Noble nest idea of ​​the work. Novel "Nest of Nobles"

Today we will talk about the novel by I.S. Turgenev "The Nest of Nobles".

She has her own family, and Turgenev feels more and more superfluous. In this mood, Turgenev also writes to Tolstoy (Fig. 2),

Rice. 2. L.N. Tolstoy ()

and Feta (Fig. 3),

and to his other correspondents that he must return to Russia to "plow the land." This phrase will then be given to the main character of the novel "The Nest of Nobles" Fyodor Lavretsky. And Turgenev really returns to Russia. The summer of 1858 turned out to be one of the happiest in his life. He meets a lot with Tolstoy, Fet, Borisov. They hunt, read works to each other, talk about future fate Russia, about the peasant question. Turgenev is trying to arrange the life of his peasants. But the further, the more convinced that everything is not so simple. His concessions to the peasants reach almost meanness, and the peasants show more and more discontent and misunderstanding. At some point, Turgenev begins to feel that it is not just about him, that he does not know how to manage the land, to which these problems are alien. It's about something much more serious. Probably the entire nobility should leave the historical stage. Both Tolstoy, who at that moment devoted himself almost entirely to agriculture, and Fet argue furiously with Turgenev. A little earlier, in 1857, there was a remarkable dispute, almost a scandal, between Turgenev and Fet. They argued about the duty of the nobility. Turgenev believed that the nobles should be on the ground and help the peasants with anything, so he laughed at Fet, who did not even have a piece of land. This dispute will also be reflected in the novel "The Nest of Nobles", when Mikhalevich comes to visit Lavretsky, and they argue until they scream and hoarse all night long.

It was in such a hot atmosphere of ideological disputes that the work on the novel "The Nest of Nobles" took place (Fig. 4).

Rice. 4. Title page of the manuscript of the novel "The Nest of Nobles". Autograph. 1859 ()

However, when the novel was published, it was not unanimously received by critics. The question arose: “Why another novel about a nobleman, an intellectual, a failed fate? Turgenev consistently objected to his critics. There are significant differences between the characters in the novels. Firstly, a number of moral claims can be made against Rudin, the hero of the novel of the same name: he is talkative, vain, he loves to act, loves to live at someone else's expense. Nothing of the kind can be brought against Lavretsky. Secondly, Rudin does not actually have a biography, so we do not quite understand exactly how this hero was formed. Lavretsky has not only a biography, but also the history of the Lavretsky family for four generations. The Lavretsky family came to Russia during the time of Vasily the Dark (Fig. 5).

Rice. 5. Prince Vasily II Dark ()

Then Turgenev begins to talk about Lavretsky's great-grandfather Andrey: « Andrei is a cruel, impudent, smart and crafty person. To this day, the rumor about his arbitrariness, about his frenzied temper, insane generosity and insatiable greed has not ceased. He was very fat and tall, his face swarthy and beardless, he burred and seemed sleepy; but the quieter he spoke, the more everyone around him trembled ... "

Here is such a strong, extraordinary and bright personality. The next in this family is Peter, an ordinary steppe landowner who caught hares, played cards, lost part of the estate acquired by his father. The third in this family is Ivan, a man early XIX century, who is educated by a wealthy aunt who wrote him the best teachers. But who are these teachers? The former mentor of Ivan Petrovich - a retired abbot and encyclopedist, an aristocrat who fled from the French Revolution, a supporter of the teachings of Rousseau, Voltaire, Diderot - was content with pouring into his pupil all the wisdom of the 18th century that was in him without penetrating into his soul. But the educated Ivan finds himself in a difficult situation: the aunt, in her old age, marries this abbot, whom she calls « fine fleur of emigration» . He rewrites her capital and flees to France, the aunt dies, and Ivan, left without an inheritance, returns home, where no one really knew about Rousseau and Diderot. Of course, in such an environment, Ivan languishes, so he starts an affair with a young village girl, Malanya, who sincerely falls in love with her master. This novel causes a scandal, but Ivan announces that he will marry his serf Malanya. And indeed, he married her, but then left her for long years without thinking about the fact that Malanya is growing his son Fedor.

This is how Fedor Ivanovich Lavretsky (Fig. 6) is born - the main character of the novel "The Noble Nest".

Rice. 6. Fedor Lavretsky (K.I. Rudakov. Illustration for the novel "The Noble Nest") ()

Thus, if in the novel "Rudin" it was about the fate of one person, then here the conversation is already about the fate of the whole Lavretsky family. Moreover, if Turgenev's first novel is named after the protagonist, then the second is "The Nest of Nobles", because it is important for the author to tell about the historical fate of the nobility in the era of reforms. These fates are not seen by Turgenev in the most rosy light. On the example of the history of the Lavretsky family, we can say that there is a long withering of the nobility itself as a phenomenon: from the strong and cruel Andrei to the weak-willed Ivan, who lived abroad for a long time, became an Angloman, and upon his return to Russia hatched reformist ideas. But after the Decembrist uprising, Ivan got scared and shut himself up in the village, just in case he became a believer, became limp, weakened. Thus, we see this withering of the nobility, the reasons for which Turgenev is trying to answer with the whole course of the novel "The Noble Nest".

Fyodor Lavretsky is first brought up under the supervision of the gloomy and stern aunt Glafira Petrovna, then his grandfather Pyotr Andreevich takes him and his mother to him, but brings him up without the participation of Malanya, who only timidly watched her son walk through the garden in master's clothes. For some time, Lavretsky received education under the supervision of Glafira, and this education consisted in reading lives that contained terrible and harsh stories about how people went to torture and execution, but did not change their convictions. It was very important lesson in the life of Lavretsky. But when his father returned, he began to teach him according to the latest methods. He woke him up at 4 o'clock in the morning, doused him with ice water, forced him to do exercises. At first, the poor child almost died of pneumonia, but then he got stronger and healthier. Ivan did not let his son go to university, and until the age of 23 he had to babysit his unfortunate, capricious and even blind father at the end of his life. The death of the father became freedom for the son. And so Fedor, a young and educated young man, comes to life. He does not yet have life experience, and therefore he becomes an easy prey for a cheerful, beautiful and arrogant adventurer. He is literally married to a secular lady Varvara Pavlovna. Marriage for Lavretsky means an extraordinary amount. He, who had a lonely childhood, the absence of a mother, sees in his wife both a girlfriend, and a mother, and a sister. She is everything to him. And for Varvara Pavlovna, he is just a rich husband, whom she takes to Paris, although Lavretsky wanted to start transformations in the village. In Paris, Varvara Pavlovna boldly cheats on her husband. She leaves in a conspicuous place a note of shameful content, which Lavretsky discovers. It is hard to imagine the depth of Fyodor's disappointment: the man who was everything to him becomes a traitor. And he, in a torn state, rushes around different countries, does not find shelter for himself, but nevertheless makes a decision: since personal happiness no longer shines for him (divorces in Russia at that time do not exist), he is going to go to Russia in order to "plow the land".

In Russia, Lavretsky finds himself in a noble nest: in the beautiful estate dotted with poetry of his distant relatives Kalitins. There he meets a girl with whom he could be happy. This is 19-year-old Liza Kalitina, a smart, honest and deeply religious girl (Fig. 7).

Rice. 7. Lisa Kalitina (K.I. Rudakov. Illustration for the novel "The Noble Nest") ()

Happiness between them is impossible (Fyodor is married), but here follows a sudden, even adventurous plot twist: news of the death of Varvara Pavlovna arrives. Lavretsky takes the death of his wife hard, despite the fact that he did not love and despise her. But at the same time, the hero rejoices that he is now free and can connect his life with a completely different person who will not distract him from his studies on earth. It would seem that nothing threatens the heroes, they are free and happy, but something takes them away from happiness. They are tormented by premonition, they are sad and anxious. Of course, this feeling will not let them down. Varvara Pavlovna comes to Russia, who did not die and came for money (Fig. 8).

Rice. 8. Reconciliation of Lavretsky with his wife (K.I. Rudakov. Il. to the novel "The Noble Nest") ()

For heroes, this is a disaster. But for Turgenev it is important that the heroes foresaw this catastrophe. Thus, the author answers the question about the role of the nobility in the era of reforms. Some kind of terrible family curse weighs on the nobility. As soon as Lavretsky begins to think about personal happiness, he remembers his mother, the quiet, meek, eternally guilty, downtrodden, frightened Malanya. As soon as he begins to think about why he did not succeed in this happiness, he sees a peasant, ragged, dirty, unhappy, whose son has died. That is, the theme of the people begins to sound exactly when the characters begin to think about personal happiness. Lisa also did not believe in the possibility of happiness for herself. She told Lavretsky that she knew how everything was created, and that now it must be prayed for.

Thus, ancestral guilt is guilt before the people. The nobility really created a unique culture, the golden culture of the 18th-19th centuries, but it was created at the expense of the unfortunate, exhausted peasant, who got nothing from this culture. This guilt accumulated, multiplied from generation to generation, and the nobility, weighed down by this terrible guilt, must leave the historical scene. Many argued with Turgenev why the fate of the nobility was over. Tolstoy gave an example of the fact that many nobles were ready to give own land peasants and even wrote a petition to the emperor. Why did the nobility exhaust its creative possibilities? Turgenev believed that this was indeed the case.

Another difference between the heroes of Turgenev's first and second novels is connected with thoughts about Russia. Rudin was a Westernizer, while Lavretsky was a Slavophile. Turgenev himself called himself a Westerner, and considered Slavophilism a false doctrine, but it was important for him that his hero stood on the ground and was connected with it by blood ties. But even such a super-positive hero as Lavretsky could not change anything in his fate or the fate of the peasants. One can only be surprised at Turgenev's social sensitivity. He believed that the nobility would pay for this fatal guilt with personal unhappiness. And indeed, the remaining 4% of the pillar nobility in Russia in 60 years will face a tragic fate.

Bibliography

1. Sakharov V.I., Zinin S.A. Russian language and literature. Literature (basic and advanced levels) 10. - M.: Russian word.
2. Arkhangelsky A.N. etc. Russian language and literature. Literature (advanced level) 10. - M.: Bustard.
3. Lanin B.A., Ustinova L.Yu., Shamchikova V.M. / ed. Lanina B.A. Russian language and literature. Literature (basic and advanced levels) 10. - M.: VENTANA-GRAF.

1. Internet portal A 4format.ru ().
2. Internet portal Bestreferat.ru ().
3. Internet portal Litsoch.ru ().

Homework

1. Make up comparative characteristic images of Dmitry Rudin and Fyodor Lavretsky.
2. Determine the innovations in the novel "The Nest of Nobles" in comparison with Turgenev's previous works.
3. * Think about how the psychologism of the novel is expressed. Write down a reasoned and supported by examples from the novel answer.

In the novel "The Nest of Nobles", Turgenev's thoughts about waywardness and the vagaries of love acquire a philosophical orientation: he affirms that human happiness is conditional on the worthy fulfillment of moral duty. And this idea is connected primarily with the images of the main characters of the novel - Lavretsky and Liza Kalitina.

The image of Liza Kalitina is one of the most poetic images of Russian literature, one of the brightest artistic images Turgenev. This heroine reminds us Pushkin's Tatyana. Like Tatyana, she has good heart, subtlety of feelings, ability to self-sacrifice, spiritual wholeness. “Lisa knows how to think, feel and act in all circumstances of life: she has no doubts, no hesitation ...” - writes A. I. Nezelenov.

Lisa's behavior is simple and natural. Like Pushkin's heroine, she was raised by a nanny, a simple peasant woman, Agafya Vasilievna. It was she who instilled in the girl a special religious feeling, that same mystical love, in which such qualities of Lisa as modesty, conscientiousness, patience, mercy, interest in life were revealed. ordinary people. “It never crossed Liza’s mind that she was a patriot, but she liked the Russian people, the Russian mindset pleased her, she, without defiance, talked for hours with the headman of her mother’s estate when he came to the city, and talked with him as an equal, without any lordly indulgence.

Turgenev tells us how the heroine's childhood passed, describes her activities. Parents practically did not take care of Lisa: her father "couldn't stand ... coddling with the squeakers", and he had no time, and his mother, "a lazy lady", "was tired of any constant care." At first, Lisa was “in the hands of a governess, the maiden Moreau from Paris,” and then, after the death of her father, her aunt, Marfa Timofeevna, took care of her upbringing. She was very fond of the girl and her nanny, Agafya Vasilievna, who opened her a new, unknown world. They were constantly together. In an even and measured voice, Agafya told the girl “the life of the Blessed Virgin, the life of hermits, the saints of God, the holy martyrs”, she told how the saints lived in the deserts, how they were saved, they endured hunger and need. Lisa listened to her - "and the image of the omnipresent, omniscient God with some kind of sweet power squeezed into her soul, filled her with pure, reverent fear, and Christ became something close, familiar, almost dear to her."

Unlike other children, Lisa did not like noisy children's games and dolls, she grew up quiet, thoughtful, serious, her eyes "shone with quiet attention and kindness." “God did not reward her with especially brilliant abilities, God did not reward her with a great mind,” she did not read too much, but she had her own opinions about everything, “she went her own way.” She loved to go to church and prayed "with a kind of restrained and bashful impulse." Lisa treated everyone around her evenly, "she loved everyone and no one in particular." “Entirely imbued with a sense of duty, fear of offending anyone, with a kind and meek heart,” she lived her quiet inner life.

Liza thought a lot, her judgments about people were distinguished by depth and accuracy. So she instinctively felt what kind of person Panshin was, and refused to marry him. Telling the story of Panshin, Turgenev, as if in passing, remarks: “... in his soul he was cold and cunning, and during the most violent revelry his intelligent, brown eye kept watch and looked out for everything; this brave, free young man could never forget himself and get completely carried away.

And vice versa, Liza fell in love with Lavretsky, feeling his pure, unsophisticated soul. The fate of Fyodor Lavretsky was not easy. His father was a nobleman, his mother was a peasant woman, who was “recognized” in the Lavretsky family after the birth of her son. The boy felt the ambiguous position of his mother in the house, saw how she was humiliated and oppressed by Glafira, his aunt, for whom he felt nothing but fear. The common origin of the mother was the reason years of enmity between his father and grandfather. The boy's father, Ivan Petrovich, lived all the time apart from his family, first in St. Petersburg, then abroad. And only after the death of his wife, Malanya Sergeevna, did he return to native home to take care of Fedya's upbringing.

Ivan Petrovich began to educate the boy in a European manner and "placed" his confusion in his head. The gloomy, oppressive atmosphere in the house, the supervision of Aunt Glafira, the constant pressure of his father, the erratic drill - all this led to the fact that Lavretsky turned into an internally constrained, complex person who “is not free in spirit, cannot cope with himself, lead to harmonious unity wealth of your inner world.

Western European skepticism has firmly settled in the hero's worldview. And this skepticism then constantly manifests itself in Lavretsky. In his very love for Lisa, doubt constantly slips through. “Is it really,” he thought, “at thirty-five years of age I have nothing else to do but to give my soul back into the hands of a woman?” He doubts Lisa's feelings. Love coexists in Lavretsky with his skepticism, with a feeling of distrust of women, with a feeling of bitterness left after his unhappy marriage.

Lisa brings peace and light into the "moral life of a skeptic", she tries to eradicate selfishness and distrust in his soul, to revive in him the original Russian features - humility, mercy. And under the influence of love, the hero is transformed, everything merges in Lavretsky's feeling: love for the motherland, and a deep religious feeling, and a thirst for a real deed, an active, worthy life.

The love of Liza and Lavretsky is depicted poetically by Turgenev, with a special, exciting lyricism. The explanation of the heroes takes place against the backdrop of a beautiful May night: “the light of the rising moon fell obliquely through the windows; sensitive air fluttered loudly. Wonderful music sounds: “a sweet, sweet melody from the first sound embraced the heart; she shone all over, all languished with inspiration, happiness, beauty, she grew and melted; it touched everything that is on earth ... ".

The love of Lisa and Lavretsky is based on the inner relationship of souls, this is love for life, it promised real, lasting happiness. Fate itself seems to favor the heroes. From a French magazine, Lavretsky accidentally learns about the death of his wife, Varvara Pavlovna. This inspires him, it strengthens the decision to connect with Lisa. Here Turgenev does not reveal the train of thought of the hero or internal monologue. But he describes Lavretsky's excitement, emphasizing the significance of everything that was happening: “... he could not sleep. He didn't even remember the past tense; he simply looked into his life; his heart was beating heavily and evenly, the hours flew by, he did not even think about sleep.

However, this news turned out to be false, and Varvara Pavlovna and her little daughter soon returned to Lavretsky. All his hopes collapsed, "his heart broke", and in "the head, empty and as if deafened, all the same thoughts were spinning, dark, absurd, evil." Lavretsky does not love Varvara Pavlovna, he still admits the possibility of happiness with Lisa, but she asks him to return to his wife.

And here the motive of moral duty sounds in the novel. Happiness in the understanding of Turgenev is opposed to human duty. “... Life is not a joke or fun, life is not even pleasure ... life is hard work. Renunciation, constant renunciation - this is its secret meaning, its solution: not the fulfillment of beloved thoughts and dreams, no matter how lofty they may be - the fulfillment of duty, this is what a person should take care of; without imposing chains on himself, the iron chains of duty, he cannot reach the end of his career without falling,” we read in the story Faust.

The same idea is embodied by Turgenev in The Nest of Nobles. It is painful and bitter for the hero, and he thinks that he has no right to "complete, true happiness." He did nothing for Russia: his youth was stupid and trite, he spent his "best years" on woman's love". So does Lisa. “Look around, who is blissful around you, who is enjoying? There is a peasant going to mowing; maybe he is satisfied with his fate ... Well? Would you like to exchange with him?” she convinces Lavretsky. And she cannot change her decision: along with kindness and meekness, sacrifice, severity and inflexibility were brought up in Lisa's character.

Lisa feels guilty for her father's sins and perceives what happened as retribution. That is why she decides to go to the monastery: “Such a lesson is not for nothing,” she says, “and this is not the first time I have thought about it. Happiness did not come to me; even when I had hopes of happiness, my heart ached. I know everything, both my own sins and those of others, and how papa amassed our wealth; I know everything. All this must be prayed for, it must be prayed for. ...Recalls me something; I feel sick, I want to lock myself up forever. Since the arrival of Varvara Pavlovna, Liza has not considered herself entitled to separate her from her husband, to deprive the child of his father. Liza perfectly understands all the cynicism and falseness of Lavretsky's wife, but her decision remains adamant: "God united them, and only he can separate them."

The motive of duty in the novel sounds already in the description of Agafya's fate: for her beauty, for her right to happiness, she punishes herself by taking the cross of patience, self-humiliation. In general, this feature is characteristic of Russian people. “In the character of a Russian person, there is a deeply remarkable feature of self-punishment, this voluntary martyrdom, to which a person condemns himself for the few joys he has experienced in life ... Talented people who have endured all kinds of oppression of fate always condemn themselves to this repentance,” De Poulet wrote. .

However, this decision is not easy for the heroine. Parting with Lavretsky, Lisa suffers boundlessly and feels deeply unhappy. Let us recall how Turgenev describes her condition after the arrival of Varvara Pavlovna: “Lisa seemed calm ... a strange insensibility, the insensitivity of the convict came over her.” Marfa Timofeevna takes her away from the guests, saying that she has a headache. And further: “Lisa ... sank into a chair in exhaustion”, “... blushed and cried.” And then we read: “Marfa Timofeevna sat all night at Lisa’s headboard.”

Turgenev's style in its brevity often resembles Pushkin's style. Ivan Sergeevich's statement is known that a writer should be a psychologist, but secret. This kind of "secret psychology" of Turgenev we also meet in the novel "The Nest of Nobles". The writer does not give Lisa Kalitina's internal monologue. Her experiences are depicted through the perception of other characters or through a portrait that reveals the impression of others. This is how she appears at the moment of the explanation with Lavretsky. Lisa raised her eyes to him. They did not express grief or anxiety; they seemed smaller and dimmer. Her face was pale; slightly parted lips also turned pale. When she meets Lavretsky in the monastery, she betrays her excitement only with trembling eyelashes and a nervous play of her fingers.

“The imaginary conciseness and conciseness of the language, the charm of omission, the transparency of the drawing, the inevitable unexpectedness of the denouement - all this is a deliberate and mature reaction to the sins of youth, to an excess of eloquence in youthful poems, to an excessive psychological analysis of “superfluous people”, to the sugary rhetoric of romanticism, to rude the language of “naturalism”,” K. K. Istomin wrote about Turgenev’s style.

The epilogue of the novel is sad - eight years have passed, "again the shining happiness of spring has wafted from the sky," but happiness is impossible for the heroes: Liza has taken the veil in the monastery, Lavretsky has grown old, he is still lonely and unhappy. Eight years later, he visits the Kalitins' house and recalls his youth, his lost dreams. Lavretsky “went out into the garden, and the first thing that caught his eye was the same bench on which he had once spent several happy moments with Lisa that never happened again; she turned black, twisted; but he recognized her, and that feeling seized his soul, which has no equal in both sweetness and sorrow - a feeling of living sadness about the disappeared youth, about the happiness that he once possessed.

Here again the thought of frailty sounds human life, about the finiteness of happiness, about the ups and downs of fate. A person is not born for happiness, but must fulfill his special mission, and this is the deepest tragedy of human existence.

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Referat

TOcomplex analysis of the novel "The Nest of Nobles" by I.S. Turgenev

Completed by Kozhenkina A.S.

Kaluga 2013

Introduction

1. Biography of I.S. Turgenev

2. Stories, novels and novels by I.S. Turgenev

3. The novel "The Noble Nest" by I.S. Turgenev

Conclusion

List of used literature

Introduction

Name I.S. Turgenev for almost a century aroused passionate disputes in Russian and foreign criticism. Already his contemporaries were aware of the enormous social significance of the works he created, not always agreeing with his assessment of the events and figures of Russian life, often denying in the sharpest form the legitimacy of his writer's position, his concept of social historical development Russia.

Turgenev belonged to a galaxy of major Russian writers of the second half of the 19th century. In his work, the realistic traditions of Pushkin, Lermontov, Gogol continue to develop, enriched with new content.

Turgenev possessed an amazing talent - to combine the so-called topic of the day with generalizations of the broadest, truly universal order and to give them an artistically perfect form and aesthetic persuasiveness, but the philosophical basis of Turgenev's work to date, unfortunately, has not received due attention from researchers.

1. Biography of I.S. Turgenev

Turgenev's life had a very great influence on the works he created, since in them he described reality, all the subtleties of relations between different people under the influence of the reality of that time.

Ivan Sergeevich Turgenev was born on October 28 (November 9, n.s.), 1818. in the city of Orel. It was a noble family: his father, Sergei Nikolaevich, a retired hussar officer, came from an old noble family; mother, Varvara Petrovna, is from a wealthy landowning family of the Lutovinovs. Turgenev's childhood passed in the family estate of Spassky-Lutovinovo. He grew up in the care of tutors and teachers, Swiss and Germans, homegrown uncles and serf nannies. Here he early learned to subtly feel nature and hate serfdom.

With the family moving to Moscow in 1827, the future writer was sent to a boarding school and spent about two and a half years there. Further education continued under the guidance of private teachers. Since childhood, he knew French, German, English.

In the autumn of 1833, before reaching the age of fifteen, he entered Moscow University, and the following year he transferred to St. Petersburg University, from which he graduated in 1936 in the verbal department of the philosophical faculty. One of the strongest impressions early youth(1833) falling in love with Princess E.L. Shakhovskaya, who at that time was experiencing an affair with Turgenev's father, was reflected in the story "First Love" (1860).

In May 1838, Turgenev went to Germany (the desire to complete his education was combined with the rejection of the Russian way of life based on serfdom). The catastrophe of the steamer "Nikolai I", on which Turgenev sailed, will be described by him in the essay "Fire at Sea" (1883; on French). Until August 1839, Turgenev lived in Berlin, listened to lectures at the university, studied classical languages, wrote poetry, and communicated with T.N. Granovsky, N.V. Stankevich. After a short stay in Russia, where he prepares for master's exams and attends literary circles and salons, he meets N. Gogol, S. Aksakov, A. Khomyakov. On one of his trips to St. Petersburg - with Herzen, in January 1840 he went to Italy, but from May 1840 to May 1841 he was again in Berlin, where he met M.A. Bakunin. Arriving in Russia, he visits the Bakunin estate Premukhino, converges with this family: soon an affair begins with T.A. Bakunina, which does not interfere with communication with the seamstress A.E. Ivanova (in 1842 she will give birth to Turgenev's daughter Pelageya). In January 1843 Turgenev entered the service of the Ministry of the Interior.

In 1842 he successfully passed the master's exams, hoping to get a professorship at Moscow University, but since philosophy was taken under suspicion by the Nikolaev government, the departments of philosophy were abolished at Russian universities, and it was not possible to become a professor.

In 1843, a poem based on modern material "Parasha" appeared, which was highly appreciated by V.G. Belinsky. Acquaintance with the critic, which turned into friendship (in 1846 Turgenev became his son's godfather), rapprochement with his entourage (in particular, with N.A. Nekrasov) change his literary orientation: from romanticism, he turns to an ironic moral descriptive poem ("The Landowner" , "Andrey", both 1845) and prose close to the principles of " natural school"and not alien to the influence of M.Yu. Lermontov ("Andrey Kolosov", 1844; "Three Portraits", 1846; "Breter", 1847). In the same year he entered the service of an official of the "special office" of the Minister of Internal Affairs, where he served within two years.Public and literary views Turgenev were determined during this period mainly by the influence of Belinsky. Turgenev publishes his poems, poems, dramatic works, story. The critic guided his work with his assessments and friendly advice.

November 1, 1843 Turgenev meets the singer Pauline Viardot (Viardot Garcia) during her tour in St. Petersburg, love, which will largely determine the external course of his life. In May 1845 Turgenev retired. From the beginning of 1847 to June 1850 he lived abroad (in Germany, France; Turgenev witnessed the French Revolution of 1848): he took care of the sick Belinsky during his travels; closely communicates with P.V. Annenkov, A.I. Herzen, meets J. Sand, P. Merimet, A. de Musset, F. Chopin, C. Gounod; writes the novels "Petushkov" (1848), "The Diary of a Superfluous Man" (1850), the comedy "The Bachelor" (1849), "Where it is thin, there it breaks", "Provincial Girl" (both 1851), the psychological drama "A Month in the Country" (1855).

The main work of this period is "The Hunter's Notes", a cycle of lyrical essays and stories that began with the story "Khor and Kalinich" (1847; the subtitle "From the Hunter's Notes" was invented by I.I. Panaev for publication in the "Mixture" section of the Sovremennik magazine ); a separate two-volume edition of the cycle was published in 1852, later the stories "The End of Chertop-hanov" (1872), "Living Powers", "Knocks" (1874) were added.

In 1850 he returned to Russia as an author and critic, collaborating in Sovremennik, which became a kind of center of Russian literary life.

Impressed by the death of N. Gogol in 1852, he published an obituary banned by the censors. For this, he is arrested for a month (while under arrest, he writes the story "Mumu"), and then sent to his estate under the supervision of the police without the right to leave the Oryol province.

In May he was exiled to Spasskoye, where he lived until December 1853 and worked on an unfinished novel, the story Two Friends. Here he meets A.A. Fet, actively corresponded with S.T. Aksakov and writers from the Sovremennik circle. In the fuss about the release of Turgenev important role played by A.K. Tolstoy.

In 1853 it was allowed to come to St. Petersburg, but the right to travel abroad was returned only in 1856.

Turgenev takes part in the publication of "Poems" by F.I. Tyutchev (1854) and provides him with a preface. Mutual cooling off with a distant Viardot leads to a brief, but almost marriage-ended romance with a distant relative, O.A. Turgeneva. The novels "Calm" (1854), "Yakov Pasynkov" (1855), "Correspondence", "Faust" (both 1856) are published.

"Rudin" (1856) opens a series of Turgenev's novels, compact in volume, unfolding around the hero-ideologist, accurately fixing the current socio-political issues and, ultimately, putting "modernity" in the face of the unchanging and mysterious forces of love, art, nature. Continue this line: "Noble Nest", 1859; "On the Eve", 1860; "Fathers and Sons", 1862; "Smoke" (1867); "Nov", 1877.

Having served abroad in July 1856, Turgenev finds himself in a painful whirlpool of ambiguous relations with Viardot and his daughter, who was brought up in Paris. He goes to England, then to Germany, where he writes "Asya", one of the most poetic stories, which, however, can be interpreted in a public way (article by N.G. Chernyshevsky "Russian man on rendez-vous", 1858), and autumn and spends the winter in Italy. By the summer of 1858 he was in Spasskoye; in the future, often the year of Turgenev will be divided into "European, winter" and "Russian, summer" seasons.

After "On the Eve" there is a break between Turgenev and the radicalized Sovremennik (in particular, with N.A. Nekrasov). The conflict with the "young generation" was aggravated by the novel "Fathers and Sons". In the summer of 1861 there was a quarrel with L.N. Tolstoy, which almost turned into a duel (reconciliation in 1878).

In the story "Ghosts" (1864), Turgenev condenses those outlined in "Notes of a Hunter" and "Faust" mystical motives; this line will be developed in The Dog (1865), The Story of Lieutenant Ergunov (1868), Dream, Father Alexei's Story (both 1877), Songs of Triumphant Love (1881), After Death (Klara Milic )" (1883).

The theme of the weakness of a person who turns out to be a toy of unknown forces and doomed to non-existence, to a greater or lesser extent, colors all of Turgenev's later prose; it is most directly expressed in the lyrical story "Enough!" (1865), perceived by contemporaries as evidence of Turgenev's situationally conditioned crisis.

In 1863 there is a new rapprochement between Turgenev and Pauline Viardot; until 1871 they live in Baden, then (at the end of the Franco-Prussian war) in Paris. Turgenev closely converges with G. Flaubert and through him with E. and J. Goncourt, A. Daudet, E. Zola, G. de Maupassant; he assumes the function of an intermediary between Russian and Western literatures.

His all-European fame is growing: in 1878, at the international literary congress in Paris, the writer was elected vice president; in 1879 he received an honorary doctorate from Oxford University. Turgenev maintains contacts with Russian revolutionaries (P.L. Lavrov, G.A. Lopatin) and provides material support to emigrants. In 1880, Turgenev took part in the celebrations in honor of the opening of a monument to Pushkin in Moscow.

Along with stories about the past ("King of the Steppe Lear", 1870; "Punin and Baburin", 1874) and the "mysterious" stories mentioned above in last years Turgenev's life turns to memoirs ("Literary and everyday memories", 1869-80) and "Poems in prose" (1877-82), where almost all the main themes of his work are presented, and summing up takes place as if in the presence of impending death .

In February 1879, when he arrived in Russia, he was honored on literary evenings and gala dinners, strenuously inviting them to stay at home.

In the spring of 1882, the first signs of a serious illness appeared, which deprived the writer of the opportunity to move (cancer of the spine).

Turgenev died in Bougival, a suburb of Paris. According to the writer's will, his body was transported to Russia and buried in St. Petersburg.

How eminent master psychological analysis and landscape painting Turgenev had a significant impact on the development of Russian and world literature.

2. Rstories, Pnews and novels by I.S. Turgenev

The initial period of creativity I.S. Turgenev, who had the character of a literary apprenticeship for him, can be considered from 1834, when Turgenev wrote his first youthful poem "The Wall", and until 1843, when the work "Parasha. A Story in Verse" was published.

“In 1843,” Turgenev wrote in Literary and Everyday Memoirs, “an event took place in St. Petersburg, and in itself it was extremely insignificant and long ago absorbed by general oblivion. Namely: a small poem appeared by a certain T.L. entitled” Parasha. "This T.L. was me; with this poem I entered the literary field."

Majority early works I.S. Turgenev refers to the 30s and early 40s of the XIX century - to this transitional period in the history of Russian society.

The young Turgenev, in his first poetic experiments in the 1930s, paid a certain tribute to the passion for romantic images and the romantic lexicon of Benediktov and Marlinsky, but this influence was very short-lived and shallow.

Some traces of this passion can be found in the very few poems written by Turgenev in the initial period of his work. So, in poems devoted to the themes of love and nature, there are romantic exaggerations. Love in these verses is "rebellious", "mad", "sultry", kisses are "burning", the picture of the morning (in the poem "Confession") is given with excessive, pretentious splendor:

And, descending from the peaks of the Urals,

Like the palace of Sardanapalus,

A clear day will light up...

But in the vast majority of young Turgenev's poetic experiments, the general character of his work was realistic. Pushkin, Lermontov and Gogol were his true literary teachers.

What was Turgenev's work before the "Notes of a Hunter", how to regard his numerous poems and poems, which he was ready to abandon in the subsequent, mature period of literary activity?

If we approach them with the yardstick with which Turgenev approached them, they really do not meet the necessary requirements either from an ideological or artistic side. They rehearse either Pushkin's ("Parasha") or Lermontov's ("Conversation") poetry, and although Turgenev approaches the development of the themes of his literary teachers in his own way, he tries to give an independent interpretation of "superfluous people" and "restless" heroes, but his positions are not clear to him, and the heroes of his poems leave readers with the impression of something unsaid and vague. There is no clarity of thought in most lyrical poems devoted to the themes of love and nature.

However, by no means can it be said that First stage Turgenev's literary activity was a complete failure for him, and, moreover, he did not give anything to the writer himself in relation to his artistic growth. Poetic creativity taught Turgenev the layout of material, developed in him the ability to select from the mass of impressions and thoughts the most significant and typical, the ability to concentrate material and say a lot in a little.

Already Belinsky singled out such poems as "Fedya" and "Ballad" in Turgenev's early work.

"Ballad" (1842), written after folk song about Vanka the key keeper, was set to music by Rubinstein and still lives in chamber performance.

It should also be noted, as a significant creative achievement of young Turgenev, the poem "On the Road", which, along with great musicality, sincerity of feeling and sincerity, the lines of which are known to everyone without exception:

Foggy morning, gray morning

Fields sad, covered with snow,

Reluctantly remember the time of the past,

Remember the faces long forgotten...

And in the poems of I.S. Turgenev, who usually suffer from insufficient clarity in the disclosure of characters and the main ideological meaning, there are separate bright domestic scenes and landscapes, showing that already in these years Turgenev was able to notice the essential, characteristic in life and nature and find the necessary precise and expressive words to describe.

The greatest success among Turgenev's poems was the poem "The Landowner", which is a series of live sketches of the landowner's life. Belinsky wrote about this poem: "Finally, Turgenev wrote a poetic story" The Landowner "- not a poem, but a physiological sketch of the landowner's life, a joke, if you like, but this joke somehow came out far better than all the author's poems. Glib epigrammatic verse, cheerful irony , the fidelity of the paintings, at the same time the consistency of the whole work, from beginning to end - everything showed that Turgenev attacked the true kind of his talent, took up his own, and that there was no reason to leave poetry to him at all.

Turgenev was already a good poet in the 40s. But just good. And his ambition demanded more.

One of the main problems posed to writers in the second period of the Russian liberation movement was the problem of a positive hero actively participating in the implementation of the immediate tasks of socio-political and national economic life, and in connection with this - a reassessment of the advanced noble intelligentsia, who still played in Russian leadership role in society. This problem confronted Chernyshevsky, Goncharov, Pisemsky, and other writers. Turgenev came close to this problem in the mid-1950s.

In the 1940s, stories and comedies did not occupy the main place in the work of Turgenev and were not his the best works, - he won well-deserved fame in the 40s not with stories and comedies, but with "Notes of a Hunter".

After 1852, short stories and novels became his dominant genres. In terms of subject matter, these works differed significantly from the "Notes of a Hunter". Only in a few of them Turgenev still depicts the peasantry and paints pictures of serf life; such are the stories "The Inn", "The Lord's Office" (an excerpt from an unpublished novel), the story "Mumu" and later, in 1874, the story "Living Powers". In most of the works of the 1950s and 1970s, Turgenev's main subject of depiction is various groups of the noble class, and above all the progressive noble intelligentsia, usually compared with the Raznochinskaya, revolutionary-democratic intelligentsia. Mostly in these works, new means are developed and refined. artistic skill Turgenev.

Turgenev's stories and novels of the 1850s, the famous literary critic D.N. Ovsyaniko-Kulikovsky connected with the history of the Russian intelligentsia.

Turgenev's novels combined several of the most important properties for literature: they were smart, fascinating and impeccable in terms of style.

The ideological and artistic design of the works: the story "Asya" and the stories "Calm" and "Spring Waters" determined the originality of the conflicts laid in their basis and a special system, a special relationship of characters.

The conflict on which all three works are built is the clash of a young man, not quite ordinary, not stupid, no doubt, cultured, but indecisive, weak-willed, and a young girl, deep, strong spirit, holistic and strong-willed.

It is essential that the conflicts in these works, and the selection of characteristic episodes, and the correlation of characters - all obey one main task of Turgenev: the analysis of the psychology of the noble intelligentsia in the field of personal, intimate life.

The central part of the plot is the origin, development and tragic ending love. It was to this side of the stories that Turgenev's main attention, as a writer-psychologist, was directed, in the disclosure of these intimate experiences and his artistic skill is manifested mainly.

Turgenev's novels are permeated with historicism in all their details, since the vast majority actors has something to do with the main social problem posed by the writer. In the novel "On the Eve" not only Elena lives under the impression of a decisive, impending turning point in Russian public life - everyone experiences this feeling in their own way: Bersenev, and Shubin, and Uvar Ivanovich, and, at least in a negative sense, Kurnatovsky and Stakhov Elena's father. In the novel "Nov" not only Nezhdanov and Marianna, but almost all the characters, in one way or another, are directly or indirectly connected with the unfolding revolutionary movement.

Turgenev's novels (as well as stories) cannot be regarded as an accurate, photographic reflection of real historical reality. It is impossible, as some pre-revolutionary critics did (for example, Avdeev), to study the history of Russian social life in the 1950s-70s based on Turgenev's novels. One can speak about the historicism of these novels only taking into account the socio-political position of Turgenev, his assessment of those social forces who took part in the historical process, and first of all, his relationship to the noble class that dominated at that time.

At the center of Turgenev's novels are the main characters, who can be divided into four groups. The first group is advanced intellectual nobles who took on the role of leaders of the social movement, but due to their impracticality, weak character, they did not cope with the task and turned out to be superfluous people (Rudin, Nezhdanov). The second group is representatives of the young intelligentsia, raznochintsy or nobility, who have both knowledge, and willpower, and hardening by labor, but found themselves in the grip of wrong, from Turgenev's point of view, views and therefore went down the wrong road (Bazarov, Markelov).

The third group - positive heroes (also in the understanding of Turgenev), approaching the correct solution of the issue of truly progressive activity. These are Lavretsky, Litvinov, noble intellectuals who managed to overcome the legacy of gentleness of the nobility, who came after hard trials to socially useful work; in particular, this is a raznochinets, a native of the people Solomin, the most perfect image of a positive hero in Turgenev in the last period of his literary creativity. And, finally, the fourth group is advanced girls, in whose images Turgenev presents three successive stages of involving a Russian woman of the 50s-70s in public life: Natalya, only still striving for social activities, Elena, who has already found a useful thing for herself, but is still in a foreign land, and Marianna, a participant in the Russian revolutionary movement, who finally determined her real life path in joint cultural work with Solomin.

Summing up all the above, we can note the key value early creativity writer to further develop his skills. It was this experience, which seemed so insignificant to Turgenev himself, that subsequently allowed him to write "Notes of a Hunter", "Fathers and Sons" and other significant works, which, in turn, had a huge impact on the development of Russian and foreign literature.

Turgenev's merit in a more specific area of ​​the novel lies in the creation and development of a special variety of this genre - the public novel, in which new and, moreover, the most important trends of the era were promptly and quickly reflected. The main characters of Turgenev's novel - the so-called "superfluous" and "new" people, the noble and raznochin-democratic intelligentsia, for a significant historical period determined the moral and ideological level of Russian society.

3. Roman" Noble Nest" I.S. Turgenev

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 "Noble Nest" had the most big success that has ever fallen to 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, Liza 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. The chronological framework of the novel is the 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 of 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 Noble Nest" great place the author devotes to the theme of love, because this feeling helps to highlight everything best qualities heroes, 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, Liza'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 connection with various periods of 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, these are typical representatives of the Russian "wild nobility." They are replaced by claims to "Frenchness", then Anglomanism, who have become accustomed to culture, which we see in the images of the frivolous old princess of Kubenskaya, who at a very advanced age 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; a statesman - burned all his plans, all correspondence, trembled before the governor and fussed over the police officer." Such was the history 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 Feodorovna Saltykova from the protopresbyter of the Church of the Life-Giving Trinity Fyodor Avksentievich," etc.; besides 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 in his line." 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, perfumed with ambergris 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 a full course to the west to literally dense vegetation in their 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 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 with 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 performance ("he never missed a single performance"), he deeply feels the music, the beauties 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 independent studies. “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 his duty to his 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 put 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 whole 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 the protagonist of "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.

Conclusion

When considering the "extra people" in Turgenev's works, one pattern can be noticed: the later the work is written, the more respect the hero enjoys - the "extra person" of the author, the smarter, richer spiritually and materially he is. Over time, these terminally ill people become better and even more useful to society.

The problem of "superfluous people" is still relevant today. "Inflaming the audience, but incapable of an act" superfluous person ", in vain dreaming of happiness and coming to humble self-sacrifice" - this type of people exists in our time, and will always exist, both in literature and in reality, and it will remind Turgenev's Lavretskys, Rudins, Nezhdanovs and other "superfluous people" in Turgenev's works.

WITHlist of used literature

1. Complete collection of works and letters. M.; L., 1960-68. T. 1-28.

2. Clement M.K. Chronicle of the life and work of I.S. Turgenev. M.; L., 1934.

3. Life of Turgenev // Zaitsev B. Far. M., 1991.

4. Chronicle of the life and work of I.S. Turgenev (1818-1858) / Comp. N.S. Nikitin. SPb., 1995.

5. I.S. Turgenev, volume 2, Goslitizdat, Sobr. Soch., M. 1961

6. Batyuto A. Turgenev - novelist. - L.: Nauka, 1972. - 390 p.

7. Byaly G. Turgenev's first novel // Turgenev I.S. Rudin. - M.: Children's literature, 1990. - 160 p.

8. Byaly G.A. Turgenev and Russian realism. - M.-L.: Soviet writer, 1962.

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Many wonderful works were written by the famous Russian writer I. S. Turgenev, “The Nest of Nobles” is one of the best.

In the novel "The Nest of Nobles" Turgenev describes the manners and customs of the life of the Russian nobility, their interests and hobbies.

The protagonist of the work - the nobleman Lavretsky Fedor Ivanovich - was brought up in the family of his aunt Glafira. Fedor's mother - a former maid - died when the boy was very young. The father lived abroad. When Fedor was twelve years old, his father returns home and takes care of raising his son himself.

The novel "The Noble Nest", a summary of the work, give us the opportunity to find out what kind of home education and upbringing children received in noble families. Fedor was taught many sciences. His upbringing was harsh: they woke him up early in the morning, fed him once a day, taught him to ride a horse and shoot. When his father died, Lavretsky left to study in Moscow. He was then 23 years old.

The novel "The Noble Nest", a summary of this work will allow us to learn about the hobbies and passions of the young nobles of Russia. During one of his visits to the theater, Fyodor saw a beautiful girl in the box - Varvara Pavlovna Korobina. A friend introduces him to the beauty's family. Varenka was smart, sweet, educated.

Studying at the university was abandoned due to Fedor's marriage to Varvara. Young spouses move to St. Petersburg. There, their son is born and soon dies. On the advice of a doctor, the Lavretskys go to live in Paris. Soon the enterprising Varvara becomes the mistress of a popular salon and starts an affair with one of her visitors. Having learned about accidentally reading a love note from her chosen one, Lavretsky breaks off all relations with her and returns to his estate.

Once he visited his cousin, Kalitina Maria Dmitrievna, who lives with her two daughters - Lisa and Lena. The eldest - devout Lisa - interested Fedor, and he soon realized that his feelings for this girl were serious. Liza had an admirer, a certain Panshin, whom she did not love, but, on the advice of her mother, did not repulse him.

Lavretsky read in one of the French magazines that his wife had died. Fedor declares his love to Lisa and learns that his love is mutual.

The happiness of the young man knew no bounds. Finally he met the girl of his dreams: tender, charming and also serious. But when he returned home, Varvara, alive and unharmed, was waiting for him in the foyer. She tearfully begged her husband to forgive her, if only for the sake of their daughter Ada. Notorious in Paris, the beautiful Varenka was in dire need of money, since her salon no longer gave her what she needed for luxurious life income.

Lavretsky assigns her an annual allowance and allows her to settle in his estate, but refuses to live with her. The smart and resourceful Varvara talked to Lisa and convinced the pious and meek girl to give up Fyodor. Lisa convinces Lavretsky not to leave his family. He settles his family on his estate, and he leaves for Moscow.

Deeply disappointed in her unfulfilled hopes, Liza breaks off all relations with the secular world and goes to a monastery to find the meaning of life there in suffering and prayers. Lavretsky visits her in the monastery, but the girl does not even look at him. Her feelings were betrayed only by trembling eyelashes.

And Varenka again went to St. Petersburg, and then to Paris, in order to continue a cheerful and carefree life there. “The Nest of Nobles”, the summary of the novel reminds us how much space in a person’s soul is occupied by his feelings, especially love.

Eight years later, Lavretsky visits the house where he once met Lisa. Fyodor again plunged into the atmosphere of the past - the same garden outside the window, the same piano in the living room. After returning home, he lived a long time sad memories about his failed love.

"The Nest of Nobles", a summary of the work allowed us to touch some of the features of the lifestyle and customs of the Russian nobility XIX century.

He created for himself a strong position in literature, as an artist, outstanding in terms of the strength and depth of his works. The novel appeared in 1856 and was met with unanimous praise from the public and critics. In this new work, the task of the artist is more difficult, there is more action, the methods of artistic representation here are subtler and more original. With the greatest simplicity, the author approached the complex emotional drama of his heroes, gave them living images and drew a gentle and pure image of Lisa, full of beauty and completely truthful under the artist's pen. The figures of the characters here are very diverse, and each is outlined in all its specificity: with special techniques of artistic drawing. Such is Marfa Timofeevna's somewhat rude, but breathing directness and good-natured image, for whom the author found a special folk phrase, an image that is well sustained throughout the novel. The appearance of Panshin is also characteristic and whole. Drawing Lavretsky's wife, the author in a detailed and colorful description emphasizes the sensual nature of beauty, while the writer approaches Lisa's appearance with some gentle caution and sketches it with features that are airy, light and, despite the fact, shining with all the charm of her nature. The author almost does not give a complete picture of her, but outlines individual features that make up the appearance of this pure, inwardly concentrated, somewhat harsh towards herself and others girls in a harmonious and living whole. The image of Lavretsky is also simply and vitally drawn.

Turgenev. Noble Nest. audiobook

Life of Lavretsky. Childhood. Lavretsky's life represented the struggle of two influences - the initial influence of his father, who raised his son according to a special method, and the later influence of books, friends and his own thoughts. This struggle cost Lavretsky a lot of strength. His father, admirer European culture, loved in his youth to flaunt among the peasants and neighboring landowners with a Parisian tailcoat, a fashionable cane and fashionable free-thinking, the ideas of French philosophy of the 18th century. Later, he is also purely outwardly carried away by the imitation of the English character of life. In accordance with his new ideas about education, he took it into his head to develop his son as well. The boy had to endure a difficult and ridiculous regime, to which he submitted, as to the tyranny of his father. The young Lavretsky was inspired by the ideas of Rousseau, they tried to instill in him an early disgust for the amusements and hobbies of life, dressed him in a Scottish costume, accustomed him to a "Spartan" way of life. Having gone through this drill, after the death of his father, Lavretsky found himself completely helpless in life, not knowing it, having no idea about how people generally live in the world. A counterbalance to the influence of his father were the traits of natural good nature, stamina, patience and sincere directness inherited from his mother by Lavretsky. A simple peasant woman whom the master married out of a whim, Lavretsky's mother experienced many torments in her life and was a living example of kindness, patience and humility. Later, Lavretsky always knew how to deeply feel this spiritual " people's truth”, the truth of infinite kindness and humility of the soul and preached “humility” before her.

In the University. Having overcome his father's influence and thrown it off, Lavretsky entered life as a simple and kind fellow, completely unrepentant. knowing life and from that embarrassing and severely hiding in himself. Proud and cautious, he suffered for his absurd past, he was afraid to show traces of the breaking, which in childhood was stubbornly made on him. But the natural stamina of nature helped him catch up. Far from being a young man, realizing the big gaps in his education, he enters the university, where he keeps himself apart. He made friends only with Mikhalevich, a typical romantic of the 1830s, an enthusiastic enthusiast who brightens up his harsh days of need and deprivation with eternal outbursts of spirit and eternal projects and plans for an ideal life. Mikhalevich introduces Lavretsky to his future wife. When a blow broke out over Lavretsky, breaking him family life, he again, thanks to the strength and stamina of his nature, recovers and decides to go to the village, live peacefully on native land, near the native people, fulfilling their duty towards them.

Proximity to the people. By some invisible threads Lavretsky is connected with the people, he deeply feels the moral and religious foundations on which the life of the people is built. Hereditary traits from a mother - a peasant woman, a deep and simple nature, strengthened this connection between Lavretsky and the people. His father's aspirations to "Europeanize" him from an early age inspired him only with an aversion to everything outwardly Western. Lavretsky himself does not think about whether he is a Slavophile or a Westerner, but, being a sensitive and serious person, he cannot but reckon with that inner spiritual way of life. folk life in which he feels something truthful, important and deeply significant. That is why he speaks of the need to "recognize the truth of the people and humble themselves before it." Without realizing it, he feels deep calm and peace in his soul when he comes to his native places, to the village, feeling his homeland right here - among the expanses of his native nature and near his native people.

The matter of life. He found for himself now quiet and close to the soul his occupation, to which he wants to devote his whole life: this is work on the land, he wants to "plow the land and plow it as best as possible." With such plans, he settles in his quiet village, where his soul is embraced by imperturbable peace, poured around in the life of people and all of nature. But having recognized Lisa, he feels a deep spiritual attraction to her and becomes attached to the girl imperceptibly for himself. For several days he knew happiness, which was, as it were, illuminated by the sudden inspiration of old man Lemm and his marvelous music, from which Lavretsky wept in delight. But for the second time, his personal life is broken, and again, this time for good, he leaves in the quiet fulfillment of his duty, giving his life to his beloved work in his native land. Like Liza, like his peasant mother, he spends his life in renunciation and service to duty.

Lisa's life. Childhood. The integrity of Lisa's character. The main character traits of Lisa can be traced back to her childhood. Liza is not one of those natures who experience drastic changes in their inner structure and worldview in life. On the contrary, the features of her character from childhood developed and grew stronger in her, and in general, Liza represents a very integral, firm and steadfast nature, and her stamina and strength are explained not by the natural stubbornness of her character, but by the fact that she once and for all believed in the inviolable internal obligatoriness of her moral ideals, to which she was faithful all her life. Her world outlook was determined under the influence of the religious ideal. From childhood, she was distinguished by isolation, the ability to live her own inner life.

Nanny Agafya. Her influence. The thoughtful and dreamy child was greatly influenced by her nanny Agafya, a peasant woman who had endured a lot in her lifetime, who knew both the contentment of life and the oppression of lordly disgrace. Having gone through various conditions of life, being either a slave, approached at the whim of the master, or oppressed, Agafya finally felt the desire to free herself from the conditions former life that made her a toy of someone else's whims. She withdrew into herself, began to dress in dark and coarse clothes, prayed a lot and with all her thoughts went into religion. Her life took on a monastic character; in the end, surrendering to the desire of her heart, she went to wander through the monasteries and pray for the world. During the period of such an internal transformation, Agafya became Lisa's nanny, and the girl really liked her strict, religiously-minded and quiet nanny. Together they read the lives of the saints, talked about their life in the desert, strict, pure, illumined by deep faith, about the sacrifices they offered to God, about the executions and torments of the saints. In the mornings, secretly from her mother, Agafya woke up Lisa, and they left for matins and prayed fervently in church.

Religiosity Lisa. In the girl's imagination grew the ideal of a pure religious life, full of grandeur and beauty due to the constant union of the soul with God. With her childish imagination, she comprehended the mysterious appearance of God: “the image of the Omnipresent, Omniscient God with some kind of sweet power pressed into her soul, filled her with pure reverent fear, and Christ became something close, familiar, almost native to her.” The religious ideal illuminated her whole life, distinguished by modesty, simplicity and strictness in relation to herself and to people. Lisa considered it immutable all her life, every step of it, to comply with the requirements of conscience, with her moral ideal.

Life in the mother's house. When Agafya went on a wandering, and a frivolous French governess was assigned to her, Liza closed herself even more and continued to live alone, going her own special way in life, faithful once and for all to the higher goals adopted. The example of Agafya more than once made her think about the silence and purity of monastic life, completely devoted to God. Life in the "world", among people, always seemed terrible and rude to her. The author notes that the nature of Lisa's life in her mother's house made her look like a nun, her room, with its cleanliness and strict simplicity, looked like a cell. Without making any definite decision and fearing to upset her mother and her beloved old woman, Marfa Timofeevna, Liza, before meeting Lavretsky, led a simple and quiet life in her mother's house. She did not expect at all and did not dream of personal happiness.

Relationship to life and people. Life seemed to her some kind of responsible important task that had to be solved in full accordance with the voice of conscience and her sense of God. This consciousness made her life serious and deep. She treats people equally, loves everyone equally, and wants for everyone a single, correct solution to the life task, for “we all walk under God.” Gloomy and lonely natures, like the old musician Lemm, come to life in her presence, reveal the secrets of their souls, are drawn to her pure and bright soul. But the frivolous egoist Panshin finds hospitality in her and also tests the power of her charm. Simple, restrained and trusting, Lisa loves the common people, willingly communicates and. talks with peasants, feeling that the most important thing is religious mental ideal She and they have one.

The independence of Lisa's nature. One of the distinguishing properties of Lisa should be recognized as her independence, her independence in life. She will not ask anyone for instructions on how to live and how to act in individual cases. She considers only the voice of her conscience, being very sensitive to her demands. She set her whole life on moral ideal, which I realized with my mind and enthusiastically felt with my soul. And that is why she firmly goes on her way of life, not deviating from the path that seems to her the only true one. When she thinks of a decision, neither Lavretsky, nor her mother, nor Marfa Timofeevna try to argue with her, but accept her decision, for Liza did not accept it lightly, but because of a deep inner need.