Coursework Typological and individual features in the novel by I.S. Turgenev “The Nest of Nobles. Comprehensive analysis of the novel "The Nest of Nobles" by I.S.

ESSAY
Typological and personality traits 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 studies 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 an individual trait in the novel "The Noble Nest" 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 the great success of The Hunter's Notes, the former artistic manner could not satisfy the writer by the fact that the range of his talent is immeasurably higher than the artistic experience that he accumulated in the Hunter's Notes.
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 turn to a new topic was associated with the writer tragic events the revolution of 1848 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 theme, 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 lyrical 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 Liza. 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 Liza 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 the last attempt to find the 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 Lisa 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 (a 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.................

Let us turn to the "nodal" moments of the analysis of "The Nest of Nobles". It is necessary to start with the fact that, undoubtedly, it was a public, acutely topical novel, in which Turgenev again addresses the problem of the nobility, its role in difficult period life of Russia. Death of Nicholas I, defeat in Crimean War, climb peasant movement unusually intensified Russian society. What position can a nobleman take under such a set of circumstances? How to live on? Panshin directly poses this question to Lavretsky: "... What are you going to do?" “To plow the land,” answers Lavretsky, “and try to plow it as best as possible.”

"The Nest of Nobles" is a "personal novel", the hero of which, with his inner nobility, decency, patriotism and many other worthy qualities, will remind himself of himself in Pierre Bezukhov, Andrei Bolkonsky, Chekhov's heroes-intellectuals.

In The Nest of Nobles, Turgenev addressed not only the personal fate of the protagonist, but also depicted the history of the Lavretsky family in a panoramic view in order to be able to present a generalized portrait of the Russian nobility in terms of the novel's problems. The author is especially cruel in assessing the separation of the most advanced class of Russia from their national roots. In this regard, the theme of the motherland becomes one of the central, deeply personal and poetic. The motherland heals Lavretsky, who has returned from abroad, just as the people's sense of life helps him survive tragic love to Lisa Kalitina, endowing him with wisdom, patience, humility - everything that helps a person to live on earth.

The hero passes the test of love and passes it with honor. Love revives Lavretsky to life. Recall the description of the summer moonlit night seen by him. Following the principle of "secret psychology", Turgenev reveals through the landscape the awakening of the hero's soul - the source of his moral strength. But Lavretsky will also have to go through a state of self-denial: he comes to terms with the loss of love, comprehending the highest wisdom of humility.

"The Nest of Nobles" as a "test novel" involves testing life position hero. Unlike Lisa, Mikhalevich, Lem, who are marked by the height of their chosen goal, Lavretsky is ordinary in his earthly claims and in conceivable ideals. He wants to work and work as best as possible, remaining true to himself to the end. Finding himself without hope for his own happiness, the hero finds the strength to live, to accept the laws of the natural course of life, reflected in the people's worldview, such as being able to suffer and endure and at the same time recognize the moral duty of a person not to lock himself in, but to remember those around you and try to work for their benefit.

Lavretsky, and with him Turgenev, consider such a state to be the only worthy one, although not without bitter internal losses. It is no coincidence that in the finale the hero feels like a lonely homeless wanderer, looking back at his life - a dying candle.

Thus, in The Nest of Nobles, two time planes characteristic of Turgenev's novel organically closed: historical and timeless, resulting in a philosophical and symbolic finale - a feature of all Turgenev's novels - with his idea of ​​accepting the laws of a fast-flowing life with its eternal contradictions, gains and losses. And here Turgenev’s thoughts about the interrupted connection between generations in Russian history sound, which will become main theme novel "Fathers and Sons".

The Nest of Nobles, a lyrical novel centered on the problem of correlation between the ideological concepts of the modern noble intelligentsia, their spiritual quests and the traditional folk worldview, struck contemporaries after Rudin, where this problem was not raised.

In addition, the very construction of the novel with two equal heroes (Lavretsky and Liza Kalitina), with an accentuated reproduction of the situation, conveying the hero’s organic connection with his native country, with the soil, differed sharply from the laconic organization of the material in the “one-centered” novel Rudin.

In The Nest of Nobles, for the first time, the ideological dispute of the characters occupies a central place, and for the first time, lovers become the “sides” of this dispute. Love itself turns into an arena for the struggle of ideals.

Interest in the people, the desire to be useful to them, to find their place in historical life country, the main purpose of whose development should be to improve folk life, based on the knowledge of the needs and aspirations of the people, are characteristic of Lavretsky.

Lavretsky is a thinker. Conscious of the need for action, he considers it his main concern to develop the meaning and direction of this action. Already in his early youth, he plunged into scientific studies, which were supposed to give theoretical foundations his activities.

Turgenev simultaneously worked on The Nest of Nobles and the article Hamlet and Don Quixote. In the novel "The Nest of Nobles" many moments are introduced that should emphasize the Hamletism of the protagonist. The author confronts Lavretsky with three people of an active nature, with three bearers of complete, well-established convictions, with people who live in accordance with their convictions.

With all three of these characters, his hero enters into disputes. The dispute with Mikhalevich, who most fully and directly embodies the image of Turgenev's Don Quixote with his infinite kindness, conviction and impracticality, is portrayed as an exchange of opinions, the stormy and bitter nature of which is determined both by the opposite natures of the characters and the kinship of their mental interests.

Mikhalevich Lavretsky asks an important question for both of them: “What to do?”. This question for them is not of narrow practical importance, but is related to the very foundations of the theoretical solution of the problems of history, politics and philosophy.

Genuine Don Quixote - Mikhalevich considers this issue resolved, and resolved not by reason, but by feeling, intuition and faith.

For him, the task of a person is not reflection on the meaning of activity and its fruitfulness, but active, practical work on the embodiment of the truth obtained by intuition.

Let us point out a trait that characterizes antagonist friends and then often found in the literature of the 60s. when characterizing such a “pair”, the clash of Hamletic and quixotic characters: Lavretsky turns out to be practically much more wealthy than Mikhalevich, who extols the importance of “work, activity”. Mikhalevich would have considered the achievement of the results achieved by Lavretsky a direct path to the realm of freedom and prosperity. Lavretsky, however, these results do not save him from a feeling of deep dissatisfaction.

A fundamentally different character than Lavretsky's dispute with Mikhalevich is his dispute with Panshin, who is also a convinced man of "cause". Panshin is not only not Don Quixote, he opposes this kind of people. Its main features are selfishness, ambition and an animal thirst for the blessings of life.

He is a St. Petersburg official, a "performer" to the marrow of his bones. At the same time, he is ready to carry out the most decisive reforms, break and destroy. His ideals are limited to the last "types" of government, since loyalty to these "types" and recklessness in their implementation promises him personal benefits.

The reformist itch of the "pure" (Saltykov's expression) young administrator - the chamber junker, the external liberalism of his speeches more clearly than any dating indicate what era is depicted in the novel.

This follows even more clearly from the concise author's retelling of Lavretsky's objections to Panshin: "... he sacrificed himself, his generation, but stood up for new people, for their beliefs and desires." Thus, we are talking about a new, young generation, which should replace the people who lived under the yoke of the reign of Nicholas.

Let's make a reservation that the historical and political plan here does not chronologically coincide with the time necessary for the implementation of the lyrical plot.

Between disputes about which in question, and the epilogue of the novel, drawing last meeting Lavretsky with the youth of the Kalitins' house and with Lisa the nun, 8 years pass. That is why Turgenev, obviously, was forced to attribute the beginning of the novel to 1850, despite the entire historical setting depicted in it.

It is characteristic that Panshin calls Lavretsky a backward conservative.

Rejection of lies feature Lavretsky was expressed in his negative attitude to Panshin, in his uncompromising unwillingness to agree with the latter in anything. Panshin's broadcast plans, which he perceives as a "phrase", Lavretsky opposes the demand to study home country and "confessions folk truth and humility before her.

To Panshin's impatient question "... what are you going to do?" (as we can see, Panshin is also interested in the question “what to do?”, but for this official “to do” means to reshape the life of the people, taking advantage of their resignation) Lavretsky gives an answer dressed in the form of deliberate simplicity and prosaicness: “To plow the land<...>and try to plow it as best as possible.

In this position of Lavretsky there is a similarity with the position of the hero of Tolstoy - Levin, who also ironically treated the "administrative delight" of bureaucrats and liberal landowners who carried out all kinds of reforms, who also saw his task in organizing agriculture on new foundations, who also repeatedly heard accusations against him of conservatism. Subsequently, a similar type, called Mikhailovsky "repentant nobleman", attracted the attention of writers and critics.

Lavretsky's love, interest and respect for the people makes him related to Lisa Kalitina, a girl whose actions directly and directly follow from her convictions.

Speaking about the devotion of people like Don Quixote to a certain, once for all accepted ideal, Turgenev argued: “Many receive their ideal already completely ready, in certain, historically established forms; they live, contemplating their lives with this ideal, sometimes deviating from it under the influence of passions or accidents - but they do not talk about it, do not doubt it ... ".

It is to this type of people that Liza Kalitina belongs. Her conviction, as well as the fact that her “own thoughts” are essentially just an application of the traditional system of ideas existing in a patriarchal peasant environment and time-honored to this situation, make her actions incomprehensible and unexpected for people brought up in the traditions of noble life.

Lisa is constantly arguing with Lavretsky, trying to convert him to her "faith". The plot of “propaganda”, the ideological upbringing of a girl by a man, which Dobrolyubov considered typical of Turgenev, seems to be reversed in The Nest of Nobles. Lisa is not only deeply convinced of the moral truths that she has learned since childhood, she, like Mikhalevich, “believes” in them, and somewhere this belief borders on fanaticism.

No wonder her tutor Agafya went to old believer skete. Religion for Lisa is a source of ready-made moral answers to the deepest mysteries of life, to the most tragic contradictions. human life. Loving my country ordinary people, simple life, Liza meets a like-minded person in Lavretsky, a person who respects Russia and its people; however, Lisa sees both skepticism and Lavretsky's disbelief, his indifference to religion. She hopes to convert him to religion.

Liza's religiosity is fanned by a sense of the tragedy of life and is inseparable from her inherent highest ethical exactingness in relation to herself. Mikhalevich argued that modern Russia"on each individual lies a duty, a great responsibility before God, before the people, before oneself! Liza Kalitina instinctively feels this responsibility.

External tragic circumstances, preventing Liza and Lavretsky from connecting, are perceived by Liza as a signal that complex connection the most, apparently, distant from each other phenomena, due to which happy love can be perceived as a sin at a time when the peasants in the countryside are suffering, starving, running wild.

The fathers of modern liberal landowners robbed, tortured, and killed the fathers of modern peasants. This fatal guilt weighs on the people of the new generation. Lavretsky notices in Lisa features of fatalism and humility - patriarchal virtues that frighten him. “All lots are equal” for her, but not because she experienced love disappointment, but because she is surrounded by the sea people's suffering and in these sufferings she considers her ancestors guilty.

These sentiments are understandable to Lavretsky, but he cannot accept the ancient morality of renunciation and humility. Lavretsky tries to warn, convince her and is forced to speak in her own language.

His assurances that the freedom of feeling is the highest good, that the violation of this freedom entails misfortune, and the one who violates it is responsible for the consequences of such a violation, encounters the resistance of Liza, the source of her persistence is her adherence to a certain ethical system.

From the image of Liza, straight threads stretch to the heroine of Turgenev's story " Strange story- to the young lady Sophie, whom everyone finds "strange" and the most life feat which (feat of self-denial and religious service is traditional, ancient feat pilgrimage and obedience), sanctified by an idea, but a false idea, looks like nothing more than a “strange story”.

She did not find a way to a great, to a truly useful application of her forces for mankind and remained nothing more than " a strange person". Consistently negatively regarding religious fanaticism, arguing with Herzen, who saw in the Old Believers and sectarianism possible source revolutionary moods, Turgenev at the same time compared Sophie with the young revolutionary populists, who later, as the writer emphasizes, went to the feat for the sake of what "they considered the truth and goodness", embodying their "unshakable and ineradicable convictions." The article "Hamlet and Don Quixote" says: "All people live<...>by virtue of its<...>ideal, that is, by virtue of what they consider to be truth, beauty, goodness.

Lavretsky's convictions do not correspond to Lisa's ascetic views, he argues with her, but his humility before the people's truth, the readiness with which he submits to a false situation that has arisen through no fault of his own (after all, he could divorce his wife) and refuses to fight for his happiness, reproaches , which he addresses himself, contrasting work for the benefit of the disadvantaged people with love and the joys of life, testify to the fact that he does not believe in his right to happiness.

After parting with Liza and ascetically devoting himself to work for the benefit of his peasants, Lavretsky, forgotten by everyone and alone, "stopped thinking about his own happiness, about selfish goals", and that is why "he had something to regret, nothing to be ashamed of."

The novel "The Nest of Nobles" is imbued with the consciousness of the flow of historical time, taking away the lives of people, the hopes and thoughts of generations, and entire layers of national culture.

The very image of the “noble nest”, an image that is locally and socially “dissociated” from the large generalized image of Russia, the motherland, is nevertheless a derivative of it, and this side of the world created in the novel is no less important than the “sense of history” expressed in it. .

In the "Noble Nest", in old house, in which generations of nobles and peasants lived, the spirit of the motherland, Russia, lives, it blows "the smoke of the fatherland". Lyrical theme Russia, opposed to the West, consciousness of the peculiarities of Russian historical conditions and characters in "The Nest of Nobles" anticipate the problems of the novel "Smoke".

In the "Nest of Nobles", in the houses of Lavretsky and Kalitin, spiritual values ​​were born and matured, which will forever remain the property of Russian society, no matter how it changes.

“Light poetry spilled in every sound of this novel,” according to Saltykov-Shchedrin, should be seen not only in the writer’s love for the past and his humility before the highest law of history, but in his faith in the internal organic development of the country. At the end of the novel new life“plays” in the old house and old garden, and does not leave this house, renouncing it.

In no other work of Turgenev, to such an extent as in The Nest of Nobles, is negation connected with affirmation, in none of the opposites are weaved into such a tight knot. Drawing the historical sunset of the landowners' nests, Turgenev showed that enduring values noble culture were created in the process of its interaction with the spiritual life of the people, the peasantry.

History of Russian literature: in 4 volumes / Edited by N.I. Prutskov and others - L., 1980-1983

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 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. 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, 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 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 surprisingly poetic and touching, 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 tomilas

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. Tolstoy also argues furiously with Turgenev, who at that moment almost completely devoted himself to agriculture, and Fet. 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. four. Title page Manuscripts 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. First, to Rudin, the hero novel of the same name, you can make a number of moral claims: he is talkative, vain, he loves acting, 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? Former mentor Ivan Petrovich - a retired abbot and encyclopedist who fled from french revolution an aristocrat, 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 is born (Fig. 6) - main character novel "The Nest of Nobles".

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 already underway 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 for a long time lived abroad, became an Englishman, and upon his return to Russia he 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 latest methodology. He woke him up at 4 in the morning, poured ice water forced 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 difficult to imagine the depth of Fyodor's disappointment: the man who was everything to him becomes a traitor. And in a torn state he rushes about 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. Over the nobility gravitates some terrible ancestral curse. 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 unique culture, golden culture XVIII-XIX centuries, but it was created at the expense of the unfortunate, exhausted peasant, who did not get anything 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. Compose comparative characteristic images of Dmitry Rudin and Fyodor Lavretsky.
2. Identify the innovations in the novel "The Nest of Nobles" in comparison with previous works Turgenev.
3. * Think about how the psychologism of the novel is expressed. Write down a reasoned and supported by examples from the novel answer.