A summer evening is like a calm sea after excitement. As a rule, a summer day consists of many vivid situations, and even if nothing happens, such a day is distinguished by a richness of experience. We see many bright flowers, birds have been chirping since the morning, various living creatures begin to move.

Therefore, a summer evening is like a quiet harbor where the ship of your feelings arrives after a busy and even a little tense voyage. There is relaxation and pleasant peace in a summer evening, it stays with you for many years, it is filled with warmth and kindness. You feel this especially in the suburbs, where the different phases of nature are much more noticeable and when evening begins in the summer, nature seems to settle down to rest after a difficult and fulfilling day.

It’s so nice and calm to stay in the space of a summer evening. In fact, it doesn’t really matter where exactly to be on such an evening: on the shore of a reservoir and watch the water striders or listen to the light hum of the river; on a water meadow, watching a fire or listening to cicadas; walk through the forest and fields; watch the sunset in a cozy chair or on a folding bed; wandering along the road to meet friends. There is always a feeling of warmth, and we’re not just talking about the warmth that comes from temperature, we’re talking about the subtle feeling of warmth that the earth and space give all day, warmed by the caring sun.

These summer evenings are almost always filled with their own special music and it’s so nice when nothing interferes with listening. It’s best when you have the opportunity to enjoy the silence and various rare sounds that can come from fields and trees. Summer music creates its own sensations, which are also remembered for many years.

In my opinion, the best complement to such natural music may be a pipe or other similar instrument. Something that conveys high tones and is highly melodic. A simple pipe will perfectly complement the atmosphere of a summer evening.

Unlike the city, there is no stuffiness in the suburbs and the evening can be endured easily and calmly. There is no need to look for opportunities to be somewhere cool and drink a refreshing drink. A summer evening in nature seems to give you various delicious drinks, the juices of these joyful moments, and it seems as if only peace always reigns on earth, and the world is as harmonious as it is possible to imagine and quiet joy lasts forever.

Essay 2

A summer evening is always gentle and pleasant; it is best manifested at sunset, when the warm heavenly body, as it were, covers the earth with a blanket of darkness, which does not absorb, but as if wraps itself in warmth. In the sunset glow there is often some kind of sadness, a special sunset sadness. In Egyptian mythology, it was expressed as the regular death of Osiris, who is eternally reborn.

Only in summer this sadness is felt in a special way, it is lighter, since it is shrouded in summer itself - the most life-affirming (except for spring) period of the year, when you want to do so much, when the prospects seem limitless, like fields filled with lush grass. This is the charm of a summer evening in the suburbs, it inspires hope, it creates a feeling of some kind of eternity and a joyful eternity.

I especially like the summer evening heat, which probably changes the density and humidity of the air and creates the feeling of a domed sky. Sometimes on a summer evening, when it has gotten quite dark, the sky doesn’t even feel like a dome, but like a ceiling, albeit a rather high one. You feel like you are in such a cozy palace or just a big warm house.

These thoughts and sensations unite and this comfort creates closeness between people and increases empathy. After all, it is much more pleasant with all of you to truly feel on a warm summer evening that you are simply part of a large house, cozy and communal, in which everything is so calm and pleasant. Sometimes I even want to ask someone: “Don’t you feel it, don’t you feel like a warm and cozy dome, as if in a tidy house?”

Probably, others also feel this way, and then, invisible to the eye, pleasant candle lights of this tender and warm feeling, this bright feeling, are lit in the hearts of many people. This inner fire really, like a soft candle, sanctifies the space and many, many such candles burn in a house on a summer evening or summer evening. It no longer matters, it is not essential how to describe these sensations in words, only they themselves remain.

A summer evening creates excellent conditions for a contemplative end to the day. Let everyone at least try to feel these pleasant moments for themselves.

A. Blok’s landscapes delight with bright colors and emotional content. “Summer Evening,” which is studied in 6th grade, is no exception. We invite you to familiarize yourself with brief analysis"Summer Evening" as planned.

Brief Analysis

History of creation– the work appeared in 1898 under the impression of the summer spent on an estate near Moscow.

Theme of the poem- a summer evening descending on the countryside.

Composition– Conventionally, the poem can be divided into two parts: an evening landscape and an appeal to the reader. Formally, it consists of three quatrains.

Genre- elegy.

Poetic size – iambic tetrameter, cross rhyme ABAB.

Metaphors – “the rays of the sunset lie on a field of compressed rye”, “the grass is embraced in pink dormancy”, “the red disk of the moon”, “rush... towards the night and the moon”.

Epithets – “last rays”, “pink drowsiness”, “uncut grass”, “evening silence”.

History of creation

“Summer Evening” dates back to the early period of A. Blok’s work. The history of the creation of the poem is connected with the poet’s stay in the family estate near Moscow. Alexander Alexandrovich wrote the work in December 1898, a few months after entering St. Petersburg University. The young man spent the summer of this year on the Shakhmatovo estate. The serene warm days remained in his memory for a long time, and later were embodied in a poem.

Subject

The work develops traditional summer motifs in literature. They are closely intertwined with the emotions of the lyrical hero. Through the prism of his perception, the author reveals the theme of a summer village evening.

The background for creating a landscape is a rye field. And this is not surprising, because many associate it with the Russian village. The field is basking in the last rays of the sun, and the grass is already “embraced in pink dormancy.” This color hints at the carefree, cheerful mood of the lyrical hero.

The landscape reproduced by Blok is static, so it perfectly conveys the evening atmosphere. Even the breeze does not disturb nature. There is silence all around: both the birds and the reapers have fallen silent. The details of the landscape sketch tell the reader that the lyrical hero is watching the August evening.

The last quatrain of the poem is addressed to an invisible listener. It is impossible to understand who its addressee is: the reader or the lyrical hero himself. In these lines, the lyrical “I” calls for forgetting about your sorrows and completely surrendering to nature. He seeks to escape from everyday dullness and routine. To do this, you need to forget about your goals and anxious thoughts at least for a moment. The last lines suggest that under the mask of the lyrical hero hides a carefree young man who desires freedom and adventure. Thus, in the third quatrain two problems are raised: spiritual freedom from vain human life and the unity of man and nature.

“Summer Evening” implements the idea that nature gives a person peace and tranquility, and also helps him feel free.

Composition

The composition of the poem is simple. Conventionally, it can be divided into two parts: an evening summer landscape and an appeal to the reader. The first part takes up more lines than the second. Formally, the poem consists of three quatrains, each of which continues the previous one in meaning.

Genre

The genre of the poem is elegy. Despite the fact that the work is based on a landscape, philosophical notes are felt. The first quatrains have a pronounced contemplative character. The last lines prompt us to think about real freedom. The poetic meter is iambic tetrameter. A. Blok used cross rhyme ABAB. The work contains both male and female rhymes.

Means of expression

The range of means of expression used in the poem is limited. However, they are the author’s main assistant in reproducing pictures of nature and conveying the mood of the lyrical hero. The text contains metaphors- “the rays of the sunset lie on a field of compressed rye”, “the grass is embraced in pink dormancy”, “the red disk of the moon”, “rush... towards the night and the moon” and epithets- “last rays”, “pink drowsiness”, “uncut grass”, “evening silence”. The trails are striking in their simplicity, some - in their banality. However, this feature does not impoverish the artistic design of the poems. It helps the reader get closer to nature.

The poem is dominated by a calm, smooth intonation. It corresponds to the content and emphasizes the serenity of the world surrounding the hero. Only the last quatrain is framed as an exclamatory sentence. Such intonation is required by its content and form.

In some lines the poet used alliteration“g”, “s”, “h”, “z”: “the last rays of sunset lie on a field of compressed rye.” It seems that nature is whispering some secrets to the lyrical hero.

Poem test

Rating Analysis

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Popov N.V. The joys of a teacher. Phenological observations // Don vremennik. The year is 2011. pp. 60-65. URL: http://www..aspx?art_id=715

PHENOLOGICAL OBSERVATIONS.

Literary sketches

Description of nature by season

Description of spring - March

It was March 1969. When the spring-like days arrived, I impatiently walked along the still sticky road into the country grove.

The grove greeted me with the melodious murmur of a stream, rapidly rushing towards a ravine lost in the thicket of bushes and trees. The muddy stream, crashing into the polluted rubble of snow, exposed its lower clean layers, and in this snow-white edging began to look surprisingly elegant.

Deep in the grove, an open clearing is full of the joyful bustle of spring. Everywhere you look, silvery streams rhythmically sparkle on the melted snow in the rays of the bright sun. There are so many of them that it seems as if the earth itself has moved towards them. The mirror surface of the puddles generously scattered throughout the clearing glows festively. Here and there tiny islands of thawed black earth rise victoriously above the melted snow.

And around there stands a silent forest like a dark wall. And in this gloomy frame, the cheerful clearing sparkled even brighter.

For more descriptions of March, see the tag#March

Description of spring - April

In the first half of April, dogwood is one of the first trees to bloom. All strewn with bouquets of golden-yellow flowers, it burns like a night fire against the backdrop of a dark, still bare garden. If at this time of spring from the window of a running train you see a bright yellow tree in a passing garden, know that this is a dogwood blossoming. The outfit of birch bark and elm, which bloom a little later, is much more modest. Their thin branches with tufts of reddish anthers attract little attention from passers-by. And only hundreds of bees circling around the branches signal the height of flowering. Soon the ash-leaf maple will bloom. Scattering branches and twigs far to the sides, he thickly hung on them a green fringe of long, long stamens with brown anthers. This outfit is also unsightly, but the bees cling to it. And not every beauty in the gardens attracts as many winged admirers as the old maple. You walk past a humming tree and rejoice - it’s spring!

For more descriptions of April, see the tag#April

Description of spring - May

May has arrived. And the calm watercolor colors of April gave way to the rich, flashy strokes of the height of spring. This is the hottest time of the year for the phenologist, especially in hot, dry springs, when trees, shrubs, grasses seem to stray from the age-old rhythm of the spring carnival and begin to randomly and hastily take on expensive holiday clothes.

Golden currants are still burning furiously on the boulevards, there is still an incessant hum of bees over the jubilant cherries, and the fragrant bird cherry is just beginning to open its buds when a white flame shoots high into the sky on impatient pears. The fire immediately spread to the neighboring apple trees and they instantly flared up with a pale pink glow.

The blowing dry wind fanned the fire of spring even more and it was as if a shower of flowers poured onto the earth. The horse chestnut tree, roughly pushing the beautiful lilac aside, arrogantly stepped forward with festive torches burning brightly among the dark foliage. Stunned by the unheard-of audacity, the lilac managed only two days later to restore its shaken prestige, throwing out thousands of luxurious white, cream, lilac, violet bouquets to the envy of its neighbors.

For more descriptions of May, see the tag#May

Description of summer - June

At the beginning of June comes the so-called early summer“is the most intense, but also the most joyful time of the year, similar to a noisy holiday, when care for the growing offspring powerfully takes over all living nature.

From morning to evening, the chorus of birds does not cease in the steppe, groves and gardens. It involves thousands of different-voiced singers, whistling, chirping, chirping, croaking, squealing and squeaking in every way. The air rings with loud and quiet, joyful and sad, melodic and sharp sounds. Birds sing while standing, sitting and in flight, during rest and during the hottest part of their working day. The bird world is seized with such joyful excitement that the songs themselves break free.

There is a swallow, from early morning until late evening, tirelessly cutting through the air in pursuit of midges for insatiable children. There seems to be no time for songs here. And yet the swallow, storming the sky, chirps something cheerful and carefree.

Remember how black swifts squeal with delight as they fly. What can I say! It is enough to listen at this time on the expanse of the wall to the ringing trills of larks, full of happiness, to feel the enthusiastic trembling of the steppe that engulfs it from edge to edge.

The bird choir is accompanied, as best they can, by field crickets, grasshoppers, bumblebees, bees, mosquitoes and gnats, flies and other countless chirping and buzzing hosts of insects.

And at night, from dawn to dusk, the passionate serenades of nightingales thunder in the groves and, like an ugly echo, hundreds of frogs on the river respond to them. Positioned in rows along the water's edge, they jealously try to outshout each other.

But this feast of nature would not be a feast if plants did not take the most ardent part in it. They made every effort to decorate the land as elegantly as possible. Thousands scattered across the fields and meadows and turned into emerald carpets with intricate patterns of bright corollas of all colors of the palette.

The air is filled with the aroma of wall herbs. Snow-white cloud ships float high in the blue sky. The steppe is feasting.

For more descriptions of June, see the tag#June

Description of summer - July, August

The jubilant early summer quickly passes, and by the end of June the steppe begins to burn out. The worst months for herbs are coming - July and August. The sultry sun, without fire or smoke, almost completely incinerated the steppe vegetation. The steppe smelled of a lifeless semi-desert. Not a single encouraging green speck is visible.

But here and there, the scorched steppe still preserves nooks full of extraordinary beauty. Over there on the cliff, descending stepwise towards the river valley, are some mysterious white spots. But it's hard to guess what it is. Closer, closer, and a wonderful pale pink clearing opens in front of you, completely overgrown with low bushes of yurinea. Spread widely on the ledge of the slope, it smoothly falls towards the valley. The incessant hum of bees stands above thousands of pale pink bushes.

The clearing is small, but it stands out so strikingly and beautifully against the background of faded forbs that it absorbs all your attention and therefore seems huge and especially beautiful. The impression is as if you are standing in the middle of a luxurious mountain clearing.

For more descriptions of summer, see the tag#Summer

Description of autumn - October

October came, and with it Golden autumn, that autumn that begs to be depicted on the artist’s canvas, Levitanov’s - affectionate, thoughtfully sad, indescribably beautiful.

Autumn does not like the flashy colors of a stormy spring, the blinding daring sun, or the furiously rumbling thunderstorm. Autumn is all in elusive colors - soft, gentle, enchanting. She listens with quiet sadness to the rustle of falling leaves, the silence of the forest going to rest, the farewell cries of cranes in the high sky.

Shrubs add a lot of color to autumn landscapes. Various by appearance, autumn color and brightness, they fill the undergrowth and forest edges in a motley crowd. The delicate blush of currants and the scarlet lashes of wild grapes, the orange-red hawthorn and the crimson pigweed, the flaming mackerel and blood-red barberry, skillfully woven into the compositions of autumn paintings, enrich them with a unique play of colors on their leaves.

At the edge of the forest stands a slender ash tree in a beautiful cloak of countless elusive golden-greenish undertones, emitting streams of calm light. Gilded openwork leaves are either sharply minted on the dark bark of the trunk and branches, or, hanging in the still air, they seem translucent, somehow fiery and fabulous.

A tall tree, completely engulfed in an autumn fire, moved close to the ash tree and created an incomparable play of colors - gold and crimson. On the other side forest beauty the low cotoneaster artfully decorated its leaves with pink, red and orange tones and halftones and scattered them in intricate patterns on thin branches.

This forest picture in nature is so good that, admiring it, you experience a feeling of wonderful music in your soul. Only on these unforgettable days of the year can one observe in nature such extraordinary richness and harmony of colors, such rich tonality, such subtle beauty permeating all of nature, that not visiting a forest or grove at this time means losing something very valuable and dear.

For more descriptions of autumn, see the tag#Autumn

Beautiful, fabulous description of nature in winter

Not a single season of the year can compare in beauty and splendor with the snow-white, elegant winter: neither the bright, cheerful, jubilant spring, nor the leisurely and dusty summer, nor the enchanting autumn in farewell dresses.

Snow fell, and such a fabulously wonderful world suddenly appeared outside the window, so much captivating beauty and poetry opened up in the street boulevards, squares and parks that took a closer look, that it was impossible to sit in the room. I was irresistibly drawn to perceive with my own eyes the vast milky-white dome of the sky, and the myriads of playful snowflakes falling from above, and the newly revived trees and bushes, and all of the transformed nature.

Winter has no other brush than white. But take a closer look at the inimitable skill with which she wields this brush. Winter does not simply sweep away the autumn slush or the ugly traces of the thaw. No, she, masterfully using the play of chiaroscuro, creates picturesque corners of the winter landscape everywhere, giving everything an unusual, artistic appearance.

In your winter, elegant attire, you won’t recognize either a decrepit, gnarled apricot tree, or a rickety, dilapidated hedge, or an ugly heap of garbage. In place of the faceless lilac bush, such a wonderful creation of the skilled winter suddenly appeared that in admiration for it you involuntarily slow down your steps. And really, you can’t immediately tell when lilacs are more beautiful - in May or now, in winter. Just yesterday, the boulevards that were sadly wet in the rain, today, at the whim of winter, have become a festive decoration.

But the sorceress of winter, in addition to magical snowflakes, has another invincible weapon in store to conquer human hearts - precious pearls of frost.

Billions of needles of frost turned modest squares into fabulous radiant palaces that suddenly appeared at street intersections. In the gloomily blackened bare forests, trees, having thrown on fragile pearl clothes, stand like brides in wedding dresses. A restless wind flew at them and froze in place with delight.

Nothing moves in the air. Silence and silence. The kingdom of the fairy-tale Snow Maiden.

The days of February are passing. And now March is upon us again. And again, seasonal pictures of nature that we have seen dozens of times before pass before our eyes. Boring? But nature does not stamp its creations according to an eternal model. One spring is never a copy of another, just like other seasons. This is the beauty of nature and the secret of its enchanting power.

The charm of pictures of nature is similar to the charm of immortal works of art: no matter how much we admire them, no matter how much we revel in their melodies, they do not lose their inspiring power.

The beauty of nature develops in us a noble sense of beauty, awakens creative imagination, without which man is a soulless machine.

For more descriptions of winter, see the tag#Winter

Nature conservation and school local history

There remains little to say about nature conservation. Faithful guardian of nature - selfless love To her. Schoolchildren's care for the school garden, floriculture classes, experimental work in school plots, at youth stations - all this is not enough to instill in schoolchildren a loving, caring attitude towards nature, their native steppe, and forest. In all such activities there is hidden a certain self-interested element. A schoolboy lovingly cares for “his” tree and immediately breaks down “someone else’s”. The schoolgirl admires the richness of shapes and colors of the gladioli and peonies she breeds and does not notice the wonderful clearings in nature.

In the struggle to preserve native nature, school local history can be one of the most effective measures. A teacher who has become close to nature will have a disinterested, caring attitude towards it, an unfeigned, without a shadow of any sentimentality, manifestation of joyful emotions evoked by the colors of the many-sided nature, native landscapes, will involuntarily slip through and be passed on to schoolchildren on excursions, hikes and other similar occasions. cases. This will strengthen the ranks of loyal environmentalists.

Concluding my story, I will note that I am not yet a decrepit, dissatisfied grumbler with everything. To the best of my ability, I continue to conduct phenological observations, do not interrupt the scientific connection with the phenocenter (Leningrad), try to follow the methodological literature, give reviews on works sent occasionally, and write. In short, I haven’t climbed onto the warm stove yet.

School phenology

I also invested a lot of time and effort into school phenology. Phenological observations provide less food for a teacher’s creative search than innovative work with visual aids, but they can also add a lot of life-giving element to a teacher’s work.

In 1918, in connection with the collection of the herbarium, I began to conduct fragmentary phenological observations of plants and some animals. Having obtained some literature on phenology, I organized my observations and continued them quite successfully.

In the spring of 1922, students in the 5th and 6th grades of the railway school were involved in phenological observations by me. I made simple instruments - a shadow meter and a protractor, with the help of which schoolchildren observed the visible movement of the sun. A year later, our first wall tables appeared with colorful images of the observed pheno-objects, the spring course of the sun and temperature. There were no methodological instructions on school phenology in the literature of that time and, of course, my endeavor had mistakes and failures. And yet it was interesting, exciting work. Phenological observations often raised questions for me, to resolve which I had to vigilantly and thoughtfully look at natural phenomena, rummage through books, and then little secrets of nature were revealed.

Nothing escaped the watchful eyes of schoolchildren either in early spring or in winter. So, on December 12, they noticed frogs swimming under the ice, and on December 28, a toad jumping in the yard. This was interesting news not only for schoolchildren, but, frankly speaking, for me as well. And so our first wall table with April pheno-observations appeared in the classroom. What was not shown on it! Under the graph of the course of the sun and the weather, drawn by me, in the order of occurrence of the phenomena were depicted: the beginning of molting in a cow, horse, dog, cat, the flight of birds, the arrival of swallows, the appearance of lizards, frogs, butterflies, the flowering of grass and trees, and others. The drawings were made by the students and pasted onto old, scribbled paper, which we had obtained with difficulty from the railway station office. The table was far from brilliant in appearance, but the content was interesting and educationally useful. We were proud of her.

Soon, having established contact with the research institute of the Central Bureau of Local History (CBK), I began to send him reports of my phenological observations. Knowing that your observations are being used in research work The pulp and paper mill and you thereby participating in them stimulated these activities.

The CBC, for its part, supported my endeavors at school, supplying me with current literature on phenology.

When the first All-Russian meeting of phenologists was convened in Moscow in 1937, the pulp and paper mill invited me. The meeting was very small and I was the only representative of the schools.

Starting with simple observations of the course of seasonal natural phenomena, I gradually began to transform from a simple observer into an inquisitive local historian-phenologist. At one time, while working at the Novocherkassk Museum, on behalf of the museum, I sent out phenological questionnaires throughout the Azov-Black Sea region, repeatedly spoke at regional and city conferences of teachers with reports on the organization and significance of school phenological observations, and was published in regional and local newspapers. My reports on phenology at the All-Union Geographical Congress in Moscow (1955) and at the All-Union Congress of Phenologists in Leningrad (1957) received a positive response in the central press.

From my many years of practice in school phenology, I remember well the spring of 1952, which I met in the distant village of Meshkovskaya, lost in the Upper Don steppes. I lived in this village with my sick wife, who needed the healing steppe air, for about a year. Having got a job as a teacher in a ten-year school, in order to organize phenological observations, I began to scout out local opportunities for these activities. According to schoolchildren and local residents, in the vicinity of the village, in some places there are remains of virgin steppes untouched by the plow, and the gullies are overgrown with bushes, trees and herbs.

The local steppes species composition plants differed from the Lower Don steppes known to me. For a phenologist, all this was extremely tempting, and I eagerly awaited the arrival of spring.

As always, schoolchildren in grades 6-10 were involved in phenological observations, living both in the village itself and in the surrounding villages, that is, 5-10 kilometers from it, which significantly expanded the area of ​​our phenological observations.

Early in the spring, the school hung in a prominent place a large wall chart depicting a still bare “phenological tree,” on which seasonal phenomena were noted as the spring progressed. Next to the table was a small board with three shelves on which were bottles of water for displaying living plants.

And then on the table appeared images of the first heralds of spring: starlings, wild ducks, geese, and a few days later, to my amazement, a bustard (?!). In the steppes of the Lower Don, there was no trace left of this giant bird a long time ago. So our table gradually turned into a colorful “phenological tree”, and living flowering plants with labels filled all the shelves. The table and plants on display attracted everyone's attention. During the spring, students and teachers are presented with about 130 species of plants. A small reference herbarium was compiled from them.

But this is only one side of the matter, the official side, so to speak. The other was the personal experiences of the phenologist teacher. It is impossible to forget the aesthetic pleasure that I experienced at the sight of the lovely woods, in a great variety of blue ones under the still sleeping trees in the ravine forest. I was alone, and nothing stopped me from perceiving the subtle beauty of nature. I had quite a few such joyful meetings.

I described my experience at the Meshkov school in the journal “Natural Science at School” (1956, No. 2). In the same year, a drawing of my Meshkovsky “phenological tree” was placed in the Great Soviet Encyclopedia (Vol. 44. P. 602).

Phenology

(Pensioner)

After retirement, I became fully involved in phenology. Based on his long-term (1934-1950) observations, he compiled a nature calendar for Novocherkassk (The nature calendar presents a list of seasonal natural phenomena, arranged in chronological order, indicating the average long-term dates of their occurrence at a given point. N.P.) and its environs.

I subjected my phenomaterials to mathematical processing in order to determine their practical suitability in the local economy. I tried to find among the flowering plants indicators of the best timing for various agricultural works. It was research and painstaking work. Armed with the manual “Variation Statistics” by Pomorsky, I sat down to tedious calculations. Since the results of the analyzes turned out to be generally encouraging, I tried not only to find agricultural signaling devices among flowering plants, but also to predict the time of their flowering, which significantly increased the practical significance of the proposed technique. Hundreds of analyzes I have performed have confirmed the correctness of the theoretical conclusions. All that remained was to apply the theory in practice. But this was already the job of collective farm agronomists.

Throughout my long work on the issues of agricultural phenosignals, I maintained a business relationship with the phenosector of the Geographical Society (Leningrad). I have repeatedly made presentations on this topic at meetings of pest control specialists. Agriculture in Rostov, at the All-Union Congress of Phenologists in Leningrad (1957). My article “Phenosalarms in plant protection” was published in the journal “Plant Protection” (Moscow, 1960). Rostizdat published my short work “Signals of Nature” in 1961.

As an ardent popularizer of phenological observations among a wide circle of the population, during my many years of activity in this field, especially after retirement, I made many reports, messages, lectures, conversations, for which I made at least a hundred wall tables with my own hands and as many more small.

This vibrant period of my phenological activity always evokes joyful memories in my soul.

Over many years of communication with nature, and especially over the last 15-20 years, when from the end of March to the end of October I was in the steppe or grove almost every day, I became so familiar with nature that I felt among plants as among loved ones friends.

You used to walk along the flowering steppe in June and joyfully greet old friends in your soul. You will bend over to the indigenous inhabitant of the former steppe freedom - the wild strawberry - and “ask with your eyes” how she is doing this summer. You will stand in the same silent conversation near the mighty, handsome iron ore and walk towards other green acquaintances. It was always unusually joyful to meet after a long winter with spring primroses - golden goose onions, delicate bouquets of tiny (1-2 cm in height!) grains and other pets of early spring.

By that time I was already over seventy, and I still, like a three-year-old boy, admired every steppe flower. This was not senile cooing, not cloying sentimentality, but some kind of spiritual merging with nature. Something similar, only incomparably deeper and more subtle, is probably experienced by great artists of words and brushes, such as Turgenev, Paustovsky. The elderly Saryan said not so long ago: “I never cease to be amazed by nature. And I try to depict this delight before the sun and spring, before the blooming apricot and the grandeur of the giant mountains on canvas” (Izvestia. 1966. May 27).

Years passed. In 1963 I turned 80 years old. Old people's illnesses began to set in. In the warm season, I was no longer able to go 8-12 kilometers into the steppe, as in previous years, or sit without getting up at my desk for ten hours. But I was still irresistibly attracted to nature. And we had to be content with short walks outside the city.

The steppe beckons with its endless expanses, mysteriously blue distances with ancient mounds on the horizon, the immense dome of the sky, the songs of jubilant larks ringing in the heights, and living multi-colored carpets underfoot. All this evokes high aesthetic experiences in the soul and enhances the work of fantasy. True, now that the virgin lands are almost completely plowed, the steppe emotions have weakened somewhat, but the Don open spaces and distances have remained just as vast and enticing. So that nothing distracts me from my observations, I always wander through the steppe alone, not along well-trodden lifeless roads, but along paths overgrown with impassable thick grasses and shrubs, steppe slopes untouched by the plow, rocky cliffs, deserted ravines, that is, in places where Steppe plants and animals hide from people.

Over many years of studying phenology, I have developed the habit and skills of looking closely at the beauty of the surrounding nature, be it a wide-open landscape or a modest violet hiding under a bush. This habit also affects the city. I cannot pass by the mirrored puddles scattered on the panel by a passing summer cloud without looking for a moment into the bottomless, wonderful blue of the overturned sky. In April, I can’t help but admire in passing the golden caps of dandelions that flare up under the gateway that shelters them.

When my failing health did not allow me to wander around the steppe as much as I could, I moved closer to the desk.

Beginning in 1934, brief summaries of my phenological observations were published in the Novocherkassk newspaper “Banner of the Commune”. In the early years these were dry information messages. Then I began to give them a descriptive character, and from the late fifties - a narrative one with some pretension to artistry.

It was once a joy to wander through the steppe in search of plants unknown to you, to create new devices and tables, to work on the burning issues of phenosignalization. This developed creative thought and ennobled life. And now my creative imagination, which had become quiet due to old age, has again found application in literary work.

And the joyful pangs of creativity began. To sketch a sketch of the life of nature for a newspaper or magazine, I often sat for hours at my desk. Notes were regularly published in Novocherkassk and Rostov newspapers. The consciousness that my notes open the eyes of ordinary people to the beauty in the familiar surrounding nature and thereby calling on them to protect it, gave significance to these activities. Based on their materials, I wrote two small books: “Notes of a Phenologist” (1958) and “Steppe Etudes” (1966), published by Rostizdat.

An essay about " Summer evening“

In the summer, my parents and I often go to nature, where we have picnics. And this time we decided to spend the night in the forest, it was a very exciting adventure. It was then that I realized how beautiful and amazing the ordinary can be. summer evening.

Roast summer sun slowly falls behind the high tops of forest trees, and the air is filled with sounds unusual for the city. In the ringing silence of the forest, the trills of birds sounded louder, the chirping of grasshoppers was complemented by the singing of crickets. Flowers decorating a large forest clearing cover their buds and hide in the shade of the foliage. The sun is no longer visible at all, and the long shadows of the trees create bizarre patterns on the ground, similar to an unusual ornament. After the heat of the day, a summer evening brings long-awaited freshness, but the heated air does not want to cool quickly.

The clearing adjoins directly to the shore of a forest lake, the water of which seems completely dark from the shadow of the surrounding trees. You can notice how crimson stains appear on a smooth surface, this setting sun is reflected in a natural mirror. The air slowly cools and the forest smells appear even more acutely in it, especially the smell of water. Steam rises from the cooling lake, and in this haze the forest turns into a fairy-tale kingdom where Queen Nature rules. The first croaking of the frog is picked up in a discordant chorus by its friends, and now in the area it is no longer possible to hear anything from the standing roar. Just as it began, this noise suddenly stops, it seems that the sound of the recording of nature sounds was simply turned off. Immediately over the clearing hangs a deafening silence, into which various sounds gradually creep in.

Summer evening outdoors

In the bright evening sky you can see the first stars. As soon as the last rays of the sun disappear behind the horizon, the sky explodes with a bright gunpowder of starlight. If you look at it for a long time, the cold lights of the stars will remain before your eyes for a long time. Mysterious rustling sounds are heard from the forest, dying away at the sounds of owls hooting. From the side of the lake you can hear rare splashes of water, and you can only guess who is making them.

Warmth emanates from the lit fire, the crackling of dry branches lulls you to sleep. Bright flames illuminate the side wall of the tent, and the faces of the parents who tell interesting stories and cases from life. I like to listen to them and look at the fire, watching the rising sparks that seem to turn into a star. The fire goes out, and the clearing is filled with cold, bright moonlight, everything is visible very well and the stars do not stop shining in the night sky.

I really remember that one summer evening in the forest, next to a clean lake. It’s good that there are still places where tourists don’t get to and where you can admire nature untouched by man.

June-Hleborost. At the beginning of summer, nature awakened and now its active growth begins, which is why the month is called “Grain Growing”. The rye is earing, the gardens are filled with wildly blooming greenery. The sun rises high above the sky and begins to heat even more, the day becomes long, and the evening becomes long and warm.

June: warmth envelops the earth

Description of the nature of summer at its very best early, in June(I - II week).
Summer has come. June. Nature blooms and ripens in summer, the gardens are full of greenery, the meadows are covered with a wide trail of green grass. Heavy cumulus clouds slowly soar in the sky, like huge ships. And although the month of May at the end indulged in warm and summer-like hot days, the first days of June are often cool, sometimes rainy. There is no need to be upset, because the prolonged cloudy weather at the beginning of the month will not last long. A dry anticyclone will bring warm winds, and the sun high in the sky will provide warm and hot weather. In June, the air temperature is moderate without sudden changes and averages +15 +17° C.

Summer takes time to heat up. There are still long hot, sultry and simply warm pleasant days ahead, when the sun wakes up early and sets very slowly, allowing you to walk around to your heart's content before plunging into twilight. And now the sun is starting to get hot, hot days are coming. The greenery is in full bloom, providing edible herbs. The sky is blue and clear, with fluffy clouds floating across it from time to time. The warm air exudes the aroma of flowering.

And, suddenly, unexpectedly, the hot summer sun is replaced by looming clouds. The sky is rapidly darkening. After all, just now there was sun, and now it has been swallowed up by a menacing darkness, advancing like a front, covering all living things in darkness. Nature is on guard, the birds are quiet, only strong gusts of wind, getting stronger each time, are ready to tear branches from the tops of trees in their path.

Thunder strikes in the first volleys, and immediately, like water from a bucket, a downpour charges. The sky is not visible, only the reflections of lightning alternate with crackling sounds of thunder. The storm subsides as suddenly as it began. The sky brightens, flashes of lightning become less frequent, and the rumbles of thunder recede. The first rays of the sun are peeking through, brightly reflected in the puddles. And again the life of the summer forest comes to life, birds chirp joyfully, animals come out of hiding. Meanwhile, in the forest, in the most hidden dark places, the first mushrooms appear.

The beginning of summer in the folk calendar

"The swallow begins the morning, and the nightingale ends the evening"

At the very onset of summer, since ancient times in Rus', a unique ritual “baptism of the cuckoo” was performed. After the complete departure of winter, cold winds and bad weather, it was necessary to appease summer nature with new plant forces, good weather and a noble harvest. IN ancient Rus' The description of summer from the first days was like this. Early in the morning on the first Sunday of summer, Russian girls went into the forest to find orchis grass - they called it cuckoo tears, and then picked it and took it to the hut to sew outfits, each for their own cuckoo. Then the cuckoos were cuddled, meeting each other, people hugged and kissed. After all, having become related to each other, becoming closer, together they brought the bounty of summer closer to themselves.

Bread comes up in June; it’s not for nothing that the month of June was called “grain growing.” Throughout the first ten days of the month, active sowing took place in the fields, starting with the days of Falaley-Borage and Olena, June 2 and 3, from the name of which it is clear that on these days cucumbers, flax, late wheat, as well as barley and buckwheat were planted. On June 7, aphids appeared, feeding on plant juices and secreting honeydew. By June 11, ears of bread were already sprouting on Fedosya-Chariot, and by this time beans were being planted. From the earliest dawn until late sunset, people worked in the fields in order to be in time before the end of sowing, which fell in the second half of June on the day of the equinox.

Summer in Russian poetry

Summer... One of the most amazing, beautiful and vibrant times of the year. Summer nature is special and impressive. Everyone associates summer with something different: sounds, smells, sensations. These are lush meadow grasses, the aroma of wildflowers and even the darkness and coolness of the spruce forest. All the natural splendor of summer is reflected in the works of famous Russian poets. They dedicated a huge number of romantic, exciting lines to this wonderful time.

A real hymn to awakening nature is Sergei Yesenin’s ode to a summer morning. Its summers are warm, washed with silvery dew, charming in their calm. This delightful natural idyll is scattered every day with the onset of day into fragments of everyday worries, only to be reborn the next morning.

The golden stars dozed off,
The mirror of the backwater trembled,
The light is dawning on the river backwaters
And blushes the sky grid.

The sleepy birch trees smiled,
Silk braids were disheveled.
Green earrings rustle
And the silver dews burn.

The fence is overgrown with nettles
Dressed in bright mother of pearl
And, swaying, whispers playfully:
"Good morning!"

Afanasy Fet in his work deeply describes nature in the summer, in particular, the lines of the poem “I came to you with greetings...” evoke an association with the maturity of feelings and relationships. The allegorical nature of the lines conveys the special poignancy of life and semantic fullness through romantic feelings, lightness of being and an aura of carelessness.

I came to you with greetings,
Tell me that the sun has risen
What is it with hot light
The sheets began to flutter;

Tell me that the forest has woken up,
All woke up, every branch,
Every bird was startled
And full of thirst in spring;

Tell me that with the same passion,
Like yesterday, I came again,
That the soul is still the same happiness
And I’m ready to serve you;

Tell me that from everywhere
It blows over me with joy,
That I don’t know myself that I will
Sing - but only the song is ripening.

Summer can be different. Everyone sees it in their own way, sometimes experiencing mixed and contradictory, but invariably strong feelings.

June: the sun is turning

Description summer nature June (III - IV week).
Lilacs continue to bloom, the smell of fresh grass spreads throughout the districts. Summer nature fills the air with herbal incense. Now the poplar has already dissolved the fluff in its seeds, just to wait for the light gusts of wind that carry new life around the area. In the forest, in the stands and ponds, the smell of spices spreads, no longer floral, but sweet herbal.

The greens are ripening with all their might, and the strawberries have already sprouted by the end of the month. And the blueberries are already keeping up with them, just have time to pick them. In the morning hours you can hear the cry of swallows, during the day frogs croak in ponds, and the evening ends with the lullaby of a nightingale. This time describes summer nature as the most fertile warm time of the year for working in the fields, evening walks and night gatherings around the fire.

A white blizzard of poplar fluff sweeps through the park alleys with a light wind, a kind of winter in fluffy warm snow. The clearings are covered with the white heads of a horde of dandelions, as if hundreds of little astronauts have landed on earth. Any moment now the wind, swaying the dandelions from side to side, will pick the seeds in the parachutes and carry them away. The squeak of chicks can be heard coming from the treetops; the parents barely have time to feed the voracious maturing chicks. The young grow quickly; before you even notice, they will jump out of the nest and fly off once or twice.

The second half of the month in the folk calendar

“The sun from Peter’s turn softens the course, the month is coming for profit”

The most flowers bloom in June different plants, medicinal herbs, Ivan-da-Marya rises, plantains and buttercups are at every step, Ivan-Chai is smoothed by the warm winds. Forest edges scatter in juicy spots of berries. In the forest you can pick up a lot of ripe strawberries, and a little later on the higher bushes the wild strawberries will turn red.

The day of June 25th is coming - the solstice point. From this time on, the sun turns towards shorter days. Now in the mornings, cold dew covers the grass low above the ground. This natural water can be drunk because it is very clean, collected from settled air vapor; summer dew does not contain salt deposits. At the end of June, on the 29th, Tikhon arrives, and, indeed, the sun shortens its course, yes, and the birds subside. The sun slowly, with unhurried steps, hovers in the sky. Only in the shade of the shelter of deciduous trees is there salvation from the increasing intensity of the incandescent rays. Summer turns into hot July.

Summer in Russian painting

Russian artists convey the picture of the summer landscape in a very colorful and varied way. Here you can see majestic green trees, an eared field, and an extraordinary turquoise sky with light, delicate white clouds.

(Painting by B.V. Shcherbakov “June in the Moscow Region”)

The description of summer nature is unusually colorfully presented in the painting by B.V. Shcherbakov “June in the Moscow Region,” which depicts the real greenery of the forest. From the front right corner into the depths of the picture, meandering along the laid bed, lies the smooth surface of the river. On both sides there are powerful trees, it looks like they are pine trees mixed with deciduous trees. On the right, almost by the river, a slender birch tree stands alone. In the foreground on the left are stacks of harvested hay. The upper part of the picture is occupied by a clear sky, in which only fluffy white clouds are visible.