Analysis of the work of the noble nest of Turgenev. Turgenev "Nest of Nobles" - analysis

ABSTRACT
Typological and individual features in the novel by I.S Turgenev " Noble Nest»

Key words: TURGENEV, "NOBLE NEST", TYPOLOGICAL FEATURES, INDIVIDUAL FEATURES, LIZA KALIINA, LAVRETSKII, GENRE UNIQUENESS
The object of the study is the novel by I.S. Turgenev "The Nest of Nobles".
The purpose of the work is to analyze the novel by I.S. Turgenev "The Nest of Nobles" and consider the main typological and individual features of the work.
The main research methods are comparative and historical-literary.



The materials of this study can be used as methodological material in preparing teachers for lessons in Russian literature in high school.

INTRODUCTION 4
CHAPTER 1 GENESIS OF THE NOVEL GENRE IN I.S. TURGENEV 7
1.1 The origins of I.S. Turgeneva 7
1.2 Genre originality of the novel by I.S. Turgenev "Noble Nest" 9
CHAPTER 2 PRINCIPLES OF INTERNAL ORGANIZATION, TYPOLOGICAL AND INDIVIDUAL FEATURES OF THE NOVEL "NOBLE NEST" I.S. TURGENEV 13
2.1 "The Nest of Nobles" as the most perfect of Turgenev's novels of the 1850s. 13
2.1 The author's concept of the hero as an individual trait in the novel "The Nest of Nobles" by I.S. Turgeneva 16
CONCLUSION 24
LIST OF USED SOURCES 26

INTRODUCTION

I.S. Turgenev holds an outstanding place in the development of Russian literature of the 19th century. At one time, N.A. Dobrolyubov wrote that in contemporary realistic literature there is a “school” of fiction writers, “which, perhaps, by its main representative, we can call “Turgenev's”. And as one of the main figures in the literature of that time, I.S. Turgenev "tried" himself literally in almost all the main genres, becoming the creator of completely new ones.
However, novels occupy a special place in his work. It was in them that the writer most fully presented living picture complex, tense social and spiritual life of Russia.
Each Turgenev novel that appeared in print immediately found itself in the center of criticism. Interest in them does not dry out even today. In recent decades, much has been done in the study of Turgenev's novels. This was largely facilitated by the publication complete collection works of the writer in 28 volumes, carried out in 1960-1968, and after him a 30-volume collected works. New materials about the novels have been published, versions of texts have been printed, research has been carried out on various problems, one way or another related to the genre of Turgenev's novel.
During this period, the 2-volume "History of the Russian Novel", monographs by S.M. Petrov, G.A. Byaly, G.B. Kurlyandskaya, S.E. Shatalov and other literary critics. Of the special works, one should, perhaps, single out the fundamental research of A.I. Batyuto, the serious book by G.B. Turgenev" and a number of articles.
In the last decade, a number of works about Turgenev have appeared that, in one way or another, are in contact with his novelistic work. At the same time, the research of the last decade is characterized by the desire to take a fresh look at the writer's work, to present it in relation to modernity.
Turgenev was not only a chronicler of his time, as he himself once noted in the preface to his novels. He was an amazingly sensitive artist, able to write not only about the actual and eternal problems of human existence, but also had the ability to look into the future, to become, to a certain extent, a pioneer. In connection with this idea, I would like to note the publication of the book by Yu.V. Lebedev. With good reason, we can say that the named work is a significant monographic study carried out at the modern scientific level, carrying to a certain extent a new reading of the novels by I.S. Turgenev.
Substantial monographs about a writer are not so common. That is why it is especially necessary to note the book of the famous Turgenevologist, A.I. Batyuto "Creativity of I.S. Turgenev and the critical and aesthetic thought of his time". Considering the specifics of the aesthetic positions of Belinsky, Chernyshevsky, Dobrolyubov, Annenkov and correlating them with the literary and aesthetic views of Turgenev, A.I. Batyuto creates a new ambiguous concept of the writer's artistic method. At the same time, the book contains many different and very interesting observations in artistic specificity novelistic creativity of I.S. Turgenev.
The relevance of the course work is due to the fact that in modern literary criticism there is a growing interest in the work of I.S. Turgenev and the modern approach to the writer's work.
The purpose of this work is to analyze the novel by I.S. Turgenev "The Nest of Nobles" and consider the main typological and individual features of the work.
This goal allowed us to formulate the following objectives of this study:

reveal the origins of the writer's novel creativity;
analyze genre originality novel by I.S. Turgenev "Noble Nest";
consider the novel "The Nest of Nobles" as the most perfect of Turgenev's novels of the 1850s;
designate the author's concept of the hero as personality trait in the novel "The Nest of Nobles" by I.S. Turgenev.

The object of this study was the novel by I.S. Turgenev "The Nest of Nobles".
The subject of the research is typological and individual features in the writer's novel.
The nature of the work and the tasks determined the research methods: historical-literary and system-typological.
The practical significance lies in the fact that the materials of this study can be used as methodological material in preparing a teacher for lessons on Russian literature in high school.
Structure and scope of work. Course work consists of an introduction, two main chapters, and a conclusion. The total volume of work is 27 pages. The list of sources used is 20 items.

CHAPTER 1

THE GENESIS OF THE NOVEL GENRE IN THE WORKS OF I.S. TURGENEV

1.1 The origins of I.S. Turgenev

Creativity I.S. Turgenev in the 1850s most fully expressed the features of the literary era and became one of its characteristic and striking manifestations. During this unusually fruitful period, the writer goes from "Notes of a Hunter" to "Rudin", "The Noble Nest", "On the Eve", develops a special (lyrical) type of story. In 1848-1851 he was still under the influence of " natural school”, tries his hand at dramatic genres. Significant for I.S. Turgenev was 1852. In August, the Hunter's Notes are published as a separate edition.
Despite big success"Notes of a Hunter", the former artistic manner could not satisfy the writer already because the range of his talent is immeasurably higher than the artistic experience that he accumulated in "Notes of a Hunter".
I.S. Turgenev begins a creative crisis. He noticeably cools towards the essay genre. This is largely due to the fact that the writer's sketchy style was not suitable for creating large epic canvases. The genre boundaries of the essay did not allow him to show the hero in the context of a wide historical time, limited the scope of the interaction of the individual with the world around him, forced him to work in a narrow stylistic manner.
Other principles for depicting reality were needed. Therefore, in 1852 - 1853 before I.S. Turgenev faces the problem of a “new manner”, which is marked by the transition of Turgenev’s prose from works of a small genre (“Notes of a Hunter”) to larger epic forms - stories and novels. At the same time, the artistic structure of the "hunting" cycle was already pushing for the search for a new style, testifying to the writer's penchant for a large form.
To replace the creative manner in the prose of I.S. Turgenev was influenced by the change in subject matter and his refusal to depict "peasant life as defining the whole feature of the writer's vision." The writer's turn to a new topic was associated with the tragic events of the 1848 revolution in France, which dramatically influenced his worldview. I.S. Turgenev begins to doubt the people as a conscious creator of history, he now places his hopes on the intelligentsia as a representative of the cultural stratum of society.
In his view of the Russian life of the noble circle close to him, I.S. Turgenev sees "the tragic fate of the tribe, the great social drama." The writer closely peers into the essence of the life drama of many representatives of the noble circle and tries to identify its origins and designate the essence.
In the first half of the 1950s, I.S. Turgenev. At this time, he writes a number of articles and reviews on works of various kinds and genres. In them, the writer tries to comprehend the ways of developing his creativity. His thoughts rush to the great form epic kind- a novel, for the creation of which he is trying to find more perfect means of reproducing reality. Theoretically, these thoughts of I.S. Turgenev develops in a review of the novel by E. Tur "The Niece", where he sets out in detail his literary and aesthetic views.
The writer believes that the lyric in the narrative fabric of the work should not prevent the creation of full-blooded artistic images and types, objective in their basis. “Simplicity, calmness, clarity of lines, conscientiousness of work, that conscientiousness that is given by confidence” - these are the ideals of the writer.
Many years later, in a 1976 letter to I.S. Turgenev will once again express his thoughts on the requirement for true talents: “If you are more interested in the study of the human physiognomy than in the presentation of your own feelings and thoughts; if, for example, it is more pleasant for you to correctly and accurately convey the appearance of not only a person, but also a simple thing, than to express passionately what you feel when you see this thing or this person, then you are an objective writer and can take up a story or a novel. . However, according to I.S. Turgenev, this type of writer must have the ability not only to capture life in all its manifestations, but also to understand the laws by which it moves. Such are Turgenev's principles of objectivity in art.
Tales and novels by I.S. Turgenev, as it were, are arranged in "nests". They precede the novels of the writer of the story (or story), which have a distinct philosophical content and love story. First of all, the formation of Turgenev's novel went through the story, both as a whole and in individual works ("Rudin", "The Noble Nest", "Smoke", etc.).
So, new manner, which organically absorbed the best of the writer's previous experience, is connected with the principle of the objective in art, with an attempt to embody simple, clear lines in the works and create a Russian type, with a turn to a large genre form of the novel, with a change in subject matter.

1.2 Genre originality of the novel by I.S. Turgenev "Noble Nest"

Such works as "Eugene Onegin", "A Hero of Our Time", "Dead Souls" laid a solid foundation for the future development of Russian realistic novel. The artistic activity of Turgenev as a novelist unfolded at a time when Russian literature was looking for new ways, turning to the genre of the socio-psychological, and then the socio-political novel.
Many researchers note that the novel by I. S. Turgenev in its formation and development was influenced by all literary forms in which his artistic thought was clothed (essay, story, drama, etc.).
Until recently, the novels of I.S. Turgenev were studied mainly as "history textbooks". Modern scientists (A.I. Batyuto, G.B. Kurlyandskaya, V.M. Markovich and others) have already paid attention to the correlation of the socio-historical plot with the universal content in Turgenev's novel. This gives reason to believe that the novels of I.S. Turgenev gravitate toward the socio-philosophical type. In this central genre form of Russian novel XIX century, as V.A. Nedzvetsky rightly believes, such a common feature as “comprehension of the problems of modernity through the prism of the “eternal” ontological needs of man and humanity” manifested itself.
The socio-historical and universal-philosophical aspects are inextricably linked in the novel "The Nest of Nobles" by the writer, the search and fate of the main characters (Russian people) are correlated with the eternal problems of being - this is the general principle of the internal organization of the writer's novel.
An essential species feature of the "Noble Nest" I.S. Turgenev is an in-depth psychologism. Already on the first pages of the novel, there is a tendency to increase the psychologization of the characters of Fyodor Lavretsky, Lisa Kalitina.
The originality of Turgenev's psychologism is determined by the author's understanding of reality, the concept of man. I.S. Turgenev believed that the human soul is a sacred thing, which should be touched with care and caution.
Psychologism I.S. Turgenev "has rather rigid boundaries": characterizing his characters in the novel "The Nest of Nobles", he, as a rule, reproduces not the stream of consciousness itself, but its result, which finds external expression - in facial expressions, gestures, a brief author's description: " A man entered tall, in a neat frock coat, short trousers, gray suede gloves and two ties - one black on top, the other white on the bottom. Everything in him breathed decency and decency, starting with a handsome face and smoothly combed temples to boots without heels and without a squeak.
It is no coincidence that the writer's basic principle psychological method formulated as follows: "The poet must be a psychologist, but secret: he must know and feel the roots of phenomena, but represents only the phenomena themselves - in their heyday or withering."
V.A. Nedzwiecki refers Turgenev's novels to the "personal novel of the 19th century" type. This type of novel is characterized by the fact that both in terms of content and structure it is predetermined by the history and fate of the “modern man”, a developed and aware of his rights personality. The "personal" novel is far from being infinitely open to worldly prose. As N.N. Strakhov noted, Turgenev, as far as he could, sought and depicted the beauty of our life. This led to the selection of phenomena primarily spiritual and poetic. V.A. Nedzvetsky rightly notes: “The artistic study of the fate of a person in indispensable connection and correlation with his practical duty to society and the people, as well as the universal turn of problems and collisions, naturally gave the Goncharov-Turgenev novel that broad epic breath” .
The first period of the writer's novelistic work dates back to the 1850s. During these years, a classic type of Turgenev's novel emerged ("Rudin", "The Noble Nest", "On the Eve", "Fathers and Sons"), which absorbed and deeply transformed the artistic experience of the novelists of the first half of the century, and subsequently had a versatile influence on the novels of 1860 - 1880 -s. "Smoke" and "Nov" represented a different genre type, associated with a different historical and literary environment.
Turgenev's novel is inconceivable without a major social type. This is one of the essential differences between Turgenev's novel and his story. A characteristic feature of the structure of Turgenev's novel is the emphasized continuity of the narrative. The researchers note that “The Nest of Nobles, written in the heyday of the writer’s talent, is replete with scenes, as if not completed in their development, full of meaning that was not revealed to the end. The main goal of I. S. Turgenev is to draw only in the main features the spiritual appearance of the hero, to talk about his ideas.
Lavretsky is the spokesman for the next stage in the social history of Russia - the 50s, when the "deed" on the eve of the reform acquires features of greater social concreteness. Lavretsky is no longer Rudin, a noble educator, estranged from all soil, he sets himself the task of learning to plow the land and morally influence folk life through its deep Europeanization.
I.S. Turgenev draws representatives of his time, so his characters are always confined to a certain era, to a certain ideological or political movement.
A characteristic feature of his novels, the writer considered the presence in them of historical certainty, associated with his desire to convey "the very image and pressure of the time." He managed to create a novel about historical process in its ideological expression, about the change of historical epochs, about the struggle of ideological and political trends. Roman I.S. Turgenev became historical not in terms of the topic, but in terms of the way it is depicted. With keen attention following the movement and development of ideas in society, the author is convinced of the unsuitability of the old, traditional, calm and extensive epic narrative for reproducing modern, seething social life.
G.B. Kurlyandskaya, V.A. Nedzvetsky and others note those features of the style in which the genre closeness of Turgenev's novel of the story affected: conciseness of the image, concentration of action, focus on one hero, expressing the originality of historical time, and, finally, an expressive ending. In the novel, a different angle of view on Russian reality than in the story (not “through oneself”, but from the general to the individual), a different structure of the hero, hidden psychologism, openness and semantic mobility, incompleteness genre form. Simplicity, conciseness and harmony are the features of the structure of Turgenev's novels.

CHAPTER 2

PRINCIPLES OF INTERNAL ORGANIZATION, TYPOLOGICAL AND INDIVIDUAL FEATURES OF THE NOVEL "NOBILITY'S NEST" by I.S. TURGENEV

2.1 "The Nest of Nobles" as the most perfect of Turgenev's novels of the 1850s.

The second novel "The Nest of Nobles" occupies a special place in the epic prose of I.S. Turgenev is one of the most poetic and lyric novels. The writer writes with exceptional sympathy and sadness about the people of the class to which he belongs by birth and upbringing. This is an individual feature of the novel.
"The Nest of Nobles" is one of the most remarkable artistic creations of I.S. Turgenev. This novel has a very compressed composition, the action takes place in a short time - a little more than two months - with great compositional rigor and harmony. Each plot line of the novel goes into the distant past and is drawn very consistently.
The action in The Nest of Nobles develops slowly, as if corresponding to the slow course of life. noble estate. At the same time, every plot twist, every situation is clearly motivated. In the novel, all the actions, sympathies and antipathies of the characters stem from their characters, worldview and the circumstances of their lives. The denouement of the novel is deeply motivated by the characters and upbringing of the main characters, as well as the prevailing circumstances of their lives.
About the events of the novel, about the drama of the heroes I.S. Turgenev narrates calmly in the sense that he is completely objective, seeing his task in the analysis and faithful reproduction of life, not allowing any interference in it by the will of the author. His subjectivity, his soul I.S. Turgenev shows in that amazing lyricism, which is the originality of artistic manner writer. In The Noble Nest, lyricism is poured like air, like light, especially where Lavretsky and Liza appear, surrounding the sad story of their love with deep sympathy, penetrating into the pictures of nature. Sometimes I.S. Turgenev resorts to the author's lyrical digressions, deepening certain motives of the plot. In the novel more descriptions than dialogues, and the author more often says what happens to the characters than shows them in actions, in action.
The psychologism of the novel "The Nest of Nobles" is enormous and very peculiar. I.S. Turgenev does not develop a psychological analysis of the experiences of his heroes, as his contemporaries F.M. Dostoevsky and L.N. Tolstoy. He confines himself to the essentials, focusing the reader's attention not on the process of experiencing itself, but on its internally prepared results: it is clear to us how gradually love for Lavretsky arises in Lisa. I.S. Turgenev carefully notes the individual stages of this process in their external manifestation, but we can only guess about what was going on in Lisa's soul.
Lyricism in the novel is manifested in the depiction of the love of Lavretsky and Lisa Kalitina, in the creation of a lyrical image-symbol of the "noble nest", in poetically expressive pictures of nature. The opinion of a number of researchers that I.S. Turgenev makes his last attempt to find a hero of the time in the advanced nobility in The Nest of Nobles and needs to be corrected. In Turgenev's novel, along with understanding the historical decline of the "noble nests", the "eternal" values ​​of the culture of the nobility are affirmed. For the writer, noble Russia is an inseparable part of national Russian life. The image of the "noble nest" is "a repository of the intellectual, aesthetic and spiritual memory of a generation".
I.S. Turgenev leads his heroes along the road of trials. Lavretsky's transitions from hopelessness to extraordinary upsurge, born of hope to happiness, and again to hopelessness, create the inner drama of the novel. Liza also experienced the same vicissitudes, for a moment she surrendered herself to the dream of happiness and then felt all the more guilty. Following the story of Lisa's past, which makes the reader sincerely wish her happiness and rejoice in it, Lisa suddenly suffers a terrible blow - Lavretsky's wife arrives, and Liza remembers that she has no right to happiness.
In the epilogue of "The Noble Nest" there is an elegiac motif of the transience of life, the rapid run of time. Eight years passed, Marfa Timofeevna passed away, mother Liza Kalitina passed away, Lemm died, Lavretsky aged in body and soul. During these eight years, finally, a turning point took place in his life: he stopped thinking about his own happiness and achieved what he wanted - he became a good owner, learned to plow the land, improved the life of his peasants. In the scene of Lavretsky's meeting with the young generation of the noble nest of the Kalitins, I.S.'s presentiment is expressed. Turgenev's departure into the past of an entire era of Russian life.
The epilogue of the novel is a concentrated expression of all its problems, symbolic, figurative meaning. It contains the main lyrical-tragic motif, conveys the atmosphere and mood of withering, filled with the poetry of sunset. At the same time, I.S. Turgenev shows that in Russian society new, better, forces of light are latently maturing.
If in "Rudin" I.S. Turgenev was mainly attracted by the sphere of mental life and spiritual development of Russian society, then in The Nest of Nobles, with all the writer’s attention to some problems of the early 40s related to Westernism and Slavophilism, his main interest focused on the life of the soul and heart of the heroes of the novel . Hence the emotional tone of the narration, the predominance of the lyrical beginning in it.
"The Nest of Nobles" is the most perfect of Turgenev's novels. As N. Strakhov noted, "Turgenev, as far as he could, sought and portrayed the beauty of our life." The artistic study of the fate of the hero in accordance with his duty to society and the people was combined with universal problems.
The novel "The Nest of Nobles" was an expression of I.S. Turgenev about the Russian man and his historical recognition, which is a typological feature of all the writer's novels.
The theme of the novel is quite complex. This is the search for the meaning of life; question about goodie; this is the fate of the motherland, which is the most important thing for a writer; uniquely interpreted in the novel women's issue; the problem of generations, widely reflected in the novel, precedes the appearance of "Fathers and Sons"; the work also touches upon such an important issue for the writer as the fate of talent and its connection with the homeland.

2.1 The author's concept of the hero as an individual trait in the novel "The Nest of Nobles" by I.S. Turgenev

In his novels, I.S. Turgenev, as a rule, accurately indicates the time of action ( typological feature): the events in the novel refer to 1842, when the differences between the Westernizers and the Slavophiles were determined. An attempt to instill in the young Lavretsky, through the system of home education, Western, by nature rational, idealism in his nature ended in failure. The image of Lavretsky, who is still Ap. Grigoriev called "Oblomovite", was close to Russian readers of the Slavophile and soil orientation: he was met with approval by F.M. Dostoevsky.
In the article "About "Fathers and Sons"" I.S. Turgenev, again calling himself a Westerner, explained the appearance of the hero of the Slavic orientation in his work by the fact that he did not want to sin against the truth of life, as it seemed to him at that time. In the face of Panshin, "Turgenev exposes that Western orientation, which is a separation from the people's soil, a complete inattention to everything" people "". Lavretsky is "an exponent of the general democratic sentiments of that noble intelligentsia, which strove for rapprochement with the people." The whole novel is to some extent a polemic between Lavretsky and Panshin. Hence the intensity of the dispute and the intransigence of these characters.
I.S. Turgenev divides the characters into two categories according to the degree of their closeness to the people and taking into account the environment that shaped their characters. On the one hand, Panshin is a representative of the bureaucracy, bowing to the West, on the other hand, Lavretsky, brought up, despite his father's Anglomanship, in the traditions of Russian folk culture.
On the one hand, Varvara Pavlovna Lavretskaya, who surrendered herself to the Parisian manners and customs of a semi-bohemian, although not alien to aesthetic inclinations, on the other, Liza Kalitina with a keen sense of her homeland and closeness to the people, with a high consciousness of moral duty. The basis of the motives of both Panshin and Varvara Pavlovna is selfishness, worldly well-being. It should agree with V.M. Markovich, who classifies Panshin and Varvara Pavlovna as characters “occupying the“ lowest level ”among actors novel, which corresponds to the views of Turgenev. Both Varvara Pavlovna and Panshin do not rush about, but immediately rush to real life values» .
I.S. Turgenev describes Panshin as follows: “For his part, Vladimir Nikolaich, during his stay at the university, from where he left with the rank of a real student, met some noble young people and became a member of the best houses. He was welcomed everywhere; he was very good-looking, cheeky, amusing, always in good health and ready for anything; where necessary - respectful, where possible - impudent, excellent comrade, un charmant garcon (charming fellow (French)). The treasured realm opened before him. Panshin soon understood the secret of secular science; he knew how to be imbued with a real respect for its rules, he knew how to deal with nonsense with half-mocking dignity and to show that he considered everything important to be nonsense; danced well, dressed in English. In a short time he was known as one of the most amiable and dexterous young people in Petersburg. Panshin was really very dexterous, no worse than his father; but he was also very gifted. Everything was given to him: he sang sweetly, briskly painted, wrote poetry, played very well on stage. He was only in his twenty-eighth year, and he was already a chamber junker and had a very good rank. Panshin firmly believed in himself, in his mind, in his insight; he went forward boldly and cheerfully, at full speed; his life flowed like clockwork. He was accustomed to being liked by everyone, old and young, and imagined that he knew people, especially women: he knew well their ordinary weaknesses. As a person not alien to art, he felt in himself both heat, and a certain enthusiasm, and enthusiasm, and as a result of this he allowed himself various deviations from the rules: he reveled, got acquainted with people who did not belong to the world, and generally behaved freely and simply; but in his soul he was cold and cunning, and during the most violent revelry his intelligent brown eye watched and looked out for everything; this brave, this free young man could never forget himself and be completely carried away. To his credit, it must be said that he never boasted of his victories.
Panshin is opposed in the novel by Lavretsky, who seeks to merge with the elements of the national, with the "soil", with the village, with the peasant. For ten chapters (VIII - XVII) I.S. Turgenev widely expanded the hero's background, depicted the whole world of a past life with its social order and mores. It is no coincidence that I.S. Turgenev refused. original name"Liza" and preferred the name "Noble Nest" as the most appropriate to the problems of the planned work. No less detailed is the genealogy of the Kalitin family. The prehistory of the heroes as an epic basis for the narration of the present is an important genre component of Turgenev's novel and an individual feature in the novel "The Nest of Nobles". In the genealogies of the heroes, the writer's interest in the historical development of Russian society, in the change of various generations of noble "nests" is revealed.
A biographical digression about Lavretsky's ancestors is important for revealing his character. Close to the people through his mother, he is endowed with that responsiveness that helped him survive the tragedy of personal feelings and understand his responsibility to his homeland. This consciousness is figuratively expressed by him as a desire to plow the land and plow it as best as possible. Even in the author’s description of Lavretsky’s image, there are purely Russian features, in contrast to Panshin’s description: “From his red-cheeked, purely Russian face, with a large white forehead, a slightly thick nose and wide, regular lips, one could smell steppe health, strong, durable strength. He was well built, and his blond hair curled on his head like a young man's. In his eyes alone, blue, bulging and somewhat motionless, one could notice either thoughtfulness or fatigue, and his voice sounded somehow too even.
The difference between Lavretsky and other Turgenev's heroes lies in the fact that he is alien to duality and reflection. It combined the best features of Rudin and Lezhnev: the romantic daydreaming of one and the sober determination of the other. I.S. Turgenev is no longer satisfied with the ability to wake people up, which he appreciated in Rudin. Lavretsky is placed above Rudin by the author. This is another individual feature in the author's concept of the writer.
The center of the novel, its main storyline is the love of Fyodor Lavretsky and Liza Kalitina. Unlike previous works by I.S. Turgenev, both central hero, each in its own way, are strong and strong-willed people (an individual trait). Therefore, the theme of the impossibility of personal happiness is developed in The Nest of Nobles with the greatest depth and with the greatest tragedy.
In the "Nest of Nobles" there are situations that largely determine the problems and plot of the novels by I.S. Turgenev: the struggle of ideas, the desire to convert the interlocutor to "their faith" and a love conflict. So, Liza criticizes Lavretsky for indifference to religion, which for her is a means of resolving the most painful contradictions. She considers Lavretsky a close person, feeling his love for Russia, for the people.
As a rule, researchers ignore the fact that Lavretsky is clearly striving for faith (in its confessional
etc.................

Composition

After the release of the novel "Rudin" in the January and February books of the "Contemporary" for 1856, Turgenev conceives new novel. The writer thought over the plot of the story for a very long time, for a long time he did not take it up, he kept turning the plot in his head, as Turgenev himself would write on the cover of the manuscript. The last corrections to the work were made by the author in mid-December 1858, and in the January book of Sovremennik for 1959, The Noble Nest was published. Central problem the story became the problem of moral duty. Forgetting about moral duty, a person falls into the abyss of individualism, Turgenev believes, and incurs retribution in the face of the laws of nature, guarding world harmony. In The Nest of Nobles, the problem of moral duty receives a socio-historical justification. This story is Turgenev's last attempt to find a hero of his time among the nobility. At the time of the creation of the novel, the revolutionary democrats and liberals were still standing together in the struggle against serfdom. But the signs of a future break, which occurred in 1859, were already visible and disturbed Turgenev. This anxiety is reflected in the content of the novel. Turgenev understood that Russian nobility has come to a turning point, to a certain milestone, beyond which it will be clear whether it can retain the role of a leading historical force.

In the center of the work, at first glance, a story far from historical transformations is the love story of Lisa and Lavretsky. The heroes meet, they develop sympathy for each other, then love, they are afraid to admit this to themselves, because Lavretsky is bound by marriage. Behind a short time Lisa and Lavretsky experience both hope for happiness and despair - with the consciousness of its impossibility. The heroes of the novel are looking for answers to the questions that their fate puts before them - about personal happiness, about duty to loved ones, about self-denial, about their place in life.
The protagonist of the work, around which the whole story is built, is Lavretsky. This is the hero who embodies best qualities patriotic and democratically minded Russian nobility. He appears in the novel not alone, but along with the history of his kind. In the "Nest of Nobles" Turgenev is interested in topical issues modern life, it goes upstream to the source of the river. Therefore, the heroes of the novel are shown with their "roots", with the soil on which they grew up. It's about not only about the personal fate of Lavretsky, but also about the historical fate of the whole estate. No wonder the genealogy of the hero is told from the very beginning - from the 15th century. Turgenev criticizes the groundlessness of the nobility, his separation from the people, from his native culture, from Russian roots. Such is the father of Lavretsky - a Galloman and an Angloman. Turgenev fears that modern conditions such groundlessness can give rise to Western bureaucrats such as Panshin. But Lavretsky is not only a hereditary nobleman, he is also the son of a peasant woman. He never forgets this, he feels "muzhik" features in himself, and those around him are surprised at his extraordinary physical strength. Marfa Timofeevna, Lisa's aunt, admired his heroism, and Lisa's mother, Marya Dmitrievna, censured Lavretsky's lack of refined manners. The hero, both by origin and personal qualities, is close to the people. But at the same time, the formation of his personality was influenced by Voltairianism, his father's Anglomania, and Russian university education. Even physical strength Lavretsky is not only natural, but also the fruit of the upbringing of a Swiss tutor. Deeply significant, in my opinion, is the dispute between Panshin and Lavretsky. It arises in the evening, before the explanation of Lisa and Lavretsky. No wonder this dispute is woven into the most lyrical pages of the novel. For Turgenev, personal destinies are merged here, moral quest his heroes and their organic closeness to the people, their attitude towards them on "equals". For Panshin and others like him, Russia is a wasteland where any social and economic experiments can be carried out. Turgenev puts his ideas into the mouth of Lavretsky and smashes the extreme Western liberals on all points of their programs. Lavretsky proved to Panshin the impossibility of leaps and an arrogant desire for alterations, not justified by any knowledge native land, nor faith in an ideal, even a negative one. Lavretsky cites his own upbringing, requires, first of all, the recognition of "people's truth and humility before it ...". And he is looking for this popular truth. Lavretsky does not accept Lisa's religious self-denial with his soul, does not turn to faith as a consolation, but experiences a moral crisis. Lavretsky "really stopped thinking about his own happiness, about selfish goals." His attachment to people's truth is accomplished through the renunciation of selfish desires and tireless work, which gives peace of mind to a fulfilled duty.

In his views, Lavretsky is close to Slavophilism. This direction arose in the 20s XIX years century and rejected serfdom, power over the person of the state bureaucracy. The Slavophiles saw a way out for Russia in the Russian people's soul and, more broadly, in Slavic life. moral feat, according to Turgenev, consists in self-sacrifice. Fulfilling duty, a person acquires moral freedom. These ideas sounded very clearly in the novel "The Nest of Nobles". The Slavophiles considered the traits embodied in the characters of the main characters to be an expression of the eternal and unchanging essence of the Russian character. But Turgenev, obviously, could not consider these personality traits of his hero sufficient for life. “As an activist, he is zero” - this is what worried the author most of all in Lavretsky. The catastrophe at the end of the novel is approaching, as retribution for the lives of fathers, grandfathers and great-grandfathers. The hero in the finale welcomes the younger generation. Readers of the 1860s saw the coming generation as "new people" who would replace the heroes of the nobility.

Other writings on this work

“The drama of his (Lavretsky) position lies ... in a collision with those concepts and morals with which the struggle will really frighten the most energetic and courageous person” (N.A. Dobrolyubov) (based on the novel "Superfluous people" (based on the story "Asya" and the novel "The Noble Nest") The author and hero in the novel by I. S. Turgenev "The Nest of Nobles" Lisa's meeting with Lavretsky's wife (analysis of an episode from chapter 39 of I. S. Turgenev's novel "The Nest of Nobles") Female images in the novel by I. S. Turgenev "The Nest of Nobles". I. S. Turgenev "The Nest of Nobles". Images of the main characters of the novel How do the heroes of I. S. Turgenev's novel "The Nest of Nobles" understand happiness? Lyrics and music of the novel "The Noble Nest" The image of Lavretsky in the novel by I. S. Turgenev "The Nest of Nobles" The image of the Turgenev girl (based on the novel by I. S. Turgenev "The Nest of Nobles") The image of the Turgenev girl in the novel "The Nest of Nobles" Explanation of Lisa and Lavretsky (analysis of an episode from the 34th chapter of the novel by I. S. Turgenev "The Nest of Nobles"). Landscape in the novel by I. S. Turgenev "The Noble Nest" The concept of duty in the life of Fyodor Lavretsky and Lisa Kalitina Why did Liza go to the monastery Representation of the ideal Turgenev girl The problem of the search for truth in one of the works of Russian literature (I.S. Turgenev. "Nest of Nobility") The role of the image of Lisa Kalitina in the novel by I. S. Turgenev "The Noble Nest" The role of the epilogue in the novel by I. S. Turgenev "The Nest of Nobles" The meaning of the title of the novel by I. S. Turgenev "The Nest of Nobles" The dispute between Lavretsky and Panshin (analysis of an episode from the 33rd chapter of the novel by I. S. Turgenev "The Nest of Nobles"). The theme of love in the novel by I.S. Turgenev "Noble Nest" Novel "The Nest of Nobles"

In the novel "The Noble Nest" great place the author devotes to the theme of love, because this feeling helps to highlight all the best qualities of the characters, to see the main thing in their characters, to understand their soul. Love is depicted by Turgenev as the most beautiful, bright and pure feeling that awakens all the best in people. In this novel, as in no other novel by Turgenev, the most touching, romantic, sublime pages are devoted to the love of heroes. The love of Lavretsky and Liza Kalitina does not manifest itself immediately, it approaches them gradually, through many reflections and doubts, and then suddenly falls upon them with its irresistible force. who has experienced a lot in his lifetime: both hobbies, and disappointments, and the loss of all life goals, - at first he simply admires Lisa, her innocence, purity, spontaneity, sincerity - all those qualities that Varvara Pavlovna, the hypocritical, depraved wife of Lavretsky, lacks, who abandoned him.

Lisa is close to him in spirit: “It sometimes happens that two people who are already familiar, but not close to each other, suddenly and quickly approach each other within a few moments, and the consciousness of this rapprochement is immediately expressed in their views, in their friendly and quiet smiles, in themselves their movements. That is exactly what happened to Lavretsky and Liza." They talk a lot and realize that they have a lot in common. Lavretsky takes life, other people, Russia seriously, Lisa is also a deep and strong girl who has her own ideals and beliefs. According to Lemm, Lisa's music teacher, she is "a fair, serious girl with lofty feelings."

Lisa is courted by a young man, a city official with a bright future. Lisa's mother would be glad to give her in marriage to him, she considers this a great match for Lisa. But Lisa cannot love him, she feels falseness in his attitude towards her, Panshin is a superficial person, he appreciates external brilliance in people, and not the depth of feelings. Further events of the novel confirm this opinion about Panshin. Only when Lavretsky receives news of the death of his wife in Paris, does he begin to admit the thought of the personal. Turgenev, in his favorite manner, does not describe the feelings of a person freed from shame and humiliation, he uses the technique of "secret psychology", depicting the experiences of his characters through movements, gestures, facial expressions. After Lavretsky read the news of his wife's death, he "dressed, went out into the garden, and walked up and down the same alley until morning."

After some time, Lavretsky becomes convinced that he loves Lisa. He is not happy about this feeling, as he already experienced it, and it brought him only disappointment. He is trying to find confirmation of the news of his wife's death, he is tormented by uncertainty. And love for Liza grows ever stronger: “He did not love like a boy, it was not to his face to sigh and languish, and Liza herself did not arouse this kind of feeling; but love at every age has its suffering, and he experienced them completely.

The author conveys the feelings of the heroes through descriptions of nature, which is especially beautiful before their explanation: “Each of them had a heart growing in their chest, and nothing was lost for them: a nightingale sang for them, and the stars burned, and the trees whispered softly, lulled by sleep, and the bliss of summer, and warmth. The scene of the declaration of love between Lavretsky and Lisa was written by Turgenev in a surprisingly poetic and touching way, the author finds the simplest and at the same time the most tender words to express the feelings of the characters. Lavretsky wanders around Liza's house at night, looks at her window, in which a candle burns: "Lavretsky did not think anything, did not expect anything; it was pleasant for him to feel close to Lisa, to sit in her garden on a bench, where she sat more than once .. At this time, Liza goes out into the garden, as if sensing that Lavretsky is there: “In a white dress, with braids not untwisted over her shoulders, she quietly approached the table, bent over it, put a candle and looked for something; then, turning around facing the garden, she approached the open door and, all white, light, slender, stopped on the threshold. There is a declaration of love, after which Lavretsky is overwhelmed with happiness: “Suddenly it seemed to him that some wondrous, triumphant sounds spilled in the air above his head; he stopped: the sounds thundered even more magnificent; they flowed in a melodious, strong stream, - into them, all his happiness seemed to speak and sing. It was the music composed by Lemm, and it fully corresponded to Lavretsky's mood: "For a long time Lavretsky had not heard anything like it: a sweet, passionate melody from the first sound embraced the heart; it shone all over, all tomilas

Turgenev conceived the novel "The Nest of Nobles" back in 1855. However, the writer experienced at that time doubts about the strength of his talent, and the imprint of personal disorder in life was also superimposed. Turgenev resumed work on the novel only in 1858, upon arrival from Paris. The novel appeared in the January book of Sovremennik for 1859. The author himself subsequently noted that "The Nest of Nobles" had the greatest success that had ever befallen him.

Turgenev, who was distinguished by his ability to notice and depict the new, the emerging, reflected modernity in this novel, the main moments in the life of the noble intelligentsia of that time. Lavretsky, Panshin, Lisa are not abstract images created by the head, but living people - representatives of the generations of the 40s of the 19th century. In Turgenev's novel, not only poetry, but also a critical orientation. This work of the writer is a denunciation of autocratic-feudal Russia, a dying song for "noble nests".

The favorite place of action in Turgenev's works is the "noble nests" with the atmosphere of sublime experiences reigning in them. Their fate excites Turgenev and one of his novels, which is called "The Noble Nest", is imbued with a sense of anxiety for their fate.

This novel is imbued with the consciousness that "noble nests" are degenerating. Turgenev critically illuminates the noble genealogies of the Lavretskys and Kalitins, seeing in them a chronicle of feudal arbitrariness, a bizarre mixture of "wild nobility" and aristocratic admiration for Western Europe.

Consider ideological content and the system of images of the "Noble Nest". Turgenev placed representatives of the noble class at the center of the novel. Chronological framework novel - 40s. The action begins in 1842, and the epilogue tells about the events that took place 8 years later.

The writer decided to capture that period in the life of Russia, when in the best representatives the noble intelligentsia is growing anxious for the fate of their own and their people. Turgenev interestingly decided the plot and compositional plan of his work. He shows his heroes in the most intense turning points their lives.

After an eight-year stay abroad, he returns to his family estate Fyodor Lavretsky. He experienced a great shock - the betrayal of his wife Varvara Pavlovna. Tired, but not broken by suffering, Fedor Ivanovich came to the village to improve the life of his peasants. In a nearby town, in the house of his cousin Marya Dmitrievna Kalitina, he meets her daughter, Lisa.

Lavretsky fell in love with her pure love, Lisa answered him in kind.

In the novel "The Nest of Nobles" the author pays a lot of attention to the theme of love, because this feeling helps to highlight all the best qualities of the characters, to see the main thing in their characters, to understand their soul. Love is depicted by Turgenev as the most beautiful, bright and pure feeling that awakens all the best in people. In this novel, as in no other novel by Turgenev, the most touching, romantic, sublime pages are devoted to the love of heroes.

The love of Lavretsky and Liza Kalitina does not manifest itself immediately, it approaches them gradually, through many reflections and doubts, and then suddenly falls upon them with its irresistible force. Lavretsky, who has experienced a lot in his lifetime: both hobbies, and disappointments, and the loss of all life goals, at first simply admires Lisa, her innocence, purity, spontaneity, sincerity - all those qualities that Varvara Pavlovna lacks, hypocritical, depraved Lavretsky's wife, who abandoned him. Lisa is close to him in spirit: “It sometimes happens that two people who are already familiar, but not close to each other, suddenly and quickly approach each other within a few moments, and the consciousness of this rapprochement is immediately expressed in their views, in their friendly and quiet smiles, in themselves their movements. That is exactly what happened to Lavretsky and Liza." They talk a lot and realize that they have a lot in common. Lavretsky takes life, other people, Russia seriously, Lisa is also a deep and strong girl who has her own ideals and beliefs. According to Lemm, Lisa's music teacher, she is "a fair, serious girl with lofty feelings." Lisa is courted by a young man, a city official with a bright future. Lisa's mother would be glad to give her in marriage to him, she considers this a great match for Lisa. But Lisa cannot love him, she feels falseness in his attitude towards her, Panshin is a superficial person, he appreciates external brilliance in people, and not the depth of feelings. Further events of the novel confirm this opinion about Panshin.

Only when Lavretsky receives news of the death of his wife in Paris does he begin to admit the thought of personal happiness.

They were close to happiness, Lavretsky showed Liza a French magazine, which reported the death of his wife Varvara Pavlovna.

Turgenev, in his favorite manner, does not describe the feelings of a person freed from shame and humiliation, he uses the technique of "secret psychology", depicting the experiences of his characters through movements, gestures, facial expressions. After Lavretsky read the news of his wife's death, he "dressed, went out into the garden, and walked up and down the same alley until morning." After some time, Lavretsky becomes convinced that he loves Lisa. He is not happy about this feeling, as he already experienced it, and it brought him only disappointment. He is trying to find confirmation of the news of his wife's death, he is tormented by uncertainty. And love for Liza grows ever stronger: “He did not love like a boy, it was not to his face to sigh and languish, and Liza herself did not arouse this kind of feeling; but love at every age has its suffering, and he experienced them completely. The author conveys the feelings of the heroes through descriptions of nature, which is especially beautiful before their explanation: “Each of them had a heart growing in their chest, and nothing was lost for them: a nightingale sang for them, and the stars burned, and the trees whispered softly, lulled by sleep, and the bliss of summer, and warmth. The scene of the declaration of love between Lavretsky and Lisa was written by Turgenev in a surprisingly poetic and touching way, the author finds the simplest and at the same time the most tender words to express the feelings of the characters. Lavretsky wanders around Liza's house at night, looks at her window, in which a candle burns: "Lavretsky did not think anything, did not expect anything; it was pleasant for him to feel close to Lisa, to sit in her garden on a bench, where she sat more than once .. At this time, Liza goes out into the garden, as if sensing that Lavretsky is there: “In a white dress, with braids not untwisted over her shoulders, she quietly approached the table, bent over it, put a candle and looked for something; then, turning around facing the garden, she approached the open door and, all white, light, slender, stopped on the threshold.

There is a declaration of love, after which Lavretsky is overwhelmed with happiness: “Suddenly it seemed to him that some wondrous, triumphant sounds spilled in the air above his head; he stopped: the sounds thundered even more magnificent; they flowed in a melodious, strong stream, - into them, all his happiness seemed to speak and sing. It was the music composed by Lemm, and it fully corresponded to Lavretsky’s mood: “For a long time Lavretsky had not heard anything like it: the sweet, passionate melody from the first sound embraced the heart; it shone all over, all languished with inspiration, happiness, beauty, it grew and melted; she touched everything that is dear, secret, holy on earth; she breathed immortal sadness and went to heaven to die. Music portends tragic events in the lives of the heroes: when happiness was already so close, the news of the death of Lavretsky's wife turns out to be false, Varvara Pavlovna returns from France to Lavretsky, as she was left without money.

Lavretsky endures this event stoically, he is submissive to fate, but he is worried about what will happen to Lisa, because he understands what it is like for her, who fell in love for the first time, to experience this. She is saved from terrible despair by a deep, selfless faith in God. Liza leaves for the monastery, wishing only one thing - that Lavretsky would forgive his wife. Lavretsky forgave him, but his life was over, he loved Lisa too much to start all over again with his wife. At the end of the novel, Lavretsky, far from an old man, looks like an old man, and he feels like a man who has outlived his age. But the love of the characters did not end there. This is the feeling that they will carry through their lives. Last meeting Lavretsky and Liza testify to this. “They say that Lavretsky visited that remote monastery where Lisa had hidden - he saw her. Moving from choir to choir, she walked close past him, walked with the even, hastily humble gait of a nun - and did not look at him; only the eyelashes of her eyes turned to him trembled a little, only she bent her emaciated face even lower - and her fingers clenched hands, intertwined with a rosary, clung to each other even more tightly. "She did not forget her love, did not stop loving Lavretsky, and her departure to the monastery confirms this. And Panshin, who so demonstrated his love for Liza, completely fell under the spell of Varvara Pavlovna and became her slave.

The love story in the novel by I.S. Turgenev's "The Nest of Nobles" is very tragic and at the same time beautiful, beautiful because this feeling is not subject to either time or the circumstances of life, it helps a person to rise above the vulgarity and everyday life around him, this feeling ennobles and makes a person human.

Fyodor Lavretsky himself was a descendant of the gradually degenerated Lavretsky family, once strong, outstanding representatives of this family - Andrei (Fyodor's great-grandfather), Peter, then Ivan.

The commonality of the first Lavretskys is in ignorance.

Turgenev very accurately shows the change of generations in the Lavretsky family, their connections with - different periods historical development. A cruel and wild tyrant-landowner, Lavretsky's great-grandfather ("whatever the master wanted, he did, he hung men by the ribs ... he did not know the elder above him"); his grandfather, who once "ripped through the whole village", a careless and hospitable "steppe master"; full of hatred for Voltaire and the "fanatic" Diderot, is typical representatives Russian "wild nobility". They are replaced by those who have joined the culture, either claims to "Frenchness" or Anglomanism, which we see in the images of the frivolous old Princess Kubenskaya, in a very old age who married a young Frenchman, and the father of the hero Ivan Petrovich. Starting with a passion for the "Declaration of the Rights of Man" and Diderot, he ended with prayers and a bath. "A freethinker - began to go to church and order prayers; a European - began to bathe and dine at two o'clock, go to bed at nine, fall asleep to the butler's chatter; statesman- burned all his plans, all correspondence, trembled before the governor and fussed before the police officer. "This was the story of one of the families of the Russian nobility.

In the papers of Pyotr Andreevich, the grandson found the only dilapidated book in which he entered either “Celebration in the city of St. Petersburg of the reconciliation concluded with the Turkish Empire by His Excellency Prince Alexander Andreevich Prozorovsky”, or a recipe for chest dekocht with a note; "this instruction was given to General Praskovya Fedorovna Saltykova from the archpriest of the church life-giving Trinity Fyodor Avksentievich ", etc.; apart from calendars, a dream book and the work of Abmodik, the old man had no books. And on this occasion, Turgenev ironically remarked: "Reading was not his part." As if in passing, Turgenev points to the luxury of the eminent nobility. So , the death of Princess Kubenskaya is conveyed in the following colors: the princess "flushed, scented with amber a la Rishelieu, surrounded by black-legged little dogs and noisy parrots, died on a crooked silk sofa from the time of Louis XV, with an enamel snuffbox made by Petitot in her hands."

Bowing before everything French, Kubenskaya instilled in Ivan Petrovich the same tastes, gave a French upbringing. The writer does not exaggerate the significance of the war of 1812 for noblemen like the Lavretskys. They only temporarily "felt that Russian blood flows in their veins." "Peter Andreevich dressed a whole regiment of warriors at his own expense." But only. Fyodor Ivanovich's ancestors, especially his father, were more fond of foreign than Russian. The European-educated Ivan Petrovich, returning from abroad, introduced a new livery to the household, leaving everything as before, about which Turgenev writes, not without irony: peasants were forbidden to address directly to the master: the patriot really despised his fellow citizens.

And Ivan Petrovich decided to raise his son according to the foreign method. And this led to a separation from everything Russian, to a departure from the homeland. "An unkind joke was played by an Angloman with his son." Torn from childhood from his native people, Fedor lost his support, the real thing. It is no coincidence that the writer led Ivan Petrovich to an inglorious death: the old man became an unbearable egoist, who with his whims did not allow everyone around him to live, a pitiful blind man, suspicious. His death was a deliverance for Fyodor Ivanovich. Life suddenly opened up before him. At the age of 23, he did not hesitate to sit on the student bench with the firm intention of acquiring knowledge in order to apply it in life, to benefit at least the peasants of his villages. Where did Fedor's isolation and unsociableness come from? These qualities were the result of "Spartan education". Instead of introducing the young man into the midst of life, "he was kept in artificial seclusion", they protected him from life's upheavals.

The genealogy of the Lavretskys is intended to help the reader trace the gradual departure of the landowners from the people, to explain how Fyodor Ivanovich “dislocated” from life; it is designed to prove that the social death of the nobility is inevitable. The ability to live at the expense of others leads to the gradual degradation of a person.

Also given is an idea of ​​the Kalitin family, where parents do not care about children, as long as they are fed and clothed.

This whole picture is complemented by the figures of the gossiper and jester of the old official Gedeonov, a dashing retired captain and famous player - Father Panigin, a lover of government money - retired General Korobin, future father-in-law Lavretsky, etc. Telling the story of the families of the characters in the novel, Turgenev creates a picture very far from the idyllic image of "noble nests". He shows a motley Russia, whose people hit hard from full course west to literally dense vegetation in his estate.

And all the "nests", which for Turgenev were the stronghold of the country, the place where its power was concentrated and developed, are undergoing a process of decay and destruction. Describing the ancestors of Lavretsky through the mouths of the people (in the person of Anton, the courtyard man), the author shows that the history of noble nests is washed by the tears of many of their victims.

One of them - Lavretsky's mother - is a simple serf girl, who, unfortunately, turned out to be too beautiful, which attracts the attention of the nobleman, who, having married out of a desire to annoy his father, went to Petersburg, where he became interested in another. And poor Malasha, unable to bear the fact that her son was taken away from her for the purpose of education, "resignedly, in a few days faded away."

Fyodor Lavretsky was brought up in conditions of abuse human personality. He saw how his mother, the former serf Malanya, was in an ambiguous position: on the one hand, she was officially considered the wife of Ivan Petrovich, transferred to half of the owners, on the other hand, she was treated with disdain, especially her sister-in-law Glafira Petrovna. Pyotr Andreevich called Malanya "a raw-hammered noblewoman." Fedya himself in childhood felt his special position, a feeling of humiliation oppressed him. Glafira reigned supreme over him, his mother was not allowed to see him. When Fedya was in his eighth year, his mother died. “The memory of her,” writes Turgenev, “of her quiet and pale face, her dull looks and timid caresses, was forever imprinted in his heart.”

The theme of the "irresponsibility" of the serfs accompanies Turgenev's entire narrative about the past of the Lavretsky family. The image of Lavretsky's evil and domineering aunt Glafira Petrovna is complemented by the images of the decrepit footman Anton, who has grown old in the lord's service, and the old woman Apraksey. These images are inseparable from the "noble nests".

In childhood, Fedya had to think about the situation of the people, about serfdom. However, his caregivers did everything possible to distance him from life. His will was suppressed by Glafira, but "... at times a wild stubbornness came over him." Fedya was raised by his father himself. He decided to make him a Spartan. The "system" of Ivan Petrovich "confused the boy, planted confusion in his head, squeezed it." Fedya was presented exact sciences and "heraldry to maintain chivalrous feelings". The father wanted to mold the soul of the young man to a foreign model, to instill in him a love for everything English. It was under the influence of such an upbringing that Fedor turned out to be a man cut off from life, from the people. The writer emphasizes the richness of the spiritual interests of his hero. Fedor is a passionate admirer of Mochalov's game ("he never missed a single performance"), he deeply feels the music, the beauty of nature, in a word, everything is aesthetically beautiful. Lavretsky cannot be denied industriousness either. He studied very hard at the university. Even after his marriage, which interrupted his studies for almost two years, Fedor Ivanovich returned to self-study. “It was strange to see,” writes Turgenev, “his powerful, broad-shouldered figure, forever bent over a desk. Every morning he spent at work.” And after the betrayal of his wife, Fedor pulled himself together and “could study, work,” although skepticism, prepared by life experiences and upbringing, finally climbed into his soul. He became very indifferent to everything. This was a consequence of his isolation from the people, from his native soil. After all, Varvara Pavlovna tore him not only from his studies, his work, but also from his homeland, forcing him to wander around Western countries and forget about the duty to their peasants, to the people. True, from childhood he was not accustomed to systematic work, so at times he was in a state of inactivity.

Lavretsky is very different from the heroes created by Turgenev before The Noble Nest. Passed to him positive features Rudin (his loftiness, romantic aspiration) and Lezhnev (soberness of views on things, practicality). He has a firm view of his role in life - to improve the life of the peasants, he does not lock himself into the framework of personal interests. Dobrolyubov wrote about Lavretsky: "... the drama of his position is no longer in the struggle with his own impotence, but in the clash with such concepts and morals, with which the struggle, indeed, should frighten even an energetic and courageous person." And then the critic noted that the writer "knew how to stage Lavretsky in such a way that it is embarrassing to be ironic over him."

With great poetic feeling, Turgenev described the emergence of love in Lavretsky. Realizing that he loved deeply, Fyodor Ivanovich repeated the meaningful words of Mikhalevich:

And I burned everything that I worshiped;

He bowed to everything that he burned ...

Love for Liza is the moment of his spiritual rebirth, which came upon his return to Russia. Lisa is the opposite of Varvara Pavlovna. She would be able to help develop Lavretsky's abilities, would not prevent him from being a hard worker. Fedor Ivanovich himself thought about this: "... she would not distract me from my studies; she herself would inspire me to honest, rigorous work, and we would both go forward, towards a wonderful goal." In the dispute between Lavretsky and Panshin, his boundless patriotism and faith in the bright future of his people are revealed. Fedor Ivanovich "stands up for new people, for their beliefs and desires."

Having lost personal happiness for the second time, Lavretsky decides to fulfill his public duty (as he understands it) - he improves the life of his peasants. “Lavretsky had the right to be satisfied,” writes Turgenev, “he became a really good farmer, really learned to plow the land and worked not for himself alone.” However, it was half-hearted, it did not fill his entire life. Arriving at the Kalitins' house, he thinks about the "work" of his life and admits that it was useless.

The writer condemns Lavretsky for the sad outcome of his life. With all your pretty ones positive qualities main character The "noble nest" did not find his calling, did not benefit his people, and did not even achieve personal happiness.

At the age of 45, Lavretsky feels aged, incapable of spiritual activity; the "nest" of the Lavretskys has virtually ceased to exist.

In the epilogue of the novel, the hero appears aged. Lavretsky is not ashamed of the past, he does not expect anything from the future. "Hello, lonely old age! Burn out, useless life!" he says.

"Nest" is a house, a symbol of a family, where the connection of generations is not interrupted. In the novel The Noble Nest, this connection is broken, which symbolizes the destruction, the withering away of family estates under the influence of serfdom. We can see the result of this, for example, in N.A. Nekrasov’s poem “The Forgotten Village”.

But Turgenev hopes that not everything is lost yet, and in the novel, saying goodbye to the past, he turns to the new generation, in which he sees the future of Russia.

When Turgenev decided to write a new and interesting novel"Nest of the Nobles", then considered himself not such a professional poet, as it became a little later. Yes, and his life was not very good. in a good way, and it left a big imprint on him. In addition, the author did not even think that this novel will produce such strong impression and interest. At first he wanted to finish the novel at the end of December, but nothing happened, that's all, because he was very ill. But Turgenev was not going to leave him either. He rewrote the novel many times, and then burned it, and a little later he started all over again.

Many readers liked this work very much, which is why it did not even lie on the shelf for a long time, but was sold out almost immediately. If people did not read this work, then it was believed that he was simply illiterate.

The main characters here are the nobles, who are worried not only for themselves, but for the whole people. It is here that the most difficult moments in their lives are described, which only happened here. And how hard it was for them at that time to survive and keep their heads up high.

Lavretsky lived abroad for a very long time, and in the meantime his daughter grew up and did not even know anything about him. It turns out that during this time his wife managed to get married, and now she lived in clover. And although it was also hard for him abroad, he returned not only to support his people, but also to help them survive in such difficult conditions that came at that time. Lives next to him beautiful girl named Lisa.

It is with her that he will fall in love and it turned out that this feeling is mutual. Sometimes you don’t know a person until he falls in love with someone, and then his completely different sides are already revealed, which no one knew about before. And the owner himself did not know that he could still be different. The author portrays love as the purest and most open feeling. In this novel, she is presented highly and very touchingly.

And although Lavretsky has long understood that he loves Lisa, he cannot open up to her, and therefore, before taking the next step, he carefully considers everything so that he no longer has to worry and be upset. More than anything, he likes to just look at Lisa and be proud of her, enjoy her beauty, sincerity, which she does not hide, but on the contrary tells everyone about her and purity. In addition, he constantly compares her with his former woman, who constantly deceived him and hypocrite, just to get her own.

As soon as they began to communicate, they realized that they had a lot of common topics and therefore they could talk on all these topics for hours and they would not bother each other.

It turns out that Lisa already has a fiancé who has been courting her for a long time and already considers her his property. He met her parents and was glad to legitimize their relationship. But Lisa suddenly fell in love with a completely different person and doesn’t want to know anything more about this guy. Although the mother constantly hints that it is time for her to think about the family and the future.

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