themselves that step on the forests, nor the rivers themselves that are polluted. The author talks about stupid heads, about indifferent hands that are losing land, and losing it completely indifferently, if not to say irresponsibly.

How difficult it is to “be responsible for every bird song” and create a new earth! From the books of Igor Kiselev, one can compile a separate collection dedicated to the topic of decline and scarcity of nature.

And this is the reality of modern life: nature expects mercy and mercy from us. This is what the poem "The Hind's Prayer" is about. This is precisely prayer - doomed nature calls out to a person who does not hear it. The doe’s monologue is a plea to return her true life, the one for which she was born:

Let me go into the forest, into the ring
Fast rivers, where there is grass and birds!
Look at your face
The shadow of my cage is falling!

Valentin Malakhov picks up the theme of nature’s decline:
Where the spruces and pines rustled, -
Sad skeletons of stumps.
Thin out the forests, thin out

On my native side...
I can't hide from my memory:
In reality and in forgetful dreams
Motor saws will clank


But not only fields and forests suffer, the animal world also perishes. In Igor Kiselev’s work, a defenseless and doomed beast tries to reason with a person, hinting at the moral deafness of the “king of nature.”

It is precisely this filial feeling that modern people, accustomed to seeing in nature only raw materials, a workshop or a storeroom, lack so much. It’s as if the earth lived only for us, accumulating and preserving wealth and beauty for billions of years, so that people, having appeared, would give free rein to their unbridled appetite.

Our task is to maintain a sense of proportion, not to fall into complete denial or unbridled praise of the progress of mechanisms. If we are talking about black snow, about a poisoned river, about forests that have been razed to the ground - and at least a third of them could have been preserved - if about air that is becoming increasingly difficult to breathe, then, of course, reflection would be more appropriate here. Here we must appeal to both reason and feeling.

By crushing the multimillion-dollar life around us, we are spiritually crippling ourselves, and even depriving the fate of distant descendants who will live on this earth. To deprive the land of what it acquired before us, isn’t this a robbery?

But how much use are there in regrets? What can poetry be, why does it ring a bell, if the fate of streams and rivers does not depend on it? Can you save the forests with a song? The poet believed in the power of words. After all, only the word is given the ability to penetrate into the very depths, into the recesses of consciousness, and it, the word, is a weapon of conscience.

Valentin Malakhov also created poems about the decline of nature. They are few in number, but the anxiety and concern in them is borne out.

Where they ate and the sun rustled, -
Sad skeletons of stumps.
Thin out the forests, thin out
On my native side...

I can't hide from my memory:
In reality and in forgetful dreams
Motor saws will clank
And the trees groan in death.

Bird nests will collapse,
The clouds will stand angrily
And it will shed crimson blood
Sunset on the dead pines.

No, not everything in this world is progress
I will explain to my heart...
I look at the undergrowth with hope
And I prophesy immortality to him.


The poet cannot help but believe in human reason, in the understanding that in our time nature no longer has time on its own to heal the wounds inflicted on it by progress. Nature cries out for help, but this help often turns out to be treacherous. But again, the author’s innate optimism prevailed in the finale. After all, it will be difficult for a person to live if he loses faith that the rivers will become clean again and the forests will become dense.

And yet, the contradiction between civilization and nature is a long-term issue. The most important thing here is to find moderation, tact, remembering that nature itself follows the path of improvement. As Vasily Fedorov put it, “it’s like asking the river itself where it would like to turn.” Perhaps what is most important is that the cult of the machine does not overshadow and completely destroy the ancient cult of nature?

My friends! The process is irreversible.
Nature will condemn the return.
There will be no dam removal.
And there will be no revival of the mammoth.

No, the poet does not leave us in the dark, in guessing about what will happen and what is required of us. He expresses his thoughts with extreme, perhaps even too confident-sounding, directness:

My friends! Now necessary
The last peak is human concern
About a butterfly that lives one day,
About the air we breathe forever.

In the poems of Viktor Kovrizhnykh we see a continuation of the theme - the development of civilization and its results:
On the dump, like on BAM
We are leading the way.
The sun is hot streams
It pours onto the back and chest.

It's lifeless and bare here:
Stones, dust and scorching heat,
Yes scared solo
Lost crows...

Ahead, the bulldozer froze.
The driver rolled up the window,
He beckons us with his hands -
Something happened there...

From stones, from scorched ones,
As if by magic
The green fountain gushes timidly
A young tree.

It pulsed through the stones
Young weenie, life-gram.
And carved with your breath
Tickled our palms.


The poet feels involvement and responsibility for the fact that with his seemingly creative work a person harms his native nature:

An excavator pours rock into the grove,
The spoil heaps reared up behind.
I'll still be guilty
At least the medal on your chest shines.

I'll match the metal melody
Young bird cherry words.
The light of factories will flash up to the Urals,
But the flowers will fade and the grass...

It seems like it was destined to be so
And I will say in a well-known line:
I bring light to people with one hand,
The rivers are drying up from another.

I'm not exaggerating the share
Mother Nature wished this:
Nursing the light is comfortable in my palms
And...hold a murderous axe.

There are more and more abandoned dumps every year. And Mother Nature is trying to renew the life destroyed by man: flowers appear and mushrooms grow. But on the existing dumps there is sadness. Nothing grows. Only rocks. They move into the distance and breadth, crushing everything in their path. You can admire nature by traveling abroad. They destroyed theirs with excavators...

Again the local cataclysm confused me -
quarry dump to the right of Belov,
like socialism unfinished in battles,
rose up absurdly and sternly.

I know: your thoughts are pure.
But the dumps are constantly moving,
crushing grass and bushes,
according to instructions and plans.

The poems of Viktor Kovrizhnykh depict a terrible picture of nature destroyed by man in the name of his own well-being. Each line contains a cry from the soul, calling to stop and look around, what will remain after us?!
The fields have been devastated by rock,
According to plans and science.
The earth screamed, writhing,
Birch wringing his hands!

In the name of overthrown shrines,
For all those mercilessly forgotten,
Blue eyes wandered
Innocent angels killed.