Many wonderful works were written by the famous Russian writer I. S. Turgenev, “ Noble Nest"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.
Novel "The Noble Nest", summary works give us the opportunity to know what home education and education received children 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 in the box beautiful girl- 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.
happiness young man there were no boundaries. 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 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.
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. Chronological framework novel - 40s. The action begins in 1842, and the epilogue tells about the events that took place 8 years later.
The writer decided to capture that period in the life of Russia, when the best representatives of the noble intelligentsia are growing anxious for the fate of their own and their people. Turgenev interestingly decided the plot and compositional plan of his work. He shows his heroes in the most intense turning points their lives.
After an eight-year stay abroad, he returns to his family estate Fyodor Lavretsky. He experienced a great shock - the betrayal of his wife Varvara Pavlovna. Tired, but not broken by suffering, Fedor Ivanovich came to the village to improve the life of his peasants. In a nearby town, in the house of his cousin Marya Dmitrievna Kalitina, he meets her daughter, Lisa.
Lavretsky fell in love with her pure love, Lisa answered him in kind.
In the novel "The 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 Liza hid - he saw her. Moving from choir to choir, she walked close past him, walked with the even, hastily humble gait of a nun - and did not look at him; only the eyelashes of her eyes turned to him trembled a little, only she bent her emaciated face even lower - and her fingers clenched hands, intertwined with a rosary, clung to each other even more tightly. "She did not forget her love, did not stop loving Lavretsky, and her departure to the monastery confirms this. And Panshin, who so demonstrated his love for Liza, completely fell under the spell of Varvara Pavlovna and became her slave.
The love story in the novel by I.S. Turgenev's "The Nest of Nobles" is very tragic and at the same time beautiful, beautiful because this feeling is not subject to either time or the circumstances of life, it helps a person to rise above the vulgarity and everyday life around him, this feeling ennobles and makes a person human.
Fyodor Lavretsky himself was a descendant of the gradually degenerated Lavretsky family, once strong, outstanding representatives of this family - Andrei (Fyodor's great-grandfather), Peter, then Ivan.
The commonality of the first Lavretskys is in ignorance.
Turgenev very accurately shows the change of generations in the Lavretsky family, their connections with - different periods historical development. A cruel and wild tyrant-landowner, Lavretsky's great-grandfather ("whatever the master wanted, he did, he hung men by the ribs ... he did not know the elder above him"); his grandfather, who once "ripped through the whole village", a careless and hospitable "steppe master"; full of hatred for Voltaire and the "fanatic" Diderot, is typical representatives Russian "wild nobility". They are replaced by those who have joined the culture, either claims to "Frenchness" or Anglomanism, which we see in the images of the frivolous old Princess Kubenskaya, in a very old age who married a young Frenchman, and the father of the hero Ivan Petrovich. Starting with a passion for the "Declaration of the Rights of Man" and Diderot, he ended with prayers and a bath. "A freethinker - began to go to church and order prayers; a European - began to bathe and dine at two o'clock, go to bed at nine, fall asleep to the butler's chatter; statesman- burned all his plans, all correspondence, trembled before the governor and fussed before the police officer. "This was the story of one of the families of the Russian nobility.
In the papers of Pyotr Andreevich, the grandson found the only dilapidated book in which he entered either “Celebration in the city of St. Petersburg of the reconciliation concluded with the Turkish Empire by His Excellency Prince Alexander Andreevich Prozorovsky”, or a recipe for chest dekocht with a note; "this instruction was given to General Praskovya Fedorovna Saltykova from the archpriest of the church life-giving Trinity Fyodor Avksentievich ", etc.; apart from calendars, a dream book and the work of Abmodik, the old man had no books. And on this occasion, Turgenev ironically remarked: "Reading was not his part." As if in passing, Turgenev points to the luxury of the eminent nobility. So , the death of Princess Kubenskaya was transferred to following colors: the princess "blushed, perfumed with amber a la Rishelieu, surrounded by black-legged little dogs and noisy parrots, died on a crooked silk sofa from the time of Louis XV, with an enamel snuffbox made by Petitot in her hands."
Bowing before everything French, Kubenskaya instilled in Ivan Petrovich the same tastes, gave a French upbringing. The writer does not exaggerate the significance of the war of 1812 for noblemen like the Lavretskys. They only temporarily "felt that Russian blood flows in their veins." "Peter Andreevich dressed a whole regiment of warriors at his own expense." But only. Fyodor Ivanovich's ancestors, especially his father, were more fond of foreign than Russian. The European-educated Ivan Petrovich, returning from abroad, introduced a new livery to the household, leaving everything as before, about which Turgenev writes, not without irony: peasants were forbidden to address directly to the master: the patriot really despised his fellow citizens.
And Ivan Petrovich decided to raise his son according to the foreign method. And this led to a separation from everything Russian, to a departure from the homeland. "An unkind joke was played by an Angloman with his son." Torn from childhood from his native people, Fedor lost his support, the real thing. It is no coincidence that the writer led Ivan Petrovich to an inglorious death: the old man became an unbearable egoist, who with his whims did not allow everyone around him to live, a pitiful blind man, suspicious. His death was a deliverance for Fyodor Ivanovich. Life suddenly opened up before him. At the age of 23, he did not hesitate to sit on the student bench with the firm intention of acquiring knowledge in order to apply it in life, to benefit at least the peasants of his villages. Where did Fedor's isolation and unsociableness come from? These qualities were the result of "Spartan education". Instead of introducing the young man into the midst of life, "he was kept in artificial seclusion", they protected him from life's upheavals.
The genealogy of the Lavretskys is intended to help the reader trace the gradual departure of the landowners from the people, to explain how Fyodor Ivanovich “dislocated” from life; it is designed to prove that the social death of the nobility is inevitable. The ability to live at the expense of others leads to the gradual degradation of a person.
Also given is an idea of the Kalitin family, where parents do not care about children, as long as they are fed and clothed.
This whole picture is complemented by the figures of the gossiper and jester of the old official Gedeonov, a dashing retired captain and famous player - Father Panigin, a lover of government money - retired General Korobin, future father-in-law Lavretsky, etc. Telling the story of the families of the characters in the novel, Turgenev creates a picture very far from the idyllic image of "noble nests". He shows a motley Russia, whose people hit hard from full course west to literally dense vegetation in his estate.
And all the "nests", which for Turgenev were the stronghold of the country, the place where its power was concentrated and developed, are undergoing a process of decay and destruction. Describing the ancestors of Lavretsky through the mouths of the people (in the person of Anton, the courtyard man), the author shows that the history of noble nests is washed by the tears of many of their victims.
One of them - Lavretsky's mother - is a simple serf girl, who, unfortunately, turned out to be too beautiful, which attracts the attention of the nobleman, who, having married out of a desire to annoy his father, went to Petersburg, where he became interested in another. And poor Malasha, unable to bear the fact that her son was taken from her for the purpose of education, "resignedly, in a few days faded away."
Fyodor Lavretsky was brought up in conditions of abuse human personality. He saw how his mother, the former serf Malanya, was in an ambiguous position: on the one hand, she was officially considered the wife of Ivan Petrovich, transferred to half of the owners, on the other hand, she was treated with disdain, especially her sister-in-law Glafira Petrovna. Pyotr Andreevich called Malanya "a raw-hammered noblewoman." Fedya himself in childhood felt his special position, a feeling of humiliation oppressed him. Glafira reigned supreme over him, his mother was not allowed to see him. When Fedya was in his eighth year, his mother died. “The memory of her,” writes Turgenev, “of her quiet and pale face, her dull looks and timid caresses, was forever imprinted in his heart.”
The theme of the "irresponsibility" of the serfs accompanies Turgenev's entire narrative about the past of the Lavretsky family. The image of Lavretsky's evil and domineering aunt Glafira Petrovna is complemented by the images of the decrepit footman Anton, who has grown old in the lord's service, and the old woman Apraksey. These images are inseparable from the "noble nests".
In childhood, Fedya had to think about the situation of the people, about serfdom. However, his caregivers did everything possible to distance him from life. His will was suppressed by Glafira, but "... at times a wild stubbornness came over him." Fedya was raised by his father himself. He decided to make him a Spartan. The "system" of Ivan Petrovich "confused the boy, planted confusion in his head, squeezed it." Fedya was presented exact sciences and "heraldry to maintain chivalrous feelings". The father wanted to mold the soul of the young man to a foreign model, to instill in him a love for everything English. It was under the influence of such an upbringing that Fedor turned out to be a man cut off from life, from the people. The writer emphasizes the richness of the spiritual interests of his hero. Fedor is a passionate admirer of Mochalov's 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 self-study. “It was strange to see,” writes Turgenev, “his powerful, broad-shouldered figure, forever bent over a desk. Every morning he spent at work.” And after the betrayal of his wife, Fedor pulled himself together and “could study, work,” although skepticism, prepared by life experiences and upbringing, finally climbed into his soul. He became very indifferent to everything. This was a consequence of his isolation from the people, from his native soil. After all, Varvara Pavlovna tore him not only from his studies, his work, but also from his homeland, forcing him to wander around Western countries and forget about the duty to their peasants, to the people. True, from childhood he was not accustomed to systematic work, so at times he was in a state of inactivity.
Lavretsky is very different from the heroes created by Turgenev before The Noble Nest. Passed to him positive features Rudin (his loftiness, romantic aspiration) and Lezhnev (soberness of views on things, practicality). He has a firm view of his role in life - to improve the life of the peasants, he does not lock himself into the framework of personal interests. Dobrolyubov wrote about Lavretsky: "... the drama of his position is no longer in the struggle with his own impotence, but in the clash with such concepts and morals, with which the struggle, indeed, should frighten even an energetic and courageous person." And then the critic noted that the writer "knew how to 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 main character The "noble nest" did not find his calling, did not benefit his people, and did not even achieve personal happiness.
At the age of 45, Lavretsky feels aged, incapable of spiritual activity; the "nest" of the Lavretskys has virtually ceased to exist.
In the epilogue of the novel, the hero appears aged. Lavretsky is not ashamed of the past, he does not expect anything from the future. "Hello, lonely old age! Burn out, useless life!" he says.
"Nest" is a house, a symbol of a family, where the connection of generations is not interrupted. In the novel The Noble Nest, this connection is broken, which symbolizes the destruction, the withering away of family estates under the influence of serfdom. We can see the result of this, for example, in N.A. Nekrasov’s poem “The Forgotten Village”.
But Turgenev hopes that not everything is lost yet, and in the novel, saying goodbye to the past, he turns to the new generation, in which he sees the future of Russia.
Encyclopedic YouTube
-
1 / 5
The main character of the novel is Fyodor Ivanovich Lavretsky, a nobleman who has many of the features of Turgenev himself. Brought up remotely from his father's home, the son of an Anglophile father and a mother who died in his early childhood, Lavretsky is brought up in a family country estate by a cruel aunt. Often critics looked for the basis for this part of the plot in the childhood of Ivan Sergeevich Turgenev himself, who was raised by his mother, known for her cruelty.
Lavretsky continues his education in Moscow, and while attending the opera, he notices beautiful girl in one of the lodges. Her name is Varvara Pavlovna, and now Fyodor Lavretsky declares his love for her and asks for her hand. The couple marries and the newlyweds move to Paris. There, Varvara Pavlovna becomes a very popular salon owner and starts an affair with one of her regular guests. Lavretsky learns about his wife's affair with another only at the moment when he accidentally reads a note written from a lover to Varvara Pavlovna. Shocked by the betrayal of a loved one, he breaks all contact with her and returns to his family estate, where he was raised.
Upon returning home to Russia, Lavretsky visits his cousin, Maria Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately interested in Liza, whose serious nature and sincere dedication Orthodox faith give her great moral superiority, strikingly different from the coquettish behavior of Varvara Pavlovna, to which Lavretsky was so accustomed. Gradually, Lavretsky realizes that he is deeply in love with Lisa and, having read a message in a foreign magazine that Varvara Pavlovna has died, declares his love to Lisa. He learns that his feelings are not unrequited - Lisa also loves him.
Unfortunately, the cruel irony of fate prevents Lavretsky and Lisa from being together. After a declaration of love, the happy Lavretsky returns home ... to find Varvara Pavlovna, alive and unharmed, waiting for him in the lobby. As it turns out, the ad in the magazine was given in error.
Upon learning of the sudden appearance of the living Varvara Pavlovna, Lisa decides to leave for a remote monastery and lives out the rest of her days as a monk. The novel ends with an epilogue, the action of which takes place eight years later, from which it also becomes known that Lavretsky visits the Kalitins' house, in which he finds cheerful youth: Liza's brother, sister Elena, who has grown up, their relatives and friends. There he, after the past years, despite many changes in the house, sees the living room, where he often met with his girlfriend, sees the piano and the garden in front of the house, which he remembered so much because of his communication with Lisa. Lavretsky lives by his memories and sees some meaning and even beauty in his personal tragedy. After his thoughts, the hero leaves back to his home.
In the future, Lavretsky visits Lisa in the monastery, sees her, but she tries not to look at him.
Accusation of plagiarism
This novel was the reason for a serious quarrel between Turgenev and Goncharov. D. V. Grigorovich, among other contemporaries, recalls:
Once - I think at the Maikovs - he [Goncharov] told the contents of a new alleged novel, in which the heroine was supposed to retire to a monastery; many years later, Turgenev's novel "The Nest of Nobles" was published; The main thing female face it also retired to the monastery. Goncharov raised a whole storm and directly accused Turgenev of plagiarism, of appropriating someone else's thought, probably assuming that this thought, precious in its novelty, could only come to him, and Turgenev would lack such talent and imagination to reach it. The case took such a turn that it was necessary to appoint an arbitration court, composed of Nikitenko, Annenkov and a third party - I don’t remember whom. Nothing came of it, of course, except laughter; but since then Goncharov ceased not only to see, but also to bow to Turgenev.
Ivan Sergeevich Turgenev
Noble Nest
Noble Nest
Ivan Sergeevich TurgenevSchool Library (Children's Literature)
The book includes a novel by the remarkable Russian writer I. S. Turgenev "The Nest of Nobles". This work is one of the best examples of Russian literature XIX century, "the beginning of love and light, in every line beating with a living spring" (M. E. Saltykov-Shchedrin).Placed as applications critical articles about the novel: D. I. Pisarev “The Nest of Nobles. Roman by I. S. Turgenev” and A. Grigoriev “I. S. Turgenev and his activities. Regarding the novel "The Noble Nest".
I. S. Turgenev
Noble Nest
© Publishing House "Children's Literature". 2002
© V. P. Panov. Illustrations, 1988
Noble Nest
Spring, bright day was tending towards evening; small pink clouds stood high in the clear sky and, it seemed, did not float past, but went into the very depths of the azure.
In front of an open window beautiful home, in one of the outer streets provincial city Oh ... (it happened in 1842), two women were sitting - one about fifty, the other already an old woman, seventy years old.
The first of them was called Marya Dmitrievna Kalitina. Her husband, a former provincial prosecutor, a well-known businessman in his time, a lively and resolute man, bilious and stubborn, died about ten years ago. He received a fair education, studied at the university, but, born in the poor class, he early understood the need to pave his way and fill the money. Marya Dmitrievna married him out of love: he was good-looking, intelligent, and, when he wanted, very amiable. Marya Dmitrievna (in the maiden name of Pestov) lost her parents as a child, spent several years in Moscow, at the institute, and, returning from there, lived fifty versts from O ..., in her ancestral village of Pokrovsky, with her aunt and older brother. This brother soon moved to Petersburg to serve and kept both his sister and aunt in a black body, until sudden death did not set a limit to his career. Marya Dmitrievna inherited Pokrovskoye, but did not live long in it; in the second year after her marriage to Kalitin, who managed to win her heart in a few days, Pokrovskoye was exchanged for another estate, much more profitable, but ugly and without an estate; and at the same time, Kalitin bought a house in the city of O ..., where he settled with his wife for permanent residence. The house had a large garden; on one side it went straight into the field, out of the city. “So,” Kalitin, a great reluctant to rural silence, decided, “there is no need to go to the village.” Marya Dmitrievna more than once in her heart regretted her pretty Pokrovsky with a cheerful river, wide meadows and green groves; but she did not contradict her husband in anything and was in awe of his mind and knowledge of the world. When, after a fifteen-year marriage, he died, leaving a son and two daughters, Marya Dmitrievna was already so accustomed to her home and city life that she herself did not want to leave O ...
Marya Dmitrievna in her youth had a reputation as a pretty blonde; and at fifty her features were not devoid of pleasantness, although they were a little swollen and flattened. She was more sensitive than kind, and mature years retained institutional manners; she spoiled herself, was easily irritated, and even wept when her habits were broken; on the other hand, she was very affectionate and amiable when all her desires were fulfilled and no one contradicted her. Her house was one of the nicest in the city. Her condition was very good, not so much inherited as acquired by her husband. Both daughters lived with her; the son was brought up in one of the best state institutions in St. Petersburg.
The old woman who sat with Marya Dmitrievna under the window was the same aunt, her father's sister, with whom she had once spent several solitary years in Pokrovsky. Her name was Marfa Timofeevna Pestova. She was reputed to be an eccentric, had an independent disposition, spoke the truth to everyone in the face, and with the most meager means behaved as if she were followed by thousands. She could not stand the late Kalitin and, as soon as her niece married him, she retired to her village, where she lived for ten whole years with a peasant in a chicken hut. Marya Dmitrievna was afraid of her. Black-haired and quick-eyed even in her old age, small, sharp-nosed, Marfa Timofeevna walked briskly, held herself upright, and spoke quickly and distinctly, in a thin and resonant voice. She constantly wore a white cap and a white jacket.
– What are you talking about? she suddenly asked Marya Dmitrievna. “What are you sighing about, my mother?
“Yes,” she said. What wonderful clouds!
So you feel sorry for them, don't you?
Marya Dmitrievna made no answer.
- Why is Gedeonovsky missing? said Marfa Timofeevna, deftly moving her needles (she was knitting a large woolen scarf). - He would have sighed with you - otherwise he would have lied something.
“How sternly you always speak of him!” Sergei Petrovich is a respectable man.
- Venerable! repeated the old woman reproachfully.
- And how he was devoted to the late husband! said Marya Dmitrievna, “until now she cannot think of him indifferently.
- Still would! he pulled him out of the mud by the ears,” grumbled Marfa Timofeevna, and the knitting needles went even faster in her hands.
“He looks so humble,” she began again, “his head is all gray, and if he opens his mouth, he will lie or gossip. And also a state adviser! Well, and then say: priest!
- Who is without sin, auntie? It has this weakness, of course. Sergei Petrovich, of course, did not receive an upbringing, he does not speak French; but he, your will, is a pleasant man.
Yes, he licks your hands. He doesn't speak French, what a disaster! I myself am not strong in the French "dialecht". It would be better if he didn’t speak in any way: he wouldn’t lie. Why, by the way, he is easy to remember, ”added Marfa Timofeevna, glancing into the street. “Here he is walking, your pleasant man. What a long, like a stork!
Marya Dmitrievna straightened her curls. Marfa Timofyevna looked at her with a smile.
- What is it with you, in any way, gray hair, my mother? You scold your Palashka. What is she looking at?
“Aunty, you always…” Marya Dmitrievna muttered with annoyance and tapped her fingers on the arm of the chair.
- Sergei Petrovich Gedeonovsky! squeaked a red-cheeked Cossack, jumping out from behind the door.
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 propriety and decency, from his handsome face and smoothly combed temples to boots without heels and without squeaks. He bowed first to the mistress of the house, then to Marfa Timofyevna, and, slowly pulling off his gloves, went up to Marya Dmitrievna's hand. After kissing her respectfully and twice in a row, he sat down unhurriedly in an armchair and with a smile, rubbing the very tips of his fingers, said:
- Are Elizaveta Mikhailovna healthy?
“Yes,” answered Marya Dmitrievna, “she is in the garden.”
- And Elena Mikhailovna?
- Lenochka is in the garden too. Is there anything new?
“How not to be, sir, how not to be,” objected the guest, blinking slowly and stretching his lips. “Hm! .. yes, please, there is news, and surprising: Fyodor Ivanovich Lavretsky has arrived.
- Fedya! exclaimed Marfa Timofeyevna. - Yes, you, completely, don’t you compose, my father?
No, no, I saw them myself.
Well, that's not proof yet.
“They have become very healthy,” continued Gedeonovsky, showing an air of not hearing Marfa Timofeevna’s remarks, “they have become even wider in the shoulders, and a blush all over her cheek.”
“He has recovered,” Marya Dmitrievna said with an emphasis, “it seems, why would he get well?”
“Yes, sir,” objected Gedeonovsky, “another person in his place would be ashamed to appear in the light.
- Why is that? interrupted Marya Timofeyevna, “what kind of nonsense is this? The man returned to his homeland - where do you order him to go? And thankfully it was his fault!
- The husband is always to blame, madam, I dare to report to you when the wife behaves badly.
- It's you, father, that's why you say that you yourself were not married.
Gedeonovsky forced a smile.
“Allow me to inquire,” he asked after a short silence, “to whom is this nice little scarf assigned?”
The first mention of the novel "Noble Nest" found in a letter from I. S. Turgenev to the publisher I. I. Panaev in October 1856. Ivan Sergeevich planned to finish the work by the end of the year, but did not realize his plan. All winter the writer was seriously ill, and then destroyed the first sketches and began to invent new plot. Perhaps the final text of the novel differs significantly from the original. In December 1858, the author made the final corrections to the manuscript. The Nest of Nobles was first published in the January issue of the Sovremennik magazine in 1859.
The novel made a huge impression on Russian society. He immediately became so popular that it was almost considered bad form not to read The Noble Nest. Even Turgenev admitted that the work was a very great success.
The novel is based on the writer's reflections on the fate of the best representatives Russian nobility. The author himself belonged to this class and understood perfectly well that "noble nests" with their atmosphere of sublime experiences gradually degenerate. It is no coincidence that Turgenev cites the genealogies of the main characters in the novel. Using their example, the writer shows that in various historical periods happened significant changes noble psychology: from "wild nobility" to admiration for everything alien. The great-grandfather of Fyodor Ivanovich Lavretsky is a cruel tyrant, the grandfather is a careless and hospitable hater of Voltaire, his father is an Anglo fan.
Nest like symbol of the motherland abandoned by its inhabitants. The writer's contemporaries prefer to spend time abroad, speak French, mindlessly adopt foreign traditions. The elderly aunt of Lavretsky, obsessed with the style of Louis XV, looks tragic and caricatured. The fate of Fedor himself is unfortunate, whose childhood was crippled by foreign "education system". The generally accepted practice of entrusting children to nannies, governesses, or even giving them to someone else's family breaks the connection between generations, deprives them of their roots. Those who manage to settle in the old tribal "nest", most often lead a sleepy existence filled with gossip, playing music and cards.
Such a different attitude of the mothers of Lisa and Lavretsky towards children is not accidental. Marya Dmitrievna is indifferent to the upbringing of her daughters. Lisa is closer to the nanny Agafya and the music teacher. It is these people who influence the formation of the girl's personality. And here is the peasant woman Malasha (Fyodor's mother) "quietly fading away" after she is deprived of the opportunity to raise her son.
Compositionally the novel "The Nest of Nobles" is built in a straightforward manner. Its basis is the story of the unhappy love of Fedor and Lisa. The collapse of their hopes, the impossibility of personal happiness echoes the social collapse of the nobility as a whole.
Main character novel Fyodor Ivanovich Lavretsky has many similarities with Turgenev himself. He is honest, sincerely loves his homeland, seeks rational use of his abilities. Brought up by a power-hungry and cruel aunt, and then in a peculiar way "Spartan system" father, he acquired good health and a stern appearance, but a kind and shy character. It is difficult for Lavretsky to communicate. He himself feels the gaps in his upbringing and education, therefore, he seeks to correct them.
The prudent Varvara sees in Lavretsky only a stupid clown, whose wealth is easy to take possession of. The sincerity and purity of the first real feeling of the hero are broken by the betrayal of his wife. As a result, Fedor ceases to trust people, despises women, considers himself unworthy true love. Having met Lisa Kalitina, he does not immediately decide to believe in the purity and nobility of the girl. But, having recognized her soul, he believed and fell in love for life.
The character of Lisa was formed under the influence of a nurse from the Old Believers. The girl from childhood was kind to religion, “the image of the omnipresent, omniscient God was pressed into her soul with some kind of sweet power”. However, Lisa behaves too independently and openly for her time. In the nineteenth century, girls who aspired to successfully marry were much more accommodating than Turgenev's heroine.
Before meeting with Lavretsky, Liza did not often think about her fate. The official groom Panshin did not cause much rejection from the girl. After all, the main thing, in her opinion, is to honestly fulfill your duty to the family and society. This is the happiness of every person.
The culmination of the novel is Lavretsky's dispute with Panshin about the people and the subsequent scene of Lisa's explanation with Fyodor. In the male conflict, Panshin expresses the opinion of an official with pro-Western views, while Lavretsky speaks from positions close to Slavophilism. It is during this dispute that Lisa realizes how consonant her thoughts and judgments are with Lavretsky's views, she realizes her love for him.
Among the "Turgenev girls" image of Lisa Kalitina- one of the brightest and most poetic. Her decision to become a nun is based not only on religiosity. Lisa cannot live against her moral principles. In this situation, for a woman of her circle and spiritual development there was simply no other way. Lisa sacrifices personal happiness and the happiness of a loved one, because she cannot act "wrong".
In addition to the main characters, Turgenev created a gallery in the novel vivid images which reflect the noble environment in all its diversity. Here there is a lover of government money, retired General Korob'in, the old gossip Gedeonovsky, the dexterous dandy Panshin, and many other heroes of provincial society.
There are also representatives of the people in the novel. Unlike gentlemen, serfs and poor people are depicted by Turgenev with sympathy and sympathy. The ruined destinies of Malasha and Agafya, the talent of Lemm that was never revealed due to poverty, many other victims of lordly arbitrariness prove that history "noble nests" far from ideal. AND main reason of the ongoing social decay, the writer considers serfdom, which corrupts some and reduces others to the level of a dumb creature, but cripples everyone.
The state of the characters is very subtly conveyed through pictures of nature, speech intonations, glances, pauses in conversations. By these means, Turgenev achieves amazing elegance in describing emotional experiences, soft and exciting lyricism. “I was shocked ... by the light poetry spilled in every sound of this novel,” Saltykov-Shchedrin spoke of The Noble Nest.
artistic skill and philosophical depth provided the first major work Turgenev an outstanding success of all time.
