The role of the landscape in revealing the psychological state of the hero. The role of landscape in literary works (from work experience)

In Russian literature, there are almost no works in which there would be no landscape. Writers have sought to include this extra-plot element in their works for a variety of purposes. For example, in the story Poor Lisa» Karamzin picturesque pictures of nature, at first glance, can be considered random episodes that are just beautiful background for the main action. But landscapes are one of the main means of revealing the emotional experiences of the characters. In addition, they serve to convey the attitude of the author to what is happening.

At the beginning of the story, the author describes Moscow and the “terrible mass of houses,” and immediately after that he begins to paint a completely different picture: “Down below ... along the yellow sands, a fresh river flows, agitated by the light oars of fishing boats ... On the other side of the river, an oak grove is visible, near which numerous herds graze ... ”Karamzin takes the position of protecting the beautiful and natural, the city is unpleasant to him, he is drawn to“ nature ”. Thus, here the description of nature serves to express the author's position.

Most of the landscapes of the story are aimed at conveying state of mind and the experience of the main character. It is she, Lisa, who is the embodiment of everything natural and beautiful, this heroine is as close to nature as possible: “Even before the sun rose, Liza got up, went down to the banks of the Moscow River, sat down on the grass and looked at the white mists in a sulky mood ... but soon the rising luminary of the day awakened all creation…”

The heroine is sad, because a new, hitherto unknown feeling is born in her soul, but it is beautiful and natural for her, like the landscape around. Within a few minutes, when an explanation takes place between Lisa and Erast, the girl's experiences dissolve into nature they are just as beautiful and clean. And after the separation of the lovers, when Liza feels like a sinner, a criminal, the same changes take place in nature as in Liza's soul. Here, the picture of nature reveals not only Lisa's state of mind, but also portends the tragic ending of this story.

One of the main landscape functions in the novel "A Hero of Our Time" is to more fully and deeply reveal the personality of the main character, Pechorin. His character is reflected in his descriptions of nature ("Fatalist", "Taman", "Princess Mary").

Pechorin is able to feel the movement of air, the stirring of tall grass, to admire the "foggy outlines of objects", revealing spiritual subtlety and depth. He, a lonely man, nature in difficult times helps to maintain peace of mind. “I greedily swallowed fragrant air,” writes Pechorin after an emotionally intense meeting with Vera.

Nature in the novel is constantly opposed to the world of people with their petty passions, and Pechorin's desire to merge with the harmonious world of nature turns out to be futile. The landscapes written by the protagonist are full of movement - such descriptions emphasize the hero's inner energy, his constant tension, thirst for action, reflect the dynamics of his mental states.

Thus, landscapes in a work of art help to penetrate deeply into the soul of the characters and their experiences, to better understand the ideological intent of the author.

"The Tale of Igor's Campaign" is, of course, one of the most significant works in all ancient Russian literature. The image of nature in the artistic system of the poem plays a very important role. In this article, we will talk about it in detail.

The double function of nature

Nature in "The Lay of Igor's Campaign" is characterized by the fact that it performs a dual function. On the one hand, she lives her own own life. The creator of the poem describes the landscape that surrounds the characters. On the other hand, it is a means of expressing the author's thoughts, his attitude to what is happening.

Nature is a living being

Reading the description of nature in the Tale of Igor's Campaign, we understand that the author poetically perceives the world. He treats her like a living being. The author endows nature with qualities that are characteristic of man. In his image, she reacts to events, perceives the world around her. In "The Tale of Igor's Campaign" nature is a separate hero. Since her image is a kind of means by which the author expresses his thoughts, she is, as it were, a supporter and ally of the Russian troops. We see how nature "worries" about the people. When Igor was defeated, she mourns with this hero. The author writes that the tree bowed to the ground, that the grass drooped.

Union of man and nature

In the work of interest to us, the boundaries between man and nature are erased. People are often compared with animals and raven, falcon, tour. It is difficult to name a work where changes in nature and events in people's lives would be so closely intertwined. And this unity enhances the drama, the significance of what is happening. Union of man and nature, with great power deployed in the work is a poetic union. For the author, nature is an inexhaustible source of poetic means and a kind of musical accompaniment which gives the action a strong poetic sound.

Description of the second battle

The description of the second battle in the work "The Tale of Igor's Campaign" is an excerpt in which a detailed image of nature is presented. The author notes that "bloody dawns" have appeared, that "black clouds" are coming from the sea, in which "blue millions tremble". He concludes: "Be great thunder!" Reading "The Tale of Igor's Campaign" (an excerpt devoted to the second battle), we feel emotional stress author. We understand that defeat is inevitable. This point of view on current events is the result of the political views of the creator of the poem. And they consisted in the fact that the Russian troops could defeat the Polovtsy only by uniting. You cannot act alone.

Nature is the highest power

It should also be noted that nature in the Tale of Igor's Campaign acts as a kind of higher power capable of predicting and controlling events. For example, before Igor went on a campaign, she warned the Russian troops about the danger that threatened them. The author writes: "The sun will block the way for him with darkness."

How nature is involved

Nature is used not only to reflect events and warn of danger in the Tale of Igor's Campaign. She is in the work and an active participant in what is happening. Yaroslavna turns to nature with a request for help. In her, she sees her helper and protector. Yaroslavna asks the "bright and crackling" Sun, Dnieper and Wind to help Igor escape from captivity. The princess, turning to them, is trying to dispel grief, to find peace of mind. Yaroslavna's cry is a kind of spell addressed to the forces of nature. The princess encourages them to serve Igor, her "sweet way".

And nature in the Tale of Igor's Campaign responds to this request. She actively helps Yaroslavna's husband to escape. The Donets lays green grass on the banks of the prince, cherishes him on its waves. He dresses Igor with warm mists, hiding under the canopy of trees. With the help of nature, the prince escapes safely. Woodpeckers show him the way, and nightingales sing songs to Igor. Thus, Russian nature in the Tale of Igor's Campaign helps the prince.

Donets, despite the defeat of the prince's troops, justifies and glorifies this hero. When he returns from captivity, the author notes that "the sun is shining in the sky."

Symbolism of color

The symbolism of color plays an important role in the description of nature. It helps us discover its semantic meaning. The colors that prevail in the image of a particular landscape have a certain psychological load. For the era of the Middle Ages as a whole, the perception of color as a symbol is characteristic. In icon painting, this manifested itself very clearly, however, it was also reflected in literature. Black, for example, is used to depict tragic events. It symbolizes darkness, is a manifestation of the forces of evil. Blue is the color of heaven. In the works, he personifies a higher power.

Blue clouds and black lightning tell us that darkness is coming. They testify to the hopelessness of the situation. Blue acts as a kind of sign from above. Suffering, blood symbolizes red. That is why the author uses it when describing nature during the battle and after it. Green symbolizes calmness, while silver symbolizes joy and light. Therefore, the author uses them, depicting the escape of Prince Igor.

Expression of thoughts of the author

The description of nature in The Tale of Igor's Campaign helps the author poetically and vividly express his political views and his thoughts. When Igor decides to arbitrarily go on a hike, nature gives a negative assessment to such a decision. She seems to be going over to the side of the enemy. During the escape of Igor, who is in a hurry to "bring the guilty head" Kyiv prince Svyatoslav, nature helps him. She happily greets him when he manages to reach Kyiv.

One of the best works ancient Russian literature is "The Tale of Igor's Campaign". The image presented in it testifies to the great artistic skill and talent of the author. The picture vividly depicted by him is evidence that the work was created by its eyewitness, perhaps even a participant in Igor's campaign.

Artistic space and time (chronotope)- space and time depicted by the writer in a work of art; reality in its space-time coordinates.

The main features of space in a literary work:

1. Does not have direct sensual authenticity, material density, visibility.

2. Perceived by the reader associatively.

The main signs of time in a literary work:

1. Greater concreteness, immediate certainty.

2. The writer's desire to bring together artistic and real time.

3. Ideas about movement and immobility.

5. Correlation of the past, present and future.

Artistic detail- a component of subject expressiveness, expressive detail in a literary work, which has a significant semantic emotional load.

Episode- a part of a work of art (epic or dramatic), which has a relatively independent value; artistic paintings closed in space and time.

Some useful tips on how to remember meter

Two-syllable is easy to remember: Yamb- I the last letter, and the stress on the second syllable, and the trochee, respectively, already on the first.

To memorize the three-syllable sizes of poems, you need to learn the word DAMA. LADY decoded like this: D - d aktil means stress on the first syllable AM - am fibrochia on the second syllable, fourth letter BUT - a napest, means stress on the third.

Rhyme(Greek rhythmos - proportion, rhythm, consistency) - a sound repetition in two or more poetic lines, mainly in poetic endings.

Features of the stanza of a poetic text

Stanza(Greek strophe - circle, obort) - a group of a certain number of verses (poetic lines), repeating in a work, united by a common rhyme and representing a rhythmic-syntactic whole, sharply separated from adjacent verse combinations by a long pause.

Sections: Literature

Purpose: to reveal to students the beauty of the Russian landscape in painting and literature.

• To deepen the concept of "landscape and its functions in a literary work."
• To develop students' literary and creative abilities of written and oral speech.

During the classes.

The landscape is one of the most powerful means for creating an imaginary, “virtually” world of a work, an essential component of artistic space and time.

"Literary Encyclopedic Dictionary" defines landscape as "a description of nature, more broadly - any open space of the outside world." Although most often we call a landscape a picture of nature, it can also be an urban (urban) landscape. (F. Dostoevsky - Petersburg). Nature is the original form of existence of the material world. Everything created by man is only a small part in the sea of ​​the primordial. However, the connection of a person is determined by culture, and the very feeling of landscape arose quite late. Elements of the pictorial landscape were found in Pskov manuscripts in the 12th century: the battle of the squad against the background of trees, a drawing depicting a man lying under a tree, grass and ears of corn grow on the right. In Russian frescoes of the 14th century, the role of plant worlds is enhanced.

Creativity of Andrey Rublev.

In Rublev's "Trinity" there is no landscape, but the feeling is fully expressed native nature: cornflower blue, light blue, blue and green colors make the color of the icon consonant with Russian nature at the time of transition from spring to summer.

The emergence of the landscape.

The landscape as such appeared in European painting of the Renaissance. In Russia, the birth of the landscape coincided with the Petrine era (late 17th - early 18th centuries).

The peculiarity of the landscape (unlike the genre of still life) is that the emphasis is transferred from the part to the whole, it is important to feel the completeness and unity of the world in which the person is inscribed.

Nature has two important aspects:

• nature is eternal, constant (compared to political regimes, historical events), it is an image of Eternity that clearly exists for us;
• nature is nationally specific (landscape, climate, vegetable world), this is the image of the motherland, the native “corner of the earth”. In the history of the development of the landscape, both in painting and in literature, a dialectic of national and universal images of nature can be traced. The evolution of the landscape corresponds to the logic of changing artistic systems.

So the landscape in the works of the era of classicism - perspective - panoramic, symmetrical, harmonious composition.

Representatives of romanticism loved the exotic landscape: the formidable Caucasus, cold Siberia, blooming Ukraine.

For the first time, Pushkin has a realistic landscape, concrete, recognizable. Chapter 5 "Eugene Onegin" - a winter landscape seen from the window. This is low nature”; the picture is not characterized by color, rather by light and graphic, the author describes not the forms, but the process (life) of nature and people:

That year the autumn weather
Stood in the yard for a long time
Winter was waiting, nature was waiting
Snow fell only in January
On the third night. Waking up early
Tatyana saw through the window
Whitewashed yard in the morning,
Curtains, roofs and fences,
Light patterns on glass
Trees in winter silver...
Russian nature in painting.

For the first time, Russian nature in painting appeared in the paintings of A. Vasnetsov:

barns, meadow rivers, haystacks, fir-trees, birches. Paintings “On arable land”, “Spring” of the 1820s. A young peasant woman in a pink sundress and white shirt walks lightly across a plowed field, holding two horses harnessed to a harrow by the bridle. In the right corner of the picture, at the edge of the field, a child is playing. The straight strip of the low horizon is broken by thin trees. A significant part of the canvas is pale - blue sky with light clouds. This landscape is quite conventional and idealized, but the artist poeticizes the beauty of his native nature.

19th century: two trends in the development of the Russian landscape.

1. Landscape imbued with civil sorrow (Nekrasov “Before the rain”; Repin “Under escort. On a dirty road”).

2. Landscape embodying the beauty of the native land. (Nekrasov “Green Noise”. Paintings by Shishkin).

The general direction is the strengthening of psychologization. Initially, the landscape sets off the state of mind of a person. Then the artists learned to reveal the state, the soul of nature itself. For example, in Perov's painting "Seeing the Dead".

The coldness of nature, the sad colors of winter twilight correspond to the mood of an orphaned family. Minor colors (shades of gray and yellow - brown) create a feeling of melancholy. The motif of twilight made it possible, without writing out in detail the landscape details, to focus all attention on the peasant children. The lines create a mournful rhythm of the picture: the bent line of the widow's back varies in the line of the horse's back, in the shape of a sleigh, in the contour of a boy dressed in a sheepskin coat, in the edge of the coffin.

Painting by V. Vasnetsov “Alyonushka”. Alyonushka, a lonely, offended orphan, is shown sitting on a gray "combustible" stone surrounded by native nature - at the edge of the forest. A modest and simple landscape with yellowed birches and aspens fluttering in the wind expresses (along with the heroine's pose and eyes) the state of mind of hopeless sadness.

A. Savrasov “The Rooks Have Arrived”

In the picture, the author does not just “enumerate” the characteristic features of the landscape (birch trees, a dilapidated fence, houses, an old church). He reveals the "soul" of nature - the very course of her life, her inherent internal movement, the transitional state between the two seasons. In the foreground - melted snow, in the distance - blackening thawed patches, rooks, in the spring cloudy sky with clear blue gaps. The general color of Katina is built on a comparison of the cold shades of bluish-gray snow with warm brownish-gray tones of the emerging earth.

Early poems by I. Bunin. (Recall by analogy).

Nature I. Bunin.

Nature is depicted very concretely, “here” and “now”, through the window of the balcony door (the opening of the “through form” or “backstage” contributes to the deepening of space: room - garden - sky - the whole world). The time of the year is precisely indicated - February, the uniqueness and transience of the moment (thaw slush). The details are simple and concrete (garden, snow, bushes, puddles). Sound and (bullfinches ringing) and color details (the sky turns blue, the reflection is blue, the snow is transparent - white). At the same time, the momentary, the concrete in the landscape correlates with the existence of nature, its unstoppable cycle. This is facilitated by the mobility of the picture: light light tones, the transfer of the play of light and color, the “effect of a stretched moment”. Critic A. Stepun wrote: “Bunin's descriptions are not pictures at all, not a decoration for the eyes; and they are perceived not only by the eyes, but are poured into the lungs; you can feel its spring in your tooth, like a sticky bud.”

Landscapes by I. Levitan.

Landscapes of Levitan are imbued with deep psychologism. The painting “Above Eternal Peace” is about immortality and strength, the power of nature, the lake, the magnificence of the sky. Frozen eternity, maybe peace. At the heart of the picture is asymmetry (discrepancy in the arrangement of parts). The deep meaning lies in the opposition of the eternal forces of nature and the short duration of human life.

Relationship between pictorial and literary landscapes.

The close relationship between pictorial and literary landscapes makes it possible, in the analysis of verbal art, to take into account some of the techniques that are characteristic of fine art. But the literary critic can use the language of painting only by analogy, there is no literal identity here. Literature creates the world not directly - visible, but imaginary, the reader from words - signs must mentally recreate the picture drawn by the writer.

landscape analysis.

Landscape composition, i.e. the ratio of objects and space (empty or filled, harmoniously balanced or “shifted” to the center or to the side; the textual volume of the description of nature (“format” of the picture): detailed, detailed or laconic sketch - this can create a feeling of epic scale or chamber intimacy.

Spatial rhythm, which is realized in the picture through the repetition of objects, lines, color tones. Rhythm can be smooth or nervously tense, it can be built on the contrast of heavy and light, rough and graceful, large and small forms.

Perspective as a way of depicting space. Direct perspective is more often used (when distant objects seem smaller than near ones, and parallel lines seem to converge at the horizon to one point).

The space can be deep or flat (“close-up”), stretched up, towards the sky or low, “squeezed”. Space can be transmitted through images of fog, smoke, floating clouds, through falling rain or snow, through color, or even through sound and smell (in Bunin: Antonov apples, the smell of honey and autumn freshness. The air is so clean, as if it were not there at all, voices and the creak of carts are heard throughout the garden.

Drawing and lines that convey the design of the object and its space; can be straight or broken, smooth or twisted. The nature of the drawing and contours contributes to a feeling of majesty or fantasy, generalization or detail, clarity or blurring of the picture.

Color as one of the main means of expression and color (the ratio of colors in the picture). Colors are divided into warm (gold, orange, red) and cold (blue, purple, green). Warm colors are considered active, joyful; cold - calm, sad, peaceful. It is important to consider the combination of colors (harmonious or contrasting, or loudly disharmonious).

The two main color systems are local and tonal. Local - the color of an object is perceived as its invariable characteristic (the river is blue, the sun is red, the grass is green: this is how children draw); The color perfectly conveys the shape of the object.

Tonal - the color conveys its tone - the degree of lightness, due to lighting: it conveys the impression of the object, its objective perception here and now. Sometimes color takes on a symbolic meaning, for example, in the painting and literature of symbolism.

The verbal landscape is different from the picturesque.

The main difference is that the image of nature in a literary work may not be so clearly realized visually. The characteristic of artistic time must necessarily be present in the analysis: duration or instantaneity, static or dynamics, sequence, connectedness or disunity (of states, events).

Lyrical prose by I. Bunin.

The time of nature is not divided into parts, into separate moments. A moment is captured, which includes the past and future state: "The sun is still behind the forest ... golden sunlight is already playing on the peaks." (Effect of "extension" of the moment). The state of nature from night to day, from winter to spring - Afanasiev frosts, so the landscape has a gradation from cold blue to warm golden color. The space is merged with time, has acquired its variability. The aerial perspective is emphasized by the motif of the window, as well as pine trees through which the clearing is visible. Lighter foreground, darker background. The space unfolds into the distance and upwards, the house and the yard are inscribed in the boundless expanse of the forest and the sky. The royal peace of the forest, similar to a temple (“pines are like banners”), indeed, the trunks of pines are similar to the columns in the temple, the pine smell resembles the smell of incense, the shapes of the pines are similar to both a candle and a banner. A lyrical narrator contemplating nature. Feeling her inner rhythm, he hears how “the noise of pines spoke with restraint and inexorably and speaks of some kind of eternal and majestic life.”

The main functions of the landscape.

The image of nature in a literary work is determined not only by the principles of the writer's creative method (classicism, romanticism, symbolism, etc.) and not only by the methods of painting. The landscape is a component in the structure of the work, therefore the meaning and nature of the landscape depends on the function that it performs as part of the whole work. Main functions:

Characteristics of the place and time of the plot action, psychological function.

For example. The landscape that opens the narration "binds" it to a certain place (Russia, Italy, city or village) and time (historical and natural). Thus, the landscape introduces the reader into the artistic world. (“Rudin” by Turgenev: “It was a quiet summer morning. The sun had long stood high in a clear sky; but the fields were still shining with dew, fragrant freshness wafted from the long-awakened valley, and in the forest, still damp and not noisy, spring birds sang merrily ... "The landscape at the beginning of the work creates a certain emotional mood for the reader. Sometimes the landscape at the beginning of the work plays the role of an exposition, outlines the problems. For example, chapter 3 of Turgenev's "Fathers and Sons" is a bleak picture of post-reform Russia.

The psychological function of the landscape is that the picture of nature helps in revealing inner peace hero, creating a major or minor emotional atmosphere (sometimes contrasting with the emotional state of the character). Thus, Turgenev helps the reader to understand that Bazarov's strong nature is deeper than his superficial rationalistic and nihilistic views, accompanying the scene of Bazarov's declaration of love with the charm of the "dark night".

In the works of Tolstoy, the landscape becomes an important component in revealing the “dialectics of the soul” of the characters.

Often the landscape expresses the author's position, the philosophical views of the writer. Such is the image of the high sky that opened up to Prince Andrei after being wounded in the battle of Austerlitz. In the finale of I. Bunin's story “The Gentleman from San Francisco”, a blizzard rages around the giant ship with “mourning from silver foam” shafts of waves and buzzing, “like a funeral mass”. This landscape expresses Bunin's thought about the doom of modern civilization, which has come to a standstill.

Plan for the analysis of the landscape in a literary work.

• Indicate the place of the landscape in the composition and plot of the work.
• Determine the function of the landscape (the place and time of the action, the means of revealing the psychology of the hero, the expression of the author's worldview).
• In whose perception the picture is given (of the impersonal author - narrator, narrator, hero), the way of relating with the hero: as an environment or as an outlook.
• Degree of development or conciseness, detailing or generalization.
• What is the general emotional (tonality) of the landscape.
• To reveal the relationship between psychology and figurativeness.
• Analysis of space and time: the picture is dynamic or static; local or closed; color and sound details; details - leitmotifs or details - dominants.

The writer's skill in depicting nature: expressive means (epithets, metaphors, hyperbole, etc.) and rhythmic-intonation pattern (smooth, slow or, conversely, compressed, tense). Features of the syntactic structure of the text.

Correlate the nature and functions of the landscape with the general concept of the work, the author's worldview, with the writer's idea of ​​the harmony or disharmony of the social, eternal and historically concrete, universal and individually unique, earthly and heavenly.

Role and functions artistic landscape nature in a literary work is very important. The landscape may be necessary for geographical designation places of action; to outline the area so that readers can better familiarize themselves with natural conditions residence of people, with exotic beauties, etc.; to dynamically describe the changing scenes of the journey; to capture various natural phenomena, etc. The landscape can carry both background and semantic load, revealing something new in a person. Appeal to nature leads the writer to reasoning philosophical plan, which, on the one hand, characterize the features of the author's worldview, on the other hand, the character of the heroes of the work.

Scenery components usually act as a background that characterizes the scene. The introduction of landscape elements is necessary in cases where, without these means of expression it is impossible to convey the atmosphere of what is happening, to penetrate the essence of the human worldview, to find out the attitude of a person to the world around him, etc. In this case, the landscape becomes a meaning-forming element.

The landscape can also be used as a contrasting comparison between the inner state of the hero and the nature around him; as a means in revealing human character; as a background for a portrait of a hero; as a technique in revealing the worldview positions of the hero, etc.; as artistic medium in the formulation of socially significant problems; to recreate social life of people .

The landscape in the works is used not only as an ornament or a kind of background. Its "service" functions are very wide. The landscape can be used as a delineation of a place and setting, a life situation, defusing a tense narrative, posing socially significant problems, conveying a certain mood to readers and showing internal state the hero of the work, finally, as a compositional element. The forms and methods of using landscape descriptions largely depend on the goals and objectives of the writer.

The landscape, depending on the functional purpose, can have various forms of manifestation in literary texts. In literary criticism, landscape descriptions, landscape images, landscapes-preliminaries, landscape touches, psychological and epic landscape parallels are well known. An addition to the established terminological scheme can be landscape details, so often considered in connection with the work of A.P. Chekhov; dotted landscape lines, landscape strokes. With regard to the role of landscape in the art world works researchers offer a functional classification of landscape descriptions. The following functions of pictures of nature are distinguished: designation of the place of action, creation of a certain atmosphere, disclosure of the character of the hero. In accordance with these functions, one can speak of a landscape-background, an emotional landscape, and a psychological landscape.

In general, the landscape can perform a huge number of very diverse functions: it is indispensable for fine analysis. psychological state heroes, to enhance the pictures of any events, a vivid description of the situation in which the action unfolds. Pictures of nature can serve to express any thought of the author or his feelings and experiences, perform an ideological and compositional role, that is, help to reveal the idea of ​​the work.

The landscape is one of the means of plot-compositional construction. From this point of view, a landscape can be a static or dynamic description. The static description is not included in the temporal development of the action. The dynamic description is included in the event and does not pause the action (for example, the landscape is given through the prism of the hero's perception when he moves). The landscape also represents emotional and evaluative content in the text. AT artistic description nature, the features of the described object usually have the author's assessment in the form of personifications, epithets, metaphors, comparisons. The landscape is given a special role in shaping the emotional and evaluative level of the style of a work of art.

It is possible to outline some principles of classification of the compositional-speech form "description" (portrait, landscape, interior), developed in modern linguistics. Descriptions are classified by function in the transmission of textual information. It is supposed to allocate such functions:

• - modeling or coordinating function (introduces three main coordinates of the conditional world: time, space, subject);
• - signaling function (indicates the transition from one compositional-speech form to another);
• - aesthetically adjusting function (draws the reader's attention to the information being communicated);
• - symbolic function (turns the description into a sign-symbol of the object of description).

Summarizing all the above opinions, it can be stated that basically three main functions of the landscape are distinguished:

• 1) nature can act as an objective reflection of reality and at the same time serves as the background of the story;
• 2) landscape plays a role specific remedy in character development actors;
• 3) nature can be portrayed as the main character of a literary work.

The role of the landscape is:

• 1) in the expression of the author's attitude to nature;
• 2) in the picture characteristic features locality, region, country (creation of local color);
• 3) in using it as an additional means for a more expressive reflection of the character of the characters through contrast; by matching natural phenomena feelings and thoughts of the character;
• 4) in a symbolic sense;
• 5) in understanding nature as the protagonist of a work of art.

Comparing these last two definitions of the functions and role of landscape in the literature, we can conclude that in the second definition the role of landscape is defined in more detail, not only the main, but also auxiliary functions of describing nature are identified. Particular attention is paid here to the principle of psychological parallelism, which was widespread in all areas of literature. This principle is based on a contrasting comparison or likening of the internal state of a person to the life of nature. Reception of impersonation in this case is the main one.

There are two trends in the history of the landscape that substantiate it. different interpretations: 1) landscape - the world in general, outside of man; 2) landscape - an expression of the inner world of a person through the image of nature.