INTRODUCTION

Tatar literature in the second half of the 20th century is characterized by its active search for new means of artistic expression, by new schools and stylistic trends, including intellectual realism and sentimental tradition, which have become targets for contemporary scientists. Book publishing in the Tatar language began at the end of the XVIII century. To the beginning of XX centuries (according to other sources to the middle of the XIX centuries.) there was a literary Tatar language, developed by a wide range of state and public areas: media, education, theater, academic institutions, publishers, etc. (Solnyshkina & Ismagilova: 2015, pp. 36- 53). Artistic trends in Tatar literature, being typologically similar to those in Russian and European literature have their distinctive features. These differences of Tatar literature from European and Russian ones, European and Russian artistic trends used and adapted in Tatar literature are determined not only by the stages of Tatar literary process but also by the impact of the local cultural substrate, related to the national worldview, which manifests itself, primarily, in thinking specifics and artistic perception relevant to the cultural type (Yusupova et al.: 2016, pp. 213-222). Nature is one of the eternal objects of attention of mankind, in general, and its literature, in particular.

In the 20th century, a similar attitude towards the age of industrialization began to take shape in Europe. The clearest evidence of this attitude is the work of the German philosopher of the 20th century Martin Heidegger (Heidegger et al.: 1993), who was interested in ontological problems throughout his creative life, particularly, in the problems of being in their essential content. In several works, especially in those of the later period of the philosopher’s creativity, the issues, as the philosopher himself says, of industrial, “cybernetic” society of the age of enframing, are raised. (Zakirov et al.: 2017, pp. 884-893)At the turn of the 20th and 21st centuries, in the environment of globalization and integration of marketconditions, the humanitarian thought underwent tremendous changes, which is particularly evident in the development of national literature. The shift of spiritual-moral, as well as socio-esthetical values and cultural reference points, became a huge trial for the oral lore. Tatar literature is a unique phenomenon, which has been actively evolving in the post-Soviet and inter-Russian space, contributing to the growth of the national consciousness of the Tatar ethnos. (Gilazov et al.: 2015, pp. 508-510; Szydlowski: 2019, pp. 407-411).

European scholars have been interested in Tatar culture, folklore, and ethnography since the 19th century. (Sayfulina & Karabulatova: 2014, pp. 116-119) Certain comparative research on that issue has been done by Tatar researchers in Literary Studies. (Galimullina et al.: 2014).

The surrounding nature is also one of the focuses of literature. Active usage of plants in everyday life creates broad options for semasiology re-thinking. A cognitive description of the motivational-nominative properties of hyponyms requires the qualifying criteria of their taxonomic organization, revealing the general characteristics of reality objects denotation and their deflection to the lexis reflecting the plant world. (Gafiyatova et al.: 2016). In each historical epoch, the problem of the relationship between man and nature was observed from different points of view. Tatar national literature is mostly "rural", its special place is given to reflecting the image of nature.

In the second half of the 20th century, under the impact of the world's scientific and technological progress,environmental problems were actualized. Approximately since the 1970s, the problem of preserving the natural environment has been sharply raised in the literature. In the Soviet Union, this problem was discussed in the works of Kyrgyz writer Chingiz Aitmatov ("Plakha"), in the works of Russian writer Viktor Astafyev ("The Tsar-fish") (Aĭtmatov: 1988; Shuming: 2015, p. 10). In these works, the problem of human relationships with the world of nature affects the philosophical problem of life and death. The writers think about the role of nature in human life, show the attitude of modern man to nature and natural resources. The writers focus on consumer attitudes of people to natural resources. In this regard, the story of the land, forests, rivers, fields grows into a narrative about the man himself, his soul, morality, and humanity.

Revealing the main theme of this work, it should be noted that the term field "forest" is one of the most representative nominative fields, which is of interest for studying, both in the language and in the literary work.

In the conditions of the development of scientific, technical, and cultural communications, research in the field of nominations, as a system of human representations about the surrounding world, becomes especially relevant. Information about the system of human representations, about the world around us is contained in lexical units that reveal the features of the worldview and reflect the results of human cognitive activities. People’s ideas about the surrounding world and, in particular, about nature, form the basis of their system of values (Nureeva et al.: 2019, pp. 186-191; Akim et al.: 2019, pp. 1408-1428; Villalobos et al.: 2020,pp. 984- 1018).

The study of dendrobiums of the term field "forest" allows us to trace how different properties of thesurrounding reality are reflected in the human mind in the form of an image or picture of the world, fixing this image in linguistic forms. According to L.N. Gumilev, conditions of the natural landscape, within which the members of an ethnic group have to live and do business, determine the type of their economic activity. Thus, the surrounding ethno-landscape environment determines the unique appearance of each ethnic group (Gumilev: 1993).

METHODS

The basis for our study is the hermeneutic approach, which assumes that the reader when coming into contact with diverse cultural values fixed in the literature, finds his/her place on their borders. It directs the receptive activity of the reader towards analyzing the principles and techniques of depicting the artistic forms of mastering reality, towards identifying typological similarities and unique artistic searches that have sameness and differences in various verbal arts. (Terminology of contemporary foreign literary criticism: 1992, pp. 5-193)

Also in the course of our research, we used the method of comparative analysis of texts, which proved effective.

To analyze linguistic material, we used the following methods: the descriptive method, the semantic field method, and the method of component analysis to identify the specificity of the value of a unit when it is included in the terminology field in question and to establish the paradigmatic relations of the nomenclatures of the term field. We also employed the word-formation analysis to identify ways of nominating single-word units and the method of qualifying syntactic forms through the methods of their morphological expression (Tsvetkova et al.: 2019, pp. 598-612).

According to the field model of language, a language system can include a multitude of semantic fields and represent a continuous aggregate of the latter, "passing into each other with their peripheral zones and having a multi-level character" (Sternin: 1985).

So, the term field "Forest", includes certain lexical-thematic micro fields, such as “deciduous trees”, “coniferous trees”, "shrubs", "semi-shrubs (tree-like plants)", which one are divided into several lexical- thematic groups. This study is aimed at identifying this vocabulary in the literary texts on the human-nature problem (Tarasova et al.: 2018, pp. 191-201; Tarasova & Kormiltseva: 2016, pp. 2015-2024; Khaliullina & Savina: 2020, pp. 645-663). The high duty of the writer is a love for the mother tongue, native land, problems of equal rights for women, dreams of a society free from social and national oppression, conservatism - all these topics are reflected in the works of that period.

RESULTS

Since the 1970s, Tatar prose, analyzed in this article, has laid growing emphasis on raising the contemporaries’ awareness of environmental issues in the development of the theme "man and nature". This term should be understood as the centuries-old experience of people's communication with nature, their moral norms. The attitude of the people to nature is closely connected with their national perception of the surrounding world, their way of life, and spiritual and moral traditions.

The problem of "man and nature" is relevant for many kinds of literature, since it is not only regional or national but also universal. At the present stage of life, all of humanity faces the threat of an ecological crisis. At the same time, in different kinds of literature there exist characteristic features of artistic interpretation of this problem, which are caused by certain national historical factors.

In the national prose, this process was originally covered in connection with the emergence of the petroleum industry in the Republic of Tatarstan, more on the positive side. In such works as "In the Country, Out of Kazan", "The Treasure" and "The Hosts", "The Hard Rock", the fate of the Tatar villages is revealed in connection with the oil mining industry in their territory. Most of these works create positive images of a modern economic manager, reflecting the attitude of man to labor.

In “The Flowing Waters” novel and “The Stop at the Crossroads”, the problem of oil mining and nature conservation is already becoming the subject of the author's heightened attention. The main conflict of the work is based on different attitudes of the characters to the earth and nature. In this perspective, the problem of "man-nature" is also covered in the story of "The Price of Bread". This conflict is considered here from morality: it reflects the conflict of spirituality and lack of spirituality.

A greater interest in the abovementioned problem is manifested in the "Fire and Water" novel, where the author discusses a more specific, nationally oriented interpretation of the problem of "man and nature". He also refers to the moral aspect of the relationships between a person and the surrounding nature in his novels “The Voice is a Gift of Nature” and “The Eternal Dispute”.

The connection between generations and times with the help of natural phenomena is the focus of the story of "Unexplained Testament", in the stories "Hometown - My Green Cradle", in "The Tale of the Mountain Side". Conversely, in the work "A Tale of the Mountain Side", the older generation is critically appraised, for the fact that the spiritual and moral legacy of the past cannot be always transferred to the youth, in part, due to their attitude to nature (Giniyatullina: 2006, p. 26).

The main problem of the novel “Altynbike’s Seven Ringing Keys" is also a reflection of the interconnectedness of nature with the fate of the heroes. At the same time, the author focuses his attention on the comprehension of the problem "man and nature" in the national and moral aspects. This approach allows the writer to broadly interpret the meaning of the phenomena of our surrounding nature. As a result, in this novel, the attitude to the world of nature becomes a decisive factor in assessing the life of our contemporaries.

When covering the ecological problem, Tatar writers experience a certain evolution, expressed in thetransition from the publicists sharpening of readers' attention to the artistic coverage of this topic, which is reflected in the poetics of these works (Tarasova et al.: 2018, pp. 191-201; Tarasova & Kormiltseva: 2016, pp. 2015-2024; Ishchenko & Magsumov: 2019, pp. 366-379).

In the story of “The Meadow,” her attention is focused on revealing the attitude of the young heroine Alsu, presented as a child of nature, to mindless consumption of the natural phenomena, or the richness of the natural environment. Also, the contradictions between modern civilization and nature are highlighted romantically and poignantly in the fantastic stories "The Court of the Almighty", and "The Possessed", "The White Crane Spell", and many others.

To fully disclose the topic selected in this paper, let us turn to the scholars’ opinion concerning the concept of "Forest". The forest is a natural complex that needs to be considered not only in space but also in time, inits development. The first scientific definition of the forest was given by Morozov, an outstanding Russian scientist, who defines a forest as "The aggregate of woody plants, which are altered both in their external form and in their internal structure under the influence of their influence on each other, on the occupied soil and atmosphere". This definition was recognized in the world of dendrology (dendro-tree, logos-teaching, science). Although the modern definition of forests in a broad sense includes ground cover, animals, and microorganisms in addition to the combination of trees and shrubs, in this work we will stick to the leading metronymic component of the term field “Forest”.

We often encounter lexemes (words), related to the term field “Forest”, when analyzing literary worksdevoted to the attitude of man to nature. They are used by authors to express the feelings of a man concerning nature and to reveal the inner state of the hero. The flora is extremely diverse, and its reflection in the human mind has many forms, images, concepts. (Gafiyatova et al.: 2016).

National poetry is especially remarkable in this respect. Consequently, we are interested in the comparative analysis of the works by Tatar poets, such as Bulat Suleymanov and Shaukat Gadelsha (Suleymanov: 1998, p. 256; Gadelsha: 2006, p. 160), the authors born in Siberia. In the works of these poets, descendants of Siberian Tatars, the topos of Siberia has a special place. In M. Prokopova's opinion, "the topos of Siberia is a deeply specific, meaning-forming, and globally universal category. For the writers of Siberia, it is patriotically oriented, revealing the inner rootedness of man in his own space” (Prokopova: 2007, pp. 90- 91). "The space of the Siberian region, its geographical landscape, the historical fate of the Siberian Tatars left their imprint on the formation of a special semantic topos. The topos include the interrelationship of spatial- visual and conceptual plans," notes G. K. Mullachanova (Mullachanova: 2006, p. 27).

Bulat Suleymanov is a poet and a prose writer, who was active during the 1960s-1980s (Suleymanov: 1998, p. 256). We are mainly interested in his landscape lyrical poetry, as it expresses the poet's attitude to the nature of his native land, his love for Siberia. Our study of his poems has revealed that Suleymanov’s landscape poetry abounds in a lexicon from the term field "Forest". B. Suleymanov’s "early" purely lyrical poetry represents nature in two of its manifestations: summer and winter. In his works, the "winter" version of the Siberian landscape goes back to the image traditional for European literature of the northern land: this image is invariably associated with cold, snowstorms, blizzards, lack of light and the absence of a live forest: "As if the steppe / Lies, spread out, / You will not meet a single tree. / Like a newborn baby, / This snow country/ is completely naked "/ («Sever. Tundra»). The key images for this context are "endless snow", "empty distances", "evil winds", "tin-colored sky", which shape the face of the Siberian land as a gloomy, lifeless, dull space. At the same time, a certain heroic image invariably takes place in the poet’ s verses. He wins a victory over these natural conditions and creates new cities, at his touch, “like Eifel, out of the swamp / Oil Rigs Rise"/. The poet seems to be timidly confronting the might of his native nature, simultaneously, he admires the builders’ daring.

His lyrical hero of the 1970s-1980s is romantic, he appreciates beauty in all its forms: his attitude to nature and native home. Here comes the "spring-summer" and a little later the "autumn" look of the Siberian landscape, full of light, warmth and bright colors: "I walk along the Khanate of the taiga / Along with the sun, / It also/ walks with us / caressing the trees with its rays / This is a land of wonders" /); in another poem: "In the forest of yours, Forest girls, / they say, live ..."; "The Earth has come to life again, / In the forest, birds twitter".

A lyrical hero of B. Suleymanov – a Siberian Tatar, is brought up on folk traditions, loving his native land, his nature. Therefore, his landscape lyrical poetry is characterized by descriptions of Siberian rich, multifaceted nature, which is native land not only for the poet but also for all who live on this earth. All these make the poet’s creative works capacious and meaningful.

The author depicts the state of the lyrical hero’s mind who misses his homeland, using words related to vocabulary, denoting a part of the tree-forest: "And I will leave/ What awaits me / In a foreign land, far from native places. / Today I saw tears again / On a lonely leftover leaf. " ("If I do not return to my native land")

The poet associates autumn with the past youth, lost love, the onset of old age. B. Suleymanov usescomparison, in which the departed youth is compared to the autumn leaf falling, breaking off from the tree.

This creates a feeling of a parting, a farewell in the following lines: "So the autumn comes: / By breaking off the leaves, / it makes the trees ugly. / Did I know / that, like an autumn leaf, / she will leave me too." ("Autumn")In his landscape poetry, the poet often refers to the images of birds filling the forest, which in most cases are perceived as symbols. In the expression of emotional feelings, the psychological state of the lyric hero, B. Suleymanov often uses a collective image, expressed in the poetic lines as "birds", where the lyrical hero turns to birds to share his emotional experiences: "The Earth has come to life again, / In the forest, birds chatter." / "Ah, my birds, / If you knew, / What melancholy is eating out my soul ..." /. For the lyrical hero, birds are equal beings, you can share your emotional experiences with them both at joy and dreary minutes.

The verses by B. Suleymanov abound in a variety of depictions of the lyric hero's mental state throughthe use of the lexeme "Forest" and its constituent. Here is the whole palette of experiences, a diverse range of feelings of a person living away from home. The author recreates the breadth and depth of human perception of the surrounding world, his understanding of the vulnerability of a human soul, and the richness of human nature. Thus, in the next lines of the verse, "Hasn’t the Summer Just Gone..." he describes the spiritual state of the lyrical hero, which is perceived as the experience of the author himself. The lyrical hero's immense sadness, caused by missing his homeland, is reflected in the following lines: "The Poplars of Kazan/The Winds of Siberia/ Have sent the news / That my darling birch-tree planted by me /Weeps, missing me" /in this original and figurative way the poet depicts his longing. Using a diminutive form of "my darling birch tree" in this poem, the author achieves spiritual affinity and kinship of the lyric hero with his native nature.

Therefore, a ready-made traditional artistic technique combined with individual- authorial content is often used to simultaneously actualize both direct and figurative lexical meanings of a certain symbol-image.

If we further follow the work of the poet, we see that his yearning and mental pain intensify, and he starts thinking of the uselessness and meaninglessness of life. His poems contain new images-metaphors, which were not found in the works of the past years. In most of B. Suleymanov's poems, a special place is occupied by the imagery associated with the epithet "yellow", which is mainly manifested in the form of yellowed leaves. In different poems, this imagery manifests itself in its way, but the main meaning of this image remains the same: it is a loss, parting, old age, disappointment, disappearance, and death.

"Yellow like the old man's face / On the stone paths fall slowly /, The last leaves of the trees ..." – writes the author in one of his works. In another case, he writes: "The yellow leaf, flying, / whirling, / fell to the groundto the asphalt." / The young guy did not notice it / / Just passed. / The old man stopped / Looked at this leaf for a long time. "/Importar listaIn the poem "Rain of the leaves," the author calls the falling leaves the tears of Mother Earth. A naked, quiet forest, the fallen leaves-hearts remind the lyrical hero that the time of reflection has come: you need to think about what you will leave on this earth after yourself. Nothing lasts forever in this world. In the poem, dedicated to the famous Tatar poet, "a leaf that has come off the tree" also means separation, parting. ("Like a leaf, fallen forever, / leaving pain in my heart ..."), - he writes, referring to the memory of the famous poet. The bitterness of loss, expressed in the following poem, is also reflected through the image of the autumn forest.

"Thinking, I'm standing / alone. / An autumn forest / looks like a burial ground. / Like my soul, dreary / and trees, / They, / seem to remain so forever."The feeling of loneliness is aggravated by the fact that birds also left this forest. At the end of the poemthere comes again a description of fallen leaves, resembling a human heart: "It seems that the spring will not return to this forest. / There are hearts by the leaves on the ground. / Haven’t that many leaves died, / yellowed with grief."The mental state of the lyrical hero in this poem is deeply pessimistic and devoid of all hope. The comparisons used here create a gloomy picture of late dull autumn. The expressions: "The autumn forest looked like a burial ground", "As if asking for mercy from the gods, the trees stretched their bare hands", "On the ground lie the hearts of trees /That many leaves died, turning yellow with grief" - make the poem anthropocentric.

According to the analyzed material, Bulat Suleymanov often uses words related to the term field "Forest" in his landscape lyrical poetry, it helps the author to reveal the inner, psychological state of the hero, who expresses his love for his native land, spiritual closeness to his father's house, where he was born and grew up (Suleymanov: 1998, p. 256).

Shaukat Gadelsha is also a poet who was born and raised in Siberia, began his work in the 1970s, and continues to write to the present time (Gadelsha: 2006, p. 160).

In contrast to B. Suleymanov, Sh. Gadelsha describes the nature of Siberia using subtext, which makesthe reader think about the role of man in the fate of his native land, about everything that is gone and irrevocably lost. The lyrical poetry of Sh. Gadelsha is more of a philosophical nature, his poems do not merely describe wildlife. When depicting the relationship “man-nature”, the author uses the lexicon from the term field "Forest", but in a different sense. For example, in the poem "Allah (my) did not hear", the poet describes Siberian cold using the following phrases: “It's so cold that the Pine starts cracking,” “The lime skis do not slide (skis made of lime)”; describing the spring, the author uses words from this term field: “When spring comes, / The green sprouting / Tries to reach the bare pillar”. (“When spring comes”)

In many Sh. Gadelsha’s poems, the feelings experienced by heroes are also portrayed using the imagesof nature: "In a pine tree without branches / / A woodpecker is knocking vehemently, / And I sit waiting /For my beloved/ With a song on my lips ". At the end of the text comes an unexpected result: “It is not a tree that the woodpecker knocks on, but it pecks my heart" ("A Pine without boughs ... "). Thus, the emotional state of the lyrical hero is revealed, the main thing is a sense of loss, unfulfilled longings, and longing for the beloved.

Sh. Gadelsha’s lyrical hero considers the forest to be his friend, with whom he can share his secrets, therefore he addresses the taiga: "My youth, where are you, / - Or has the taiga concealed you?" / ... / "From tree to tree / A squirrel jumps. / Who knows, maybe this squirrel / is my youth" ("Because We Are Friends"). Further, the lyrical hero addresses a bird, singing in a white, slender birch tree, an ant, carrying a load, which weighs more than the ant itself, the dew, which reflects the sky, and thinks: maybe this is his youth which is gone? Sh. Gadelsha’s works have numerous appeals to the surrounding nature, which make his poetry anthropocentric, in a special, unusual way.

The works of S.Gadelsha convey philosophical reflections of the lyrical hero about the transience of life through figurative reconstructions of autumn landscapes. The refrain (iteration) "Leaves fall and fall," is used to express the irrevocable flow of time. At the end of the verse, and the associative image is created by comparing the falling leaves with the days gone by, the bygone day's man fails to notice: "And the leaves fall and fall, / It seems the time has stopped. /Alas, there is no peace of mind, / (Since) These leaves of life (mine) break off" ("Leaves fall and fall"). In the poem "Have Bitten Off My Tongue" the poet turns to nature as if to a living being, his equal, he is concerned with its peace. In the poem "I Fear My Songs", addressing the forest, the poet enquires about its health: "Oh, the forest (my), what are you thinking about? / Do you feel as depressed as I do?" /

The dominating motif of all the poet’s works is his concern about the forest, which is the "home" of everything living. In the poems "The Old Forest Is Concerned", "It Was Earlier, When the Planes Were Flying", "I’ll Burn with the Forest", "Modern Trees", the forest acts as a single whole, and trees, birds, animals are its components. For the author, the burnt forest with the animal world means a ruined life. This is the main motif of the poem "After the Elk Hunt": “The day does not get warmer, the Pine is cracking (with cold). / In the hollow there’s a whitish fog…”

Sh. Gadelsha’s work, due to the successful use of the image of trees, makes it possible to artistically comprehend the philosophical depths of human existence. Here is the animation, the humanization of nature, which is usually achieved by the method of personification in poetry. In his poems, as well as in ancient representations, the images of nature are endowed with human qualities: they can think, feel pain, and suffer. In the poem "The Cemetery Birch" a lyrical hero asks a hunched birch why she stoops in that way. The answerto the birch makes the reader shudder: "Your father ... With a bang / Is pulling at the roots. / Because of your long absence from Homeland / (he) is feeling insulted and bitter." /

Through the image of a bent birch, the poet raises one of the most pressing problems of our time: The problem of relations between different generations. The author uses an image of Siberian nature when he thinks about his ancestors, about the past of his people. This author discloses the meaning of the image of birch in a very original and unexpected way:

"What swamp has sucked in / The paths of my great-grandfathers?" The birch has the color of the bones buried here. "/The author often uses vocabulary from the term field “Forest” to describe changes in the life and spiritualityof people at present. In one of his poems, the author uses the image of the minaret of the mosque to depict slender spruce and compares the shrubs and their boughs with the letters and suras from the Koran when a quiet, melodic azan (a call for prayer) is heard in the next village. Here again, the image of living nature comes to the fore.

Interpreting this vision of the surrounding nature, we conclude that Sh. Gadelsha (Gadelsha: 2006, p.160) not only describes the landscape, but he also creates a parallel living world where everything is just like in people's lives: pain, suffering, and fear. Therefore, we often find references to the surrounding nature in his works: forests, trees, animals, birds, and even insects. They express the poet's attitude to the surrounding world, which does not differ from his attitude to people. The most frequent address used by the poet is a collective word: “Forest, Nature”. In his poems "Oh, nature, today I ...", "If I could understand ..." and others, the author addresses nature and the forest as if apologizing, realizing his guilt for having done her harm. We can also find an appeal to the animal world, as part of nature in the poems "A Lynx is Impossible to Catch Up With", "Eh, Insect"), etc. In some poems, the lyrical hero asks animals for help or advice. In such verses, lyrical hero’s appeals help reveals his different emotional experiences: Joy, sadness, or some kind of a contradictory state. The poem "It Is Still Possible to Live" tells how the lyrical hero rejoices, looking at the partridges bathing in the hoarfrost, which is pouring down from birches. For the author they represent the symbol of a living forest, looking at which he expresses a hope for life to continue in nature, in the forest. Therefore, the author addresses partridges with joy and hope and expresses his gratitude to them.

DISCUSSION

The literary image of the landscape performs one more function – psychological. For a long time, it has been noticed that certain states of nature are correlated with human feelings or experiences. Therefore, the landscape details from the earliest stages of the development of literature have been successfully used to create a certain emotional atmosphere in the work and as a form of an indirect psychological image, when the emotional state of the heroes is not described directly, but as it was transmitted through the surrounding nature, and often this technique is accompanied by psychological parallelism or comparison.

So, natural phenomena contribute to a deeper discovery of the inner world of the hero's work. Anillustration of the diversity of the state of his characters’ mind, the writer boldly uses the description of a landscape that psychologically coincides with the character’s emotional state. In particular, the depiction of the phenomena of nature in Yakub Zankiev's novel more serve as precursors of sad and disturbing news. For example, the nature describes alarming and terrible of the day of the declaration of war. In a few minutes, the sky clouded with black clouds and unexpectedly, like a bucket, poured heavy rain (Zankiev: 2001, p. 312).

CONCLUSIONS

Thus, it can be concluded that in the works of the Siberian writers the lexicon of the term field "Forest" is used primarily to reveal the nature of Siberia, to illustrate the author's attitude to the nature of his native land, as well as to depict the psychological state of the heroes. The words related to the disclosure of the forest concept meaning are associated here with the taiga, its plant and animal world, which differs from the nature of the central area of Russia.

The lexicon from the term field "Forest" is often found in the works of the poets being analyzed, whose main object of description is the surrounding nature.

In Bulat Suleymanov’s works, depicting the nature of Siberia– the Taiga Forest, the feeling of love and pride is dominant, since this area is a small homeland for the poet: he was born and became a man here. In Suleymanov's works, the element of the forest impresses the reader with its captivating colors and variety. For poets, the taiga is the personification of their youth, their native land, and their parental house. In these verses, they turn to repetitions, alliteration, which are perceived as the praise of their land, their people’s way of life, and their character. The poets comprehend the fate of a small homeland through the experience of personal commitment to this land.

The work of B. Suleymanov uses generalizing words, included in the term field "Forest", such as Taiga, Nature, Tree, and in particular, cedar, birch, leaves; from the animal world, it is deer. The poet claims that the roots of mercy, begin with a careful attitude of people to the living nature and their native land (Suleymanov: 1998, p. 256).

In the poetry of Shaukat Gadelsha, in which the images of nature occupy a special place, they express the unity of the world. It is emphasized that all earthly tragedies equally concern both people and animals and plants. For example, in the poem "Reindeer Eye" the poet describes the feelings of a deer, which experienced a lot of evil in its life. They are no different from human feelings, in its eyes we see - "the emptiness in which the whole world can drown".

The Emptiness and deafening Silence in the landscape lyrical poetry of Sh. Gadelsha (Gadelsha: 2006,p. 160) are the antonyms of Life, Beauty, and Hope. Even death, in comparison with these concepts, seems more natural. In his poem "The Centenary Hunter", the concepts of Life, Silence, and Emptiness are sharply contrasted. Thus, instead of the usual antinomy "Life - Death".

The poet has enriched modern Tatar poetry with the theme of Siberia, which is revealed through several motifs. One of them is the motif of hunting and a hunter. In such poems as, "The Centenary Hunter", "The Hunter's Complaint", "The Song of a Hunter" an unusual, exotic world of the forest opens up for the reader. Against the backdrop of a dense forest, the tragedy of a hunter unfolds, who is old, blind, and deaf, or the misery of a hunter, forced to shoot a bear, which had killed a calf of a fellow villager, or the poet depicts a guilty feeling of a hunter who shot an animal. Thus, a new image of a hunter, a defender of forests and fauna is being created in our poetry.

One of the features characterizing the landscape poetry of the authors under study is not only the personification of spatial images but also their inclusion into the system of subjective relations. Specifying the space of the lyrical experience, the poets point to the connection of the poetic image with the real topos. The topos of a certain locality is a significant reference point both in the life of the poets themselves and in the experiences of their lyrical heroes. In many poems, lyrical situations take place on the Siberian land, the feelings and experiences of the lyrical hero are connected with this area.

BIODATA

F.S. SAYFULINA: Sayfulina Flera Sagitovna, Born in 1966, Doctor of Philology, Professor, Head of the Department of Tatar Literature, IFMK KFU. Doctoral dissertation: “Tatar literature of the Tyumen region: history and modernity” (2008); awarded the title of professor (2010). Research interests: a history of Tatar literature and criticism, Tatar literature of the Tyumen region, oral folk art, literary comparative studies.

E.V. GAFIYATOVA: Gafiyatova Elzara, Born in 1980; Doctor of Philology, Associate Professor; Head of the Department of Theory and Practice of Teaching Foreign Languages IFMK KFU. Graduated from Kazan State Pedagogical University, faculty of foreign languages (2002). Qualification: Teacher of English and French. The theme of the doctoral dissertation is "Professional language as a means of modeling a language personality (based on Russian and English versions of the professional language of forestry)."

D.H. HUSNUTDINOV: Husnutdinov Damir Haydarovich, Born in 1982. Candidate of Philology. In 2004 he graduated from Kazan State Pedagogical University. In 2009 he defended his thesis on the theme “Concept Җir (Earth) in the Tatar language picture of the world (on the example of the works of G. Bashirov and M. Magdeev)”. Associate Professor, Department of Tatar Linguistics, Institute of Philology and Intercultural Communication. Scientific interests: linguoculturology, methodology.

R.K. SAGDIEVA: Sagdieva Ramilya Kamilovna, Born in 1973. Candidate of Philology. In 1995, she graduated from Kazan State University named after V.I. Ulyanov-Lenin. In 2000 she defended her thesis on "Affixes as a means of expressing concretizing relations in the Tatar language." Associate Professor, Department of Tatar Linguistics, Institute of Philology and Intercultural Communication. Scientific interests: modern Tatar language, methodology.

Z.M. ISKAKOVA: Iskakova Zhazira Mahsutovna, Born in 1982. Candidate of Philology. In 2003 she graduated from Karaganda State University named after Academician E.A. Buketova. In 2010 she defended her thesis on "O. Nurmagambetova - folklorist." Associate Professor of the Department of Social and Humanitarian and Language Disciplines of the University "Turan-Astana". Scientific interests: folklore, modern Kazakh literature, history of literature

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