Description of the master's house in the head of the manils. Characteristics of Manilov in the poem "Dead Souls": description of character and appearance

introduction

For a long time, noble culture in Russia was a topic that was unofficially forbidden. Only now are we fully discovering its significance and place in history. At present, during the revival of manor life, we are striving for this long-forgotten culture. And the possession of a real Russian estate, which is the Zolino estate, seems to be a truly unique opportunity.

The emergence of the Zolino estate is associated with the princely family of the Pozharskys, and the first owner was General S.A. Vsevolozhsky. It is a classic example of a Russian estate of the 19th century. The cultural and historical significance of the estate is confirmed by a passport issued by the Ministry of Culture, the General Directorate for the Protection of Monuments in 1987. Since that time, restoration work has been carried out in this area.

Zolino Manor is an ideal place for a modern and independent person and his environment. The individuality of each estate reflects the individuality of its owner. All interests can be realized in this unique space. The estate is intended to become the center of the cultural and spiritual life of its owner and his social circle. In addition, the new owner, together with the Zolino estate, acquires a part of the history of Russia and brings a piece of himself into it. From this moment on, the true noble spirit will accompany the subsequent generations of his family.

Description of the estate

The Zolino estate is one of the historical and cultural monuments of the turn of the 18th-19th centuries, protected by the state. This place has a rich noble history. Among the owners of the estate were such noble families as Vsevolozhsky, Almazov. The history of these surnames goes back to the time of Ivan the Terrible and Peter I. Thanks to the faithful military service sovereign, they achieved respect and reverence in society.

The estate is located in the north-north-west of Moscow, 12 km from the town of Klin, 500 m from the village of Zolino. It is broken on a high place - above the Big Pond. The uniqueness of the location of the estate is not only in the historical and cultural heritage of the Klin region. She has almost no neighbors, which today is an exceptional rarity. The nearby villages of Klenkovo, Zolino, Opritovo do not violate the seclusion of the territory. Being here, you can feel like a true master of your life.

A road leads from Klin to the estate through the village of Zolino. Already from the road not far from this village, a view of the estate from the side of the Bolshoy Pond opens up. And the manor territory begins at the pond, a veranda is planned here for summer holiday and boat station. On the edge of the pond there is one of the best viewpoints for contemplating the sunset and the surrounding expanses. On the way from the main manor territory to the Big Pond there is a place for rest by the fire. Young pine trees planted nearby will eventually turn into a magnificent Pinery. All these preliminary details already make it clear what beauties and opportunities await the owner of the estate.

The general plan of the estate, which has remained virtually unchanged to this day, was undoubtedly designed by a talented architect - the elements of the estate complex were carefully and lovingly thought out and the features of the terrain were taken into account. As a result, an integral completed composition of a classic estate was created. silver age. Surprisingly well-preserved details of the regular park, including artificial ponds, ancient oaks and lindens, make Zolino a real discovery for connoisseurs of Russian history and culture. The boundaries of the estate are decorated with ramparts with ordinary plantings of trees. From the eastern and western borders of the estate, through the amphitheater of the alleys, a view of the neighboring meadows opens up. These details appear to be among the most interesting moments organization of the estate complex.

Of particular rarity is the external environment, which has almost completely preserved the stunning views that were laid down when the estate was created. Choosing a place for the estate, its builders set themselves a certain idea. Hidden in the green masses from the eyes of an outside observer, the estate itself is an excellent position for viewing the surroundings, located on an elevated point. Given the importance of mood in the arrangement of a romantic park, the movement of time, these views miraculously match with the time of day. Sunrise over the meadow can be observed from the eastern border of the estate - from the house and the orchard, and from the west a wide panorama of the sunset unfolds - the sun sets behind the Bolshoy Pond, painting the mirror of its water surface in red-orange color.

The territory of the estate is guarded by an internal security service - at the entrance behind the barrier there is a gatekeeper's hut. From here, according to tradition, there is an entrance alley of two-row plantings of birch and acacia. The alley ends with traditional bosquets, enveloping the place of the main house that has not survived to this day. The manor house was designed anew, retaining the external features of the prototype, but adding to the area and modern comfort of living. An example of classicism, the house has no competitors from among the other buildings of the park, neither in the grandeur of the location, nor in size and height. In the center of the roundabout for transport is a magnificent flower arrangement. Perpendicular to the entrance alley, a well-preserved linden alley leads to the orchard and the place of the greenhouse. Behind the future house, a park zone begins, which is classically divided into regular and landscape parts.

The parterre of a regular park, as it should be, is even and should be sown with a lawn. The symmetrical arrangement of alleys on both sides is also a distinctive feature. And two larches looking at each other in the center of the right and left sides seem to be talking with the house and with each other. This natural platform is designed for admiring the regular park while drinking tea on the terrace of the main house or from its windows. In the stalls, the skeleton of the fountain has been preserved, which is designed to emphasize the manor character of the territory and will certainly be restored. In order to enrich the territory of the estate with viewpoints, the creators of the park placed a century-old oak in the parterre, which was the visual dominant of the entire parterre. He will certainly be planted in the old place to continue the story. And a little to the left of it grows another handsome oak "Duet". He is still handsome and strong. How solid and, at the same time, romantic it is to relax in the shade of a tree that keeps the history of the former owners of the estate.

An intricate pattern of paths that covers the entire territory of the park leads to numerous places for recreation, framed by green gazebos and located under centuries-old oaks. Rock landings divide the estate park into several corners of different character. This is one of the significant features inherent in the park art of the late 19th century, full of romanticism.

The layout of Zolino is well thought out and provides for both outwardly sentimental rural views of the meadows, lively villages on the bends of the hills, and intimate idyllic landscapes. As mentioned earlier, from the site of the main house and from its windows there was a view of an old oak tree, a little to the right of it - a view of the Bolshoi Pond and the village of Zolino, and from the side of the greenhouse - a view of a beautiful meadow with a seasonally changing native Russian landscape.

Man-made ponds - Upper and Lower - act as a kind of border between regular and landscape parks. The main source of "aquatic food" for them is rainwater. A strict geometric shape (both of them are rectangular) gives harmony and grace to the spruce forest surrounding them. The upper pond is a beautiful landscape element with buildings and green pavilions along the banks and a picturesque border of yellow irises. On its shore, there is another viewing platform on an artificial hill, to which a spiral path leads. It is thanks to her that this site received the name "Snail". It offers a magnificent view of the water surface of the pond, stalls and the house. In the Lower Pond there is a rare fish - golden crucian carp.

Ponds, in addition to aesthetic purposes, have another very important economic function. A network of drainage ditches diverges from them across the territory of the forest park. Thanks to them, there is a great opportunity not only to keep the landscape of the estate in order, but to decorate the park with picturesque canals with humpbacked bridges. This drainage system works very effectively to this day and allows you to keep the water in the ponds in a state close to drinking.

Part of the park beyond the ponds is an English-style landscaped park. The apparent unkemptness brings you closer to the true purpose of a home in nature - proximity to beauty and naturalness. Here is another small reservoir, which is also part of the drainage system and maintains the biobalance of local nature - Lesnoy. It is said that there used to be a mill house here. It is in this part of the estate that old trees have been preserved to a large extent - a true natural treasure - ancient oaks. Their average age-180 years, which does not prevent them from looking very attractive in our time. Capable of surviving generations, they were planted for posterity in order to keep the memory of their former owners or significant events of past years. A feature of the oaks in the Zolino estate is that almost all of them are double. Such a combination of two trees is not accidental. Similar effects were planned during landing. Like any other part of the estate, this forested area provides an opportunity to have fun. The amusements of the irregular part include berry pickers in glades and clearings specially cut in the forest and paths for long walks. And if desired, a garden in Chinese or Japanese style can appear here.

According to the classics of the genre, an irregular park turns into an untouched forest, where the territory of the Zolino estate ends and a huge, several kilometers deep and tens of kilometers long, array of the state forest fund begins. There are many wild animals here - elks, wild boars, traces of which can often be seen in the territory of Zolino.

description of Manilov's estate

1. Gogol gave great attention social environment, carefully wrote out the material environment, material world, in the sphere of which his heroes live, because the everyday environment gives a vivid idea of ​​their appearance. This environment is described using the exterior and interior. The exterior is the artistic and architectural external design of the estate. Interior is a description of the interior decoration of the room, carrying an emotional or meaningful assessment.

   Manilov was the first landowner visited by Chichikov. His two-storey stone house stood in the yip, open to all the winds, which only take it into their head to blow. The house was surrounded by a garden. Manilov had the type of garden that was called English; it became popular from the beginning of the 19th century. There were winding paths, bushes of lilac and yellow acacia, five or six birch trees in small clumps here and there raised their small-leaved thin tops. Under two birch trees there was a summerhouse with a flat green dome, blue wooden columns, on which was the inscription Temple of Solitary Reflection. Below was a pond, all covered with greenery.

   All the details of the estate speak of the character of its owner. The fact that the house stood in an open windy area tells us that Manilov was impractical and mismanaged, because a good owner would not have built his house in such a place. Thin trees, a green pond show that no one cares for them: the trees grow by themselves, the pond is not cleaned, which once again confirms the mismanagement of the landowner. The Temple of Solitary Reflection testifies to Manilov's inclination to talk about lofty matters, as well as to his sentimentality and daydreaming.

   Now let's turn to the interior decoration of the room. Gogol writes that something was always missing in Manilov's house: next to the beautiful furniture in the living room, upholstered in silk, there were two armchairs upholstered in matting; in the other room there was no furniture at all, although immediately after the marriage it was agreed that the room would soon be filled. For dinner, an expensive candlestick made of dark bronze with three antique graces, with a mother-of-pearl dandy shield, was served on the table, and next to it they put some kind of copper invalid, all in lard. But neither the master, nor his wife, nor the servants did not interfere.

   Gogol gives a particularly detailed description of the office of the place where a person is engaged in intellectual work. Manilov's office was a small room. The walls were painted with blue paint, like grey. On the table lay a book, bookmarked at page fourteen, which he had been reading constantly for two years. But most of all in the study was tobacco, which was in the tobacconist, and in caps, and heaped on the table. On the windows were mounds of ash knocked out of a pipe, which were carefully arranged in very beautiful rows.

2. blah blah blah
3. description of the monilov estate

Course work

"Description of the estate as a means of characterizing the landowner in" Dead souls» N.V. Gogol"

Kyiv - 2010

Introduction

Poem N.V. Gogol's "Dead Souls" is a brilliant work, which was the crown of the writer's entire work. It has been studied in detail in the literature. Researchers are finding more and more artistic techniques that Gogol used to create images of landowners.

So, M.S. Gus in the book “Living Russia and Dead Souls” speaks of the use of popular proverbial motifs. For example, in the sixth chapter, a number of proverbs from the Dahl collection are collected that characterize Plyushkin: “It was not from poverty that stinginess came out, but from wealth”, “He looks into the grave, but trembles over a penny”, “A miserly rich man is poorer than a beggar”, etc. . (3, p. 39). Gogol makes extensive use of proverbs and works of other folklore genres thematically close to them, thus surrounding his heroes with images that have become symbols of certain human shortcomings: a “bearish” imprint on Sobakevich, numerous birds, against which Korobochka appears, the figure of Nozdryov, illuminated by his spoiled hurdy-gurdy. “The images of “Dead Souls” are in a sense like the surface of an iceberg, because they grow out of a gigantic thickness of historical and artistic national traditions hidden from the eye” (3, p. 40).

Yu.V. Mann in the book "Gogol's Poetics" talks about the structure of the poem: about the rationalism of the completed first part, in which each chapter is thematically completed and has its own "subject", for example, the first one displays the arrival of Chichikov and acquaintance with the city, chapters from the second to sixth - visits to landowners, the seventh chapter - the design of merchants, etc., about the most important image of the road, which symbolizes the life path of Chichikov, about the contrast between the living and the dead and the mortification of the living as a form of the grotesque, which is embodied with the help of certain motives. These motives must reach a certain degree of intensification: “It is necessary that a doll or an automaton, as it were, replace a person ... so that the human body or its parts become objectified, as it were, become an inanimate thing” (4, p. 298). In Gogol, the contrast between the living and the dead is often indicated by the description of the eyes - and it is their description that is missing in the portraits of the characters in the poem, or their lack of spirituality is emphasized: “Manilov“ had eyes as sweet as sugar, ”and Sobakevich’s eyes - like those of a wooden doll” (4, p. 305). Extensive comparisons play the same grotesque role. A feature of the composition of the poem is that each subsequent landowner that Chichikov encounters is even "more dead than the previous one." Gogol gives each character a detailed description, putting him into action, but the characters are revealed until the last appearances of the characters in the poem, surprising us with unexpected discoveries.

More Yu.V. Mann talks about two types of characters in Dead Souls. The first type is those characters whose past almost nothing is said about (Manilov, Korobochka, Sobakevich, Nozdrev), and the second is those whose biography we know. This is Plyushkin and Chichikov. They still have “some kind of pale reflection of feeling, that is, spirituality” (4, p. 319), which characters of the first type do not have. It is worth noting the use of the technique of introspection - objective evidence of the internal experiences of the character, his mood, thoughts. Each landowner is associated with several cases of using this technique, which indicates the heterogeneity of the characters of the poem. Turning to the question of the genre, one can draw a parallel with Dante's Divine Comedy: Manilov opens a gallery of landowners - Dante's first circle includes those who did neither good nor evil, which means impersonality and death. The following characters have at least some enthusiasm and their own "passion", which determines their further description.

S.I. Mashinsky in the book "Dead Souls" by N.V. Gogol" compares landowners with ancient heroes: Sobakevich - with Ajax, Manilov - with Paris, and Plyushkin - with Nestor. The first person Chichikov goes to is Manilov. He considers himself a bearer of spiritual culture. But, observing his reaction to Chichikov's proposal to buy up dead souls, we are convinced of the opposite: with empty thoughtfulness, his face becomes like that of a "too smart minister." The satirical irony of Gogol helps to expose the objective contradictions of reality: a comparison with a minister could only mean that a different minister is the personification of a higher state power- not so different from Manilov himself. After him, Chichikov was going to Sobakevich, but ended up at Korobochka, which was not an accident: the inactive Manilov and the troublesome Korobochka were in some way antipodes, so they are compositionally placed side by side. Chichikov calls her "club-headed" not in vain: in terms of his mental development, Korobochka seems to be lower than all the other landowners. She is prudent, but shows hesitation when selling dead souls, fearing to sell too cheap and out of fear "suddenly they will be needed in the household somehow on occasion" (5, p. 42). Leaving her, Chichikov meets Nozdryov. He is an independent person, having a phenomenal ability to lie unnecessarily, to buy what turns up and lower everything to the ground. There is not even a hint of Korobochka's hoarding in him: he easily loses at cards, loves to waste money. He is also a reckless braggart and a liar by vocation and conviction, who behaves arrogantly and aggressively. After him, Chichikov comes to Sobakevich, who bears little resemblance to other landowners: he is “a prudent owner, a cunning merchant, a tight-fisted fist who is alien to Manilov’s dreamy complacency, as well as Nozdryov’s violent folly or Korobochka’s petty, feeble-minded hoarding” (5, p. 46 ). In the whole estate and economy, everything is solid and strong with him. But Gogol knew how to find a reflection of a person's character in the little things of life surrounding him, since the thing bears the imprint of the owner's character, becomes a double of its owner and an instrument of his satirical denunciation. The spiritual world of such heroes is so petty and insignificant that a thing can fully express their inner essence. In Sobakevich's house, everything reminds him of himself: both the pot-bellied walnut office standing in the corner of the living room on ridiculous four legs, and the unusually heavy table, armchairs, and chairs seemed to say: "And I, too, Sobakevich!" (5, p. 48). And the owner himself is like " medium size bear": and looks somehow askance, and the coat is bear-colored on him, and he steps like a bear, constantly squeezing someone's legs. When it comes to buying dead souls, a direct conversation ensues between two crooks, each fearing to miss and be scammed, we see two predators satirically depicted. And, finally, the last person whom Chichikov honored with his visit is Plyushkin. Possessing enormous wealth, he rotted bread in the bins, kept the courtyard people starving, pretending to be a poor man.

After the publication of the poem, reports began to appear about possible prototypes landowners whom Gogol knew personally.

E.A. Smirnov in the book "Gogol's Poem "Dead Souls" notes that the whole picture of Russian reality in the first volume of the work is illuminated by an idea that pairs it with the darkest area of ​​\u200b\u200bthe universe - hell, defining the idea according to the type of "Divine Comedy". The motive of immersion, lowering down is visible when Chichikov and his chaise now and then get stuck in the mud. For the first time he was thrown out of the britzka into the mud in front of Korobochka's house, then he fell into the mud at Nozdryov's; in Plyushkin's room hung "engravings" depicting drowning horses. Dante has a certain source of light in Limbo, from which we can conclude that the lighting here is twilight; Gogol repeats the light gradations of "Hell": from twilight to complete darkness.

E.S. Smirnova - Chikina in the commentary “Poem by N.V. Gogol's "Dead Souls" gives the work a historical, everyday and literary context.

Describing the historical situation of the 40s. XIX century, E.S. Smirnova-Chikina mentions the stratification of the countryside, which arose due to the inevitability of the transition from the feudal system to the bourgeois one, and caused the fall of many noble estates, or else forced the landowners to become bourgeois entrepreneurs. Also in Russia at that time, it was very common to manage estates by women, who, when getting married, often became its head. There was no single monetary system, but dues were widely used.

The researcher also pays great attention to details, such as a book with a bookmark on the fourteenth page, which Manilov has been “constantly reading for two years now”, a portrait of Bagration in Sobakevich’s living room, who “looked extremely attentively from the wall” at the deal, etc.

M.B. Khrapchenko in the book Nikolai Gogol: A Literary Way. The greatness of the writer" writes about the generalization of the images of landowners, emphasizing the prevalence of such characters throughout Rus', highlights the dominant features in the psychological image of each landowner. In the guise of Manilov, it was precisely “pleasantness” that caught the eye first of all. He is sentimental in everything, creates his own illusory world. In contrast to him, Korobochka is characterized by the absence of claims to higher culture, simplicity. All her thoughts are centered around the economy and the estate. Nozdryov, on the other hand, is energetic and provocative, ready to do any business. His ideal is people who know how to live noisily and cheerfully for their own pleasure. Sobakevich knows how to act and achieve what he wants, he soberly evaluates people and life; at the same time, it bears the imprint of clumsiness and ugliness. The purpose of Plyushkin's life is the accumulation of wealth. He is a devoted slave of things, not allowing himself even the slightest excess. Chichikov himself is a swindler who easily "reincarnates", moves from one behavior to another, without changing his goals.

The theme of our term paper assumes familiarity with the works of a theoretical, literary and cultural nature. Thus, a major Ukrainian literary theorist A.I. Beletsky in his work "In the Studio of the Artist of the Word" analyzes inanimate nature, for which he uses the term "still life". The researcher examines the role and functions of still life in the history of world literature from folklore to modernist literature beginning of the twentieth century. In realistic literature, writes A.I. Beletsky, still life performs the function of a background, a characterological function, and also helps to describe the internal state of the hero. These remarks are very valuable in the analysis of Gogol's Dead Souls.

O. Skobelskaya in the article "Russian Manor World" talks about historical origin of the Russian estate, about its features and elements, such as gazebos, lawns, menagerie, bridges, benches, etc. Arbors gave the garden beauty and comfort and served both for relaxation and for a cool refuge. A lawn was a meadow covered with fine grass. Paths were laid for walks in the garden and were of different types (covered and open, single and double). The labyrinth is a part of the garden, which consisted of a walking area filled with tangled paths. Benches were located in conspicuous places. They served as garden decorations and resting places, often painted green. Paths were lined with flower beds, places around arbors and benches were decorated. The exterior became the subject of poeticization.

But, as we can see, the topic of describing the estate as a means of characterizing the landowner has not become the object of a holistic and directed study of scientists and therefore is not covered enough, which predetermines the relevance of its study. And the purpose of our course work is to show how the features of the domestic environment characterize the landowners from the poem by N.V. Gogol "Dead Souls".

1. The estate as a means of characterizing Manilov

Gogol paid great attention to the social environment, carefully wrote out the material environment, the material world in which his characters live, because the everyday environment gives a vivid idea of ​​their appearance. This environment is described using the exterior and interior. The exterior is the artistic and architectural external design of the estate. Interior - a description of the interior decoration of the room, carrying an emotional or meaningful assessment.

Manilov was the first landowner visited by Chichikov. His two-story stone house stood "in the yip, open to all the winds that you want to blow." The house was surrounded by a garden. Manilov had that type of garden that was called English - it became popular from the beginning of the 19th century. There were winding paths, bushes of lilacs and yellow acacia, "five or six birches in small clumps here and there raised their small-leaved thin peaks" (p. 410). Under two birch trees there was a gazebo with a flat green dome, blue wooden columns, on which was the inscription "Temple of Solitary Reflection." Below was a pond, all covered with greenery.

All the details of the estate speak of the character of its owner. The fact that the house stood in an open windy area tells us that Manilov was impractical and mismanaged, because a good owner would not have built his house in such a place. Thin trees, a green pond show that no one cares for them: the trees grow by themselves, the pond is not cleaned, which once again confirms the mismanagement of the landowner. The "Temple of Solitary Reflection" testifies to Manilov's tendency to talk about "high" matters, as well as his sentimentality, dreaminess.

Now let's turn to the interior decoration of the room. Gogol writes that in Manilov's house there was always "something missing" (p. 411): next to the beautiful furniture in the living room, upholstered in silk, there were two armchairs upholstered in matting; in the other room there was no furniture at all, although immediately after the marriage it was agreed that the room would soon be filled. For dinner, an expensive candlestick made of dark bronze “with three antique graces, with a mother-of-pearl dandy shield” (p. 411) was served on the table, and next to it they put some kind of copper invalid, all in lard. But neither the master, nor his wife, nor the servants did not interfere.

Gogol gives a particularly detailed description of the office - a place where a person is engaged in intellectual work. Manilov's office was a small room. The walls were painted with "blue paint like gray" (p. 414). On the table lay a book, bookmarked on page fourteen, "which he had been reading constantly for two years" (p. 411). But most of all in the study was tobacco, which was in the tobacconist, and in caps, and heaped on the table. On the windows were mounds of ash knocked out of a pipe, which were carefully arranged in "very beautiful rows" (p. 414).

How does the interior characterize the hero? The incompleteness, which is constantly observed in Manilov, once again tells us about his impracticality. Although he wants to always please everyone, he is not disturbed by the strange appearance of his house. At the same time, he makes claims for sophistication and sophistication. When we “enter” his office, we immediately notice that the author constantly highlights the blue color, which symbolizes the dreaminess, sentimentality, spiritual pallor of the landowner. It is known that Gogol's unfinished book is an image that accompanies vulgar person. And from the spread out heaps of ashes, it immediately becomes clear that the "work" of the landowner in his office comes down to smoking tobacco and thinking about something "high"; his pastime is absolutely meaningless. His studies are worthless, as are his dreams. The imprint of Manilov’s personality lies on Manilov’s belongings: they either lack something (upholstered with matting chairs), or they have something superfluous (a beaded case for a toothpick). He did no good to anyone and lived for nothing. He did not know life, reality was replaced by empty fantasies.

2. Homestead as a means of characterizing the Box

After Manilov, Chichikov went to Korobochka. She lived in a small house, the yard of which was full of birds and all kinds of other domestic creatures: "there were no number of turkeys and chickens" (p. 420), a rooster proudly walked between them; there were also pigs. The yard "blocked off a wooden fence" (p. 421), behind which were vegetable gardens with cabbage, beets, onions, potatoes and other vegetables. The garden was planted "in some places with apple trees and other fruit trees" (p. 421), which were covered with nets to protect against magpies and sparrows; for the same purpose, several scarecrows “on long poles with outstretched arms” stood in the garden (p. 421), and one of them was wearing a cap of the landowner herself. The huts of the peasants had good view: “the worn-out board on the roofs was everywhere replaced by a new one, the gates did not squint anywhere” (p. 421), and in the covered sheds there was one, and where there were two spare carts.

It is immediately obvious that Korobochka is a good hostess. Tirelessly busy, she is opposed to Manilov. Her peasants live well, they are "satisfied" because she takes care of them and her household. She also has a well-groomed garden, on which there are stuffed animals that drive away pests. The landowner cares so much about her harvest that she even puts her own cap on one of them.

As for the interior decoration of the room, Korobochka's rooms were modest and rather old, one of them "was hung with old striped wallpaper" (p. 419). Paintings with “some birds” (p. 419) hung on the walls, and between them hung a portrait of Kutuzov and “an old man painted in oils with red cuffs on his uniform” (p. 420), between the windows there were small antique mirrors with dark frames in the form of “rolled leaves” (p. 419), and behind each mirror was either a letter, or an old deck of cards, or a stocking. Also on the wall was a clock “with painted flowers on the dial” (p. 419).

As you can see, Korobochka's life is violent, rich, but it is lower, as it is at the level of the animal (numerous birds) and plant (flowers on the dial, "curled leaves" on the mirrors) world. Yes, life is in full swing: the guest woke up due to the invasion of flies, the clock in the room emitted a hiss, the courtyard, filled with living creatures, was already buzzing; in the morning the turkey “chattered” something to Chichikov through the window. But this life is low: the portrait of Kutuzov, the hero, which hangs on the wall in her room, shows us that Korobochka's life is limited to routine troubles; in the person of the general we see a different world, completely different from the petty and insignificant world of the landowner. She lives closed in her estate, as if in a box, and her thriftiness eventually develops into hoarding. The box seeks to benefit from everything, very afraid of selling too cheap in some unfamiliar, unexplored business. Thus, she is a generalized image of thrifty, and therefore living in contentment, landowning widows, who are slow-witted, but who know how not to miss their benefits.

3. The estate as a means of characterizing Nozdryov

landowner gogol dead soul

Nozdryov was the third landowner visited by Chichikov. True, they met not on the owner's estate, but in a tavern by the main road. After that, Nozdryov persuaded Chichikov to go to visit him. As soon as they entered the yard, the owner immediately began to show his stable, where there were two mares - one gray in apples, and the other kaurai, and a bay stallion, "looking unsightly" (p. 431). Then the landlord showed his stalls, "where there used to be very good horses" (p. 431), but there was only a goat, which, according to the old belief, "it was considered necessary to keep horses" (p. 431). Then followed a wolf cub on a leash, which he fed only raw meat, so that he was "a perfect beast" (p. 431). In the pond, according to Nozdryov, there were such fish “that two people pulled out a piece with difficulty” (p. 431), and the dogs that were in a small house surrounded by “a large yard fenced on all sides” (p. 432) were just unmeasured. They were of different breeds and colors: dense and pure dog, muruga, black and tan, black-eared, gray-eared, and also had nicknames in the imperative mood: “shoot”, “curse”, “bake”, “flutter” (p. 432) and etc. Nozdryov was among them "like a father" (p. 432). Then they went to inspect the Crimean bitch, who was blind, and after her - a water mill, "where there was a lack of fluff, in which the upper stone is affirmed" (p. 432). After that, Nozdryov led Chichikov through a field in which “Russians are so dead that the land is not visible” (p. 432), where they had to make their way “between fallows and harrowed fields” (p. 432), constantly walking through the mud, since the area was very low. Having crossed the field, the owner showed the boundaries: “all this is mine, on this side and even on that side, all this forest, and everything beyond the forest” (p. 432).

We see that Nozdryov is not at all interested in his household, his only area of ​​\u200b\u200binterest is hunting. He has horses, not for plowing the field, but for riding; he also keeps many hunting dogs, among which he is “like a father” (p. 432) among a large family. Before us is a landowner, devoid of true human qualities. Showing his field, Nozdryov boasts of his possessions and "Russians", and not the harvest.

In Nozdryov's house "there was no preparation" (p. 431) for receiving guests. In the middle of the dining-room stood wooden goats, on which two peasants were whitewashing the walls, and the whole floor was splashed with whitewash. Then the landowner took Chichikov to his office, which, however, did not even resemble an office: there were no traces of books or paper; but there were “sabers and two guns, one worth three hundred and the other eight hundred rubles” (p. 432). Then came Turkish daggers, “on one of which was mistakenly carved: “Master Saveliy Sibiryakov” (p. 432), and after them the pipes were “wooden, clay, foam, stoned and unsmoked, covered with suede and uncovered, chibouk with amber mouthpiece, recently won, a pouch embroidered by some countess…” (p. 432).

The home environment fully reflects the chaotic nature of Nozdryov. At home everything is stupid: there are goats in the middle of the dining room, there are no books and papers in the office, etc. We see that Nozdryov is not the master. In the study, a passion for hunting is clearly noticeable, the warlike spirit of the owner is shown. The author also emphasizes that Nozdrev is a big braggart, which can be seen from the Turkish dagger with the inscription “Master Saveliy Sibiryakov”, from the pond, in which there is supposedly a huge fish, from the “infinity” of his possessions, etc.

Sometimes in Gogol one thing symbolizes the whole character of a person. In this case, it's a barrel organ. At first she played the song "Malbrug went camping", after which she constantly switched to others. There was one pipe in it, "very lively, in no way wanting to calm down" (p. 432), which whistled for a long time.

And again, we are convinced that the domestic environment has a very great importance in the characterization of the image: the hurdy-gurdy exactly repeats the essence of the owner, his senselessly perky disposition: the constant jumping from song to song shows Nozdryov's strong causeless mood swings, his unpredictability, harmfulness. He is restless, mischievous, violent, ready at any moment for no reason to play a dirty trick or do something unforeseen and inexplicable. Even the fleas in Nozdryov's house, which had been unbearably biting Chichikov all night, were "intelligent insects" (p. 436). The energetic, active spirit of Nozdryov, in contrast to the idleness of Manilov, is nevertheless devoid of inner content, absurd and, ultimately, just as dead.

4. The estate as a means of characterizing Sobakevich

His village seemed quite large. To the right and left, like two wings, there were two forests - birch and pine, and in the middle one could see "a wooden house with a mezzanine, a red roof and dark gray, wild walls" (p. 440), like those built for "military settlements and German colonists” (p. 440). It was noticeable that when building a house, the architect, who was a pedant and wanted symmetry, constantly struggled with the taste of the owner, who was important for convenience, and it turned out that all the corresponding windows were boarded up on one side, and a small one was turned in their place, “probably needed for the dark closet” (p. 440). The pediment also did not end up in the middle of the house, “because the owner ordered one column to be thrown out from the side” (p. 440), and three columns were obtained instead of four. Sobakevich's yard was surrounded by a thick and very strong lattice, and it was clear that the owner was busy with strength. Stables, sheds and kitchens were made of full-weight and thick logs, defined for "secular standing" (p. 440). Village huts were built firmly, densely, that is, properly, though without "carved patterns and other undertakings" (p. 440). And even the well was dressed in such a strong oak, "which is used only for mills and ships" (p. 440). In a word, everything was “stubborn, without shaking, in some kind of strong and clumsy order” (p. 440).

Solidity, fundamentality, strength are the hallmarks of both Sobakevich himself and his everyday environment. But at the same time, all the details of everyday life bear the stamp of clumsiness, ugliness: the house does not have four, but only three columns, corresponding windows only on one side, etc.

In Sobakevich's living room, the paintings featured Greek generals "engraved to their full height" (p. 441): "Mavrocordato in red trousers and uniform, with glasses on his nose, Kolokotroni, Miauli, Kanari" (p. 441). All of them were with thick thighs and huge mustaches. And between them, "it is not known how" (p. 441), skinny, thin Bagration with small banners and cannons below, and he was in the narrowest frames, fit. He was followed by the Greek heroine Bobelina, one leg of which seemed "larger than the entire body of those dandies who fill today's living rooms" (p. 441). “The owner, being a healthy and strong man himself, seemed to want strong and healthy people to decorate his room” (p. 441). Near Bobelina hung a cage in which there was a blackbird with white speckles, also very similar to Sobakevich. Everything in his room “had some strange resemblance to the owner himself” (p. 441): in the corner of the living room stood a pot-bellied walnut bureau “on absurd four legs” (p. 441), resembling a bear. The table, armchairs, chairs - everything was somehow heavy and restless, and "every object seemed to say:" And I, too, Sobakevich! or “and I also look very much like Sobakevich” (p. 441). When Chichikov bargained with Sobakevich for dead souls, "Bagration, with an aquiline nose, looked extremely attentively at this purchase from the wall" (p. 446).

The names of the heroes who decorated the walls of Sobakevich's living room do not say anything. modern reader, but contemporaries N.V. Gogol was very well known and respected by the heroes of the liberation war. Smirnova-Chikina characterizes each of these heroes. Alexander Mavrocordato was one of the leaders of the Greek uprising. Theodore Kolokotronis led the peasant partisan movement. Andreas Vokos Miaoulis was a Greek admiral and Constantine Kanari was a minister of war in the Greek governments. An outstanding Russian commander - Pyotr Ivanovich Bagration - participated in the Suvorov campaigns, was a hero Patriotic War 1812, and Bobelina was the heroine of the Greek War of Independence. These prominent figures, who gave their lives for their homeland, are opposed to low swindlers-purchasers who care only about their own good.

Everything in Sobakevich's house surprisingly resembles him. Not only in his house, but throughout the entire estate - down to the farm of the last peasant - everything is solid and strong. So Gogol achieves brightness and expressiveness in describing the characteristic features of the hero. Things appear before the reader as if alive, revealing “some strange resemblance to the owner of the house himself”, and the owner, in turn, resembles “a medium-sized bear” (p. 441) and has all the corresponding habits: the animal essence showed animal cruelty and cunning. We see that a person, generated by social conditions, in turn leaves an imprint on everything that surrounds him, and himself influences public environment.

5. The estate as a means of characterizing Plushkin

The last person Chichikov visited was Plyushkin. The guest immediately noticed some dilapidation on all the buildings: the log on the huts was old and darkened, there were holes in the roofs, the windows were without glass or plugged with a rag, the balconies under the roofs were askew and turned black. Behind the huts stretched huge stacks of bread, clearly stagnant for a long time, the color of which was like badly baked brick; all sorts of rubbish grew on their top, and a bush clung to the side. Two village churches could be seen from behind the grain hoards: “an empty wooden and stone one, with yellowish walls, stained, cracked” (p. 448). The invalid's mansion looked like an unreasonably long castle, in places a story, in places two, on the dark roof of which two belvederes stuck out. The walls were cracked, “and, apparently, they suffered a lot from all sorts of bad weather, rains, whirlwinds and autumn changes” (p. 448). Of all the windows, only two were open, the rest were shuttered or even boarded up; on one of the open windows there was a dark “pasted triangle of blue sugar paper” (p. 448). The wood on the fence and the gate was covered with green mold, a crowd of buildings filled the yard, next to them, on the right and left, gates to other yards were visible; “everything indicated that the economy had once flowed here on a vast scale” (p. 449). And now everything looked very cloudy and depressing. Nothing enlivened the picture, only the main gate was open, and only because a peasant drove in with a cart; at other times, they were also locked tightly - a padlock hung in an iron loop.

Behind the house stretched an old, vast garden, which turned into a field and was "overgrown and decayed" (p. 448), but it was the only thing that enlivened this village. In it, the trees grew in freedom, “a colossal white trunk of a birch, devoid of a top, rose from this green thicket and rounded in the air, like a regular marble sparkling column” (p. 449); hops, which choked the bushes of elderberry, mountain ash and hazel below, ran up and twisted around a broken birch, and from there began to cling to the tops of other trees, “tied up with rings

their thin tenacious hooks, easily swayed by air” (p. 449). In some places the green thickets diverged and showed an unlit depression, "yawning like a dark mouth" (p. 449); it was shrouded in shadow, and in its dark depths there was a faint glimpse of a running narrow path, a collapsed railing, a staggering gazebo, a hollow, decrepit trunk of a willow, a gray-haired chapyrne and a young branch of a maple, “stretching its green paws-leaves to the side” (p. 449) . Away, at the very edge of the garden, several tall aspens "raised huge crows' nests to their quivering peaks" (p. 449). Other aspens had some branches hanging down with withered leaves. In a word, everything was fine, but as happens only when nature “passes through with its final chisel, lightens heavy masses, gives wonderful warmth to everything that was created in the coldness of measured cleanliness and tidiness (p. 449).

The description of the village and the estate of this owner is imbued with melancholy. Windows without glass, plugged with a rag, dark and old logs, through roofs ... The manor's house looks like a huge grave crypt, where a person is buried alive. Only a lushly growing garden reminds of life, of beauty, sharply contrasted with the ugly life of the landowner. It seems that life has left this village.

When Chichikov entered the house, he saw "dark, wide passages, from which a cold blew, like from a cellar" (p. 449). From there he got into a room, also dark, slightly illuminated by light that fell from under a wide crack that was at the bottom of the door. When they entered this door, light finally appeared, and Chichikov was amazed at what he saw: it seemed that “the floors were being washed in the house and all the furniture had been piled up here for a while” (p. 449). There was a broken chair on the table, next to it - a clock with a stopped pendulum, braided with cobwebs; right there was a cabinet with antique silver. Decanters and Chinese porcelain. On the bureau, “paved with mosaics, which had already fallen out in places and left behind only yellowish grooves filled with glue” (p. 450), lay a whole host of things: a pile of scribbled papers covered with a greenish marble press, some old book bound in leather , a dried lemon the size of a walnut, a broken armchair arm, a glass “with some liquid and three flies” (p. 450) covered with a letter, a piece of rag, two quills covered in ink, a hundred-year-old toothpick, “which the owner may have , picking his teeth even before the French invasion of Moscow” (p. 450). Several paintings were hung senselessly on the walls: “a long, yellowed engraving of some battle, with huge drums, screaming soldiers in three-cornered hats and drowning horses” (p. 450), inserted without glass into a mahogany frame with “thin bronze stripes and bronze circles in the corners” (p. 450). Next to them was a picture that took up half the wall, all blackened, painted in oils, on which there were flowers, fruits, a cut watermelon, a boar's face and a duck hanging head down. From the middle of the ceiling hung a chandelier in a linen bag, which, due to dust, became like “a silk cocoon in which a worm sits” (p. 450). In the corner of the room, everything that “is unworthy to lie on the tables” (p. 450) was piled on a heap; it was difficult to say what exactly was in it, because there was so much dust there that “the hands of everyone who touched them became like gloves” (p. 450). One could only see a broken piece of a wooden shovel and an old boot sole, which protruded most conspicuously from there. There was no way to say that a living being lived in this room, if it were not for “an old worn cap lying on the table” (p. 450).

The accumulation of things, material values ​​becomes the only goal of Plyushkin's life. He is the slave of things, not their master. The insatiable passion of acquisitiveness led to the fact that he lost a real idea of ​​\u200b\u200bobjects, ceasing to distinguish useful things from unnecessary rubbish. With such internal depreciation objective world the insignificant, insignificant, insignificant inevitably acquires a special attraction, on which he focuses his attention. The good that Plyushkin accumulated brought him neither happiness nor even peace. Constant fear for his property turns his life into a living hell and brings him to the brink of mental decay. Plyushkin rots grain and bread, while he himself is shaking over a small piece of Easter cake and a bottle of tincture, on which he made a mark so that no one thieves would drink it. The thirst for accumulation pushes him onto the path of all sorts of self-restraints. The fear of missing something makes Plyushkin, with tireless energy, collect all sorts of rubbish, all sorts of nonsense, everything that has long ceased to serve the vital needs of man. Plyushkin turns into a devoted slave of things, a slave of his passion. Surrounded by things, he does not experience loneliness and the need to communicate with the outside world. This is a living dead man, a misanthrope who has turned into a "hole in humanity."

conclusions

We are once again convinced that Gogol is one of the most amazing and original masters artistic word, and “Dead Souls” is a unique work in which, with the help of a description of the external and internal appearance of the estate, the character of the person living in it is fully revealed.

The poem "Dead Souls" interested many scientific researchers, such as Yu.V. Mann, E.S. Smirnova-Chikina, M.B. Khrapchenko and others. But there were also critics who paid attention to the theme of describing the estate in the poem - this is A.I. Beletsky and O. Skobelskaya. But so far this topic has not been fully disclosed in the literature, which predetermines the relevance of its study.

Each landowner has similar and different character traits with other landowners. Gogol singles out the most distinctive feature in each character, which is expressed in the everyday environment. For Manilov, this is impracticality, vulgarity and dreaminess, for Korobochka - "clubhead", troublesomeness in the world of low things, for Nozdryov - abundant energy that is directed in the wrong direction, sudden mood swings, for Sobakevich - cunning, clumsiness, for Plyushkin - avarice and greed.

From hero to hero Gogol exposes life of crime landowners. The images are given according to the principle of ever deeper spiritual impoverishment and moral decline. In "Dead Souls" Gogol flaunts everything human failings. Despite the fact that there is not a small amount of humor in the work, "Dead Souls" can be called "laughter through tears." The author reproaches people for forgetting about eternal values ​​in the struggle for power and money. Only the outer shell is alive in them, and the souls are dead. Not only the people themselves are to blame for this, but also the society in which they live, which, in turn, also leaves its mark.

So, the poem "Dead Souls" is very relevant to this day, because, unfortunately, the modern world is not very different from the one described in the poem, and such human traits as stupidity and stinginess have not yet been eradicated among the people. .

List of used literature

1. Gogol N.V. Dead souls // Collected. op. - M .: State. Publishing House of Artists. lit., 1952. - S. 403 - 565.

2. Beletsky A.I. In the workshop of the artist of the word // Beletsky A.I. In the artist's studio words: Sat. Art. - M .: Higher. school, 1989. - S. 3 - 111.

3. Gus M. Living Russia and Dead Souls. – M.: Sov. writer, 1981. - 334 p.

4. Mann Yu.V. Poetics of Gogol. - 2nd ed., add. – M.: Artist. lit., 1978. - S. 274 - 353.

5. Mashinsky S.I. "Dead Souls" N.V. Gogol. – M.: Artist. lit., 1966. - 141 p.

6. Skobelskaya O. Russian manor world // World Lit. and culture in educational institutions of Ukraine. - 2002. - No. 4. - S. 37 - 39.

7. Smirnova E.A. Gogol's poem Dead Souls. - L: Nauka, 1987. - 198 p.

8. Smirnova - Chikina E.S. Poem N.V. Gogol "Dead Souls". A comment. - L: Education, 1974. - 316 p.

9. Khrapchenko M.B. Nikolai Gogol: Literary Way. greatness of the writer. - M.: Sovremennik, 1984. - S. 348 - 509.

To work on his main work - the poem "Dead Souls" - N.V. Gogol started in 1835 and did not stop it until his death. He set himself the task of showing the backward landed-feudal Russia with all its vices and shortcomings. An important role in this was played by the images of representatives of the nobility, masterfully created by the author, who constituted the main social class in the country. The description of the village of Manilov, Korobochka, Sobakevich, Nozdrev, Plyushkin makes it possible to understand how different, but at the same time typical, spiritually poor were the people who were the main support of power. This is despite the fact that each of the presented landowners considered himself the best among the rest.

The role of the interior

Five chapters of the first volume, dedicated to the landlords, Gogol builds on the same principle. He characterizes each host through a description of his appearance, manner of behaving with the guest - Chichikov - and relatives. The author talks about how life was organized on the estate, which is manifested through the attitude towards the peasants, the entire estate and their own home. As a result, a generalized picture emerges of how the “best” representatives of serf Russia lived in the first half of the 19th century.

The first is a description of the village of Manilov - a very sweet and friendly, at first glance, landowner.

Long road

Not a very pleasant impression is already left by the way to the estate. At a meeting in the city, the landowner, who invited Chichikov to visit, noted that he lived about fifteen versts from here. However, all sixteen and even more had already passed, and the road seemed to have no end. Two peasants who met pointed out that after a verst there would be a turn, and there Manilovka. But even this did not bear much resemblance to the truth, and Chichikov concluded for himself that the host, as was often the case, had halved the distance in the conversation. Perhaps in order to lure - remember the name of the landowner.

Finally, the estate appeared ahead.

Unusual location

The first thing that caught my eye was the two-story manor house, which was built on a hill - "on the Jura", as the author points out. It is with him that it is worth starting the description of the village of Manilov in the poem "Dead Souls".

It seemed that the lonely standing house was blown from all sides by the winds that only happened in these places. The hillside on which the building stood was covered with trimmed turf.

The absurd arrangement of the house was complemented by flower beds with bushes and lilacs, laid out in the English style. There were stunted birch trees nearby - no more than five or six - and there was an arbor with a ridiculous name for these places, "The Temple of Solitary Reflection." The unsightly picture was completed by a small pond, which, however, was not uncommon on the estates of landowners who were fond of the English style.

Absurdity and impracticality - such is the first impression of the landowner's economy he saw.

Description of the village of Manilova

"Dead Souls" continues the story of a series of miserable, gray peasant huts - Chichikov counted at least two hundred of them. They were located along and across at the foot of the hill and consisted of only logs. Between the huts, the guest did not see a tree or other greenery, which made the village not at all attractive. In the distance it was somehow boringly dark. Such is the description of the village of Manilov.

"Dead Souls" contains a subjective assessment of what Chichikov saw. At Manilov everything seemed to him somehow gray and incomprehensible, even "the day was either clear or gloomy." Only two cursing women, dragging a log of crayfish and roach along the pond, and a rooster with torn wings, screaming at the top of its voice, somewhat enlivened the picture that presented itself.

Meeting with the owner

Description of the village of Manilov from "Dead Souls" will be incomplete without getting to know the owner himself. He stood on the porch and, recognizing the guest, immediately broke into the most cheerful smile. Even at the first meeting in the city, Manilov struck Chichikov with the fact that there seemed to be a lot of sugar in his appearance. Now the first impression has only intensified.

In reality, the landowner at first appeared to be a very kind and pleasant person, but after a minute this impression completely changed, and now the thought arose: “The devil knows what it is!”. Manilov's further behavior, overly ingratiating and built on the desire to please, fully confirms this. The host kissed the guest as if they had been friends for a century. Then he invited him into the house, trying in every possible way to show respect for him by the fact that he did not want to enter the door before Chichikov.

Interior setting

The description of the village of Manilov from the poem "Dead Souls" evokes a feeling of absurdity in everything, including the decoration of the master's house. To begin with, next to the expensive and even elegant furniture that stood in the living room, there were a couple of armchairs, for which there was not enough fabric to upholster at one time. And for several years now, the owner has warned the guest every time that they are not ready yet. In another room there had been no furniture at all for the eighth year since Manilov's marriage. In the same way, at dinner, a luxurious antique-style bronze candlestick could be placed on the table next to it, and some kind of “invalid” made of copper, all in lard. But no one from home is at it

The owner's office looked just as funny. It was, again, an incomprehensible gray-blue color - something similar to what the author already mentioned, giving a general description of the village of Manilov at the beginning of the chapter. On the table for two years there was a book with a bookmark on the same page - no one had ever read it. On the other hand, tobacco was laid out all over the room, and rows of slides appeared on the windowsills, laid out from the ashes that remained in the pipe. In general, dreaming and smoking were the main and, moreover, favorite occupations of the landowner, who was not at all interested in his possessions.

Getting to know the family

Manilov's wife is like himself. Eight years life together did little to change the relationship between the spouses: they still treated each other with a piece of an apple or interrupted classes to capture a kiss. Manilova received a good upbringing, teaching everything that was necessary for a happy woman to speak French, play the piano and embroider some unusual case with beads to surprise her husband. And it doesn't matter that the kitchen cooked poorly, there was no stock in the pantries, the housekeeper stole a lot, and the servants slept more and more. The pride of the spouses was their sons, called strange and promising to show great abilities in the future.

Description of the village of Manilova: the situation of the peasants

From all that has been said above, one conclusion already suggests itself: everything on the estate went somehow like this, in its own way and without any interference from the owner. This idea is confirmed when Chichikov starts talking about the peasants. It turns out that Manilov has no idea how many souls he has died lately. Nor can his clerk give an answer. He only notes that there is a lot, with which the landowner immediately agrees. However, the word “much” does not surprise the reader: the description of the village of Manilov and the conditions in which his serfs lived make it clear that for an estate in which the landowner does not care about the peasants at all, this is a common thing.

As a result, an unattractive image of the main character of the chapter emerges. It never occurred to the mismanaged dreamer to go to the fields, find out what the people who depended on him needed, or even simply count how many of them he had. Moreover, the author adds that the man could easily deceive Manilov. He supposedly asked for a job, but he calmly went to get drunk, and before that no one cared. In addition, all the servants, including the clerk and the housekeeper, were dishonest, which did not bother either Manilov or his wife.

conclusions

The description of the village of Manilov is completed with quotes: “there is a kind of people ... neither this nor that, neither in the city of Bogdan nor in the village of Selifan ... Manilova should also join them.” Thus, from which, at first glance, there is no harm to anyone. He loves everyone - even the most inveterate swindler is the most excellent person in him. Sometimes he dreams of how to set up shops for peasants, but these "projects" are very far from reality and will never be put into practice. Hence the general understanding of "Manilovism" as social phenomenon- a tendency to pseudo-philosophy, the absence of any benefit from existence. And with this, degradation begins, and then collapse. human personality, which draws attention to Gogol, giving a description of the village of Manilov.

"Dead souls", thus, become a sentence to a society in which the best representatives local nobility like Manilov. After all, the rest will be even worse.

Reading works of Russian classical literature of the first half of XIX century, I drew attention to the fact that the authors pay great attention to the description of noble landowners' estates.

I have a question: what meaning do these descriptions carry in the texts of the works. I'm interested in this problem.

If the description of estates is very common (both in lyrical and prose works), and we know that there is nothing secondary and accidental in works of art, then I came up with a hypothesis that these descriptions are not accidental and play an important role.

Thus, the object of my research was the image of the estates of landowners-nobles, and the subject of the research was the functions, the role of these descriptions in the works of art by A. S. Pushkin and N. V. Gogol The purpose of my research work:

1) determine the place of noble landowners' estates in the life of Russian society, the first half of the 19th century;

2) to determine the role of the description of estates in the works of Russian literature of the first half of the 19th century.

During my research, I set myself the following tasks:

1) select literature, highlight descriptions in texts;

2) determine the significance

3) compare descriptions;

4) analyze, compare their observations with literary sources and draw a conclusion; Working on this problem, we used the following methods: observations, comparisons, comparisons, literature analysis, generalization.

The world of the noble estate

White houses with columns in a shady thicket of trees; sleepy ponds smelling of mud with white silhouettes of swans plowing summer water; old nannies skimming jams; fat gluttonous pugs grumbling with sugar and anger; arapki girls driving away flies from a sleeping lady; Mitka the Cossack, carrying long chibouks for guests to smoke; flies, flying, buzzing, annoying, biting, boring, nasty flies; flies hanging around windows and walls and books and everything; roosters crowing in the backyards; mooing cows; bleating sheep; squabbling landlords; grandmothers in caps; useless, mending stockings, old lackeys; barefoot girls, sleepy girls; serf actresses, painters, postilions, musicians, greyhounds, artists, dwarfs, serf astronomers.

Inside, in the rooms, there are stately comfortable chairs and armchairs, friendly round tables, sprawling endless sofas, wheezing clocks with a rusty bass chime, and chandeliers, and candlesticks, and sonnets, and screens, and screens, and tubes. ”- this description of the noble estate belongs to the famous Russian art critic of the beginning of our century, Baron Nikolai Nikolaevich Wrangel. He managed to fill it with that mood, that aroma that were inherent in this closed little world, which became for many talented people Russia is a place of solitary contemplation, communication, creativity.

The world of a rural estate was sung by the classics of Russian literature: Gogol in "Dead Souls" - with a smile, Turgenev in "The Noble Nest" - with love, Chekhov in "The Cherry Orchard" - with nostalgic sadness. The manor was a home for many noblemen of the 18th - 16th centuries - military men, politicians, cultural figures. The nobles were born and raised in the estate, where they fell in love for the first time. Having matured, they came here in their free time from study and service. They lived in the estate after their retirement, and here they often found eternal peace. The estate became a safe haven for the landowner in case of ruin, disgrace, family drama, epidemic. In his estate, the nobleman rested his body and soul, for life here, devoid of many urban conventions, was simpler and calmer. Free from public service, he spent more time with his family and loved ones, and if he wished, he could retire, which is always difficult in a crowded city.

In the bosom of nature, far from the bustle of the city, creative inspiration often came. Let us recall the famous "Boldino Autumn" by Pushkin. In his Pskov estate for three autumn months In 1830, he wrote 30 poems, Belkin's Tales, Little Tragedies, completed Eugene Onegin / In this poetic novel there is a poet's confession:

I was born for a peaceful life

For rural silence:

Live creative dreams.

The manor culture developed in Russia relatively late ~ by the second half of the 11th century. In 1762, Emperor Peter 111 issued a decree on the release of the nobles from compulsory public service. Since then, the nobleman was free to choose: to devote himself to the service or retire to the village and take care of the household. Many landowners preferred the latter. Eyewitnesses claim that after the promulgation of the decree, all roads from Moscow and St. family estates. Since then, for many decades, the nobles moved to their rural dwellings for the summer, and returned to the city in the fall. A typical picture of the move is described by Pushkin:

The convoy is ordinary, three wagons

Carrying household items

Pots, chairs, chests,

Jam in jars, mattresses,

Feathers, cages with roosters,

Pots, basins et cetera,

The landowners, by virtue of their wealth, taste, and imagination, transformed the old parental houses into fashionable classical mansions, brought here new, often ordered from abroad, furniture, dishes, books, paintings, sculpture, laid out gardens and parks around, dug out ponds and canals, erected garden pavilions and gazebos. The lordly life in the village was rebuilt in a new way.

What was a noble estate in the 11th century? Much depended on what it was intended for. Most of the estates, modest and cozy, were used for permanent housing. Others - Ostankino, Arkhangelskoye, Kuskovo near Moscow - served their owners for recreation and entertainment. They rarely came here, although everything here was smart, beautiful, solemn. Only during the days of receptions, festivities and entertainment of the nobility did these country palaces come to life. It is about them that will be discussed further.

As a rule, the estate was built in a picturesque place, often on the banks of a river or a pond. Around stretched fields, meadows, forests, villages. Remember, in Pushkin's "Eugene Onegin":

The village where Eugene missed,

There was a lovely corner;

There's a friend of innocent pleasures

I could bless the sky.

The master's house is secluded,

Protected from the winds by a mountain,

Stood over the river. away

Before him were full of flowers and blossomed

Meadows and fields of gold,

Villages flashed by; here and there

Herds roamed the meadows.

The center of any estate was a manor house, usually wooden, but finished in stone. It was visible from the road, long before the entrance to the estate. A long shady alley, framed by tall trees, most often lindens, led to an elegant gate - the entrance to the estate. This peculiar border separated the special, unique closed world of the noble estate from the external vain world. In front of the house was a front yard surrounded by a fence or a colonnade, where many carriages with guests gathered during the festivities.

The house of a wealthy landowner looked like a palace, decorated on the outside with columns, sculpture, and decorative stucco. The entrance lay through an elegant portico, on the pediment of which the noble coat of arms and the monogram of the owner of the estate often flaunted. Sometimes the building was crowned with a round gazebo - a belvedere, from which a wonderful view of the surroundings opened.

Often outbuildings adjoined the manor's house - one-story buildings that housed household services (kitchens, pantries) and living quarters for servants. As a rule, numerous outbuildings were located far from the estate: stables, cattle yards, workshops, cellars, kennels, and sometimes noble manufactories. In Arkhangelsk, for example, the Yusupov princes built a porcelain painting enterprise. There was also a church on the estate. Often the only surviving building of the estate complex of the XVI1 century. turned out to be a temple.

The boyar house was usually one-two-story: the lower one was reserved for household needs, the upper one was occupied by large luxurious front rooms and comfortable cozy living quarters.

The venerable castle was built, As castles should be built: Excellently strong and calm in the taste of clever antiquity. Everywhere there are high chambers, In the living room there are damask wallpapers, Portraits of Tsars on the walls and stoves in colorful tiles.

This is how Pushkin wrote the interior of the Onegin manor house, typical for that time, calling it a castle.

The first room of the house was the lobby. Guests were welcomed here. Spacious and bright, it gave the impression of solemnity before entering the rooms. In the palaces of Kuskovo and Arkhangelsk, from the vestibule to the left and to the right, a suite of rooms opens, overlooking the courtyard. Such a layout of the boyar dwelling, when the rooms, like beads, are strung on one thread, has been preserved since the Baroque. Through the open doors at one end you can see the other.

The main hall for dinner parties, balls and solemn ceremonies occupied a central place in the house. As a rule, he was behind the wall of the vestibule. Rooms adjoined the hall on the sides, forming the second suite of the house-palace, overlooking the park. In the era of classicism, the main hall was decorated with columns, pilasters, mirrors, paintings and stucco. Its interior was dominated by two colors - white and gold, which gave the room a noble look and created an advantageous backdrop for the colorful costumes of the guests.

The floors of the rooms were laid out with type-setting parquet, made according to the drawings of artists and architects. The details of the ornament were made of plates of various types of wood - walnut, oak, birch, rosewood, which differed in color, pattern of fibers, texture of the material. The more elegant the hall was, the more beautiful and richer the parquet was made for it. The parquet floors of the Ostankino Palace, one of the richest in the Moscow region, are distinguished by their special beauty and variety.

Room walls in the 11th century. draped with silk fabrics (damask) stretched over frames. The lower part of the wall was finished with painted wood panels.

Everywhere there are high chambers, In the living room there are damask wallpapers, Portraits of kings on the walls, And stoves in colorful tiles.

(Evg. Onegin)

Often the name of the living room was associated with the color of the upholstery of its walls. In Ostankino there are Raspberry, Crimson, Blue rooms. In very rich houses, tapestries hung on the walls - lint-free handmade carpets, which were fabulously expensive. At the end of the 11th century Cheaper French paper wallpapers appeared in Russia. Some business premises of the house - rooms, libraries - were entirely lined with wood.

From above the walls of the halls were decorated with a stucco cornice. Often the ceiling also had a stucco ornament, but more often it was covered with plafond painting on allegorical or mythological themes. In the front (Dance) hall of the Kuskovsky palace, a huge ceiling was preserved, made by the famous French artist L "agrene. Its theme is "Glory to the Sheremetyev family." The artist depicted the god Apollo, who looks from the clouds at the winged Glory, laying the count's crown on the coat of arms of the Sheremetyevs. Around On the plafond stretches an ornament composed of medal stars and ribbons, chamberlain keys and the initials of the bearer of these insignia - Pyotr Borisovich Sheremetyev.

TABLE FROM KUSKOV

The halls of the house - the palace were furnished with expensive furniture, hung with mirrors, decorated with vases, sculptures. All this wealthy owners either brought from abroad or ordered from the best Moscow and St. Petersburg masters,

In the XVIII century. upholstered furniture appeared in Russian noble houses - chairs, armchairs, sofas, sofas. Their upholstery was matched to the color and pattern of the walls or made from the same fabric. Furniture has become more diverse - wardrobes, beds, bureaus, secretaries. There are several types of tables alone: ​​card tables (for playing cards), billiard tables, toilet tables, writing tables, and dining tables. They made furniture from precious woods, decorated with mother-of-pearl, ivory, and bronze overlays. Some examples of furniture of that time are real masterpieces of applied art.

The Kuskovsky Palace houses a unique table made by St. Petersburg craftsmen of the 1111th century. On its lid there is an exact panorama of the estate, made in the then common marquetry technique. Details of the image and backgrounds are carved from various types of wood - maple, walnut, boxwood, palm, rosewood - fitted to each other with incredible care and pasted on the table top, and then polished and varnished. Palace, greenhouse, park with alleys look on this wooden picture as they were two hundred years ago.

In the halls of the estates there are a lot of wall mirrors. But not only so that the hosts and guests constantly see their reflection in them. Mirrors visually enlarge the room and make it brighter. Often a huge mirror was installed at the end of a suite of rooms, creating the illusion of its infinity. This can be seen in Ostankino and Kuskovo.

Almost every dwelling on the estate had a stove. Often it was a real architectural structure, lined with tiles with paintings and bas-reliefs. In the XVIII century. fireplaces came into fashion, in the English manner. True, in the harsh Russian winters, they could not completely replace the stove, which required less firewood and kept heat longer. In the Kuskovo palace, for example, a stove and a fireplace coexist in several rooms.

In the manor interiors of the XVIII century. there were a lot of various lighting fixtures: chandeliers hung from the ceiling in the halls, sconces were attached to the walls, floor lamps were placed in the corners of the rooms, girandoles and candlesticks were placed on tables and fireplaces. Lamps were made of gilded bronze or wood, decorated with crystal pendants or colored glass. The Ostankino Palace is notable for the quantity, richness and variety of lighting fixtures.

In the manor house, a lot of items appeared that were unknown in the old, pre-Petrine Russia: clocks (floor, wall, fireplace), musical instruments(harpsichords, pianoforte, mechanical organs). At regular intervals, the house resounded with an hour-long chime. The musical mechanisms of some watches brought out entire melodies. In the estates, chamber concerts were held with the participation of not only the owners and their guests, but also professional musicians. The founder of Ostankino, Count Nikolai Petrovich Sheremetiev, who was in love with music and the theater, played the cello well and often conducted his serf orchestra himself.

A special place in the decoration of the halls of the manor house was occupied by works of painting and sculpture. Richer landlords bought them abroad, mainly in France and Italy. The poorer owners ordered their serf artists. Talented serf masters often worked in estates. Counts Sheremetievs, for example, owned the serf family of the Argunovs, from which famous artists, architects, sculptors.

Art objects were hung and placed in living rooms and living rooms. Sometimes a whole room was assigned to an art gallery, and the owner proudly showed it to his guests. Many rich nobles - Sheremetyevs, Yusupovs, Shuvalovs, Stroganovs - had excellent collections Western European art. Their collections included works by Titian, Rubens, Van Dyck, Tiepolo. Among these priceless paintings one could often see portraits of the owners of the estate and their ancestors.

But not only art galleries were new to estates in the 16th century. Previously unknown special rooms appeared in noble houses: offices filled with bookcases and rarities; front dining rooms, card rooms with card tables; billiard rooms, front bedrooms with four-poster beds in an alcove. So, gradually, the manor house became a place of creativity, fun entertainment, have a nice holiday.

The park was an obligatory accessory of the noble estate. At that time it was often called a garden, as Pushkin described Onegin's estate:

Often, the arrangement of a park in rich estates was not much cheaper than the construction of the palace house itself. In the first half of the XVIII century. regular, or French, parks in the image of the famous Versailles were common in Russia. In a regular park, you can feel the hand, or rather the scissors, of the gardener in everything, strict order and symmetry reign, there is no clear boundary between architecture and wildlife.

A regular park was laid out on level ground. In front of the manor house was parterre - an open part of the park with lawns and flower beds. The parterre was crossed by straight beams, decorated with sculptures, fountains, individual trees. On the sides of the parterre there were bosquets - sections of the park formed by the walls of cut shrubs (which, like carpets, were called tapestries) and cut through by alleys.

The baroque culture, widespread in the middle of the 16th century, was characterized by various visual effects. It used to be that the park alley, like a suite of rooms in a house, ended in a large mirror; “tricks” were placed in the garden: carved from plywood and painted figures of walking people - ladies and gentlemen.

In manor parks, lindens, birches and spruces were most often planted, less often maple, oak, and pine. Many landowners were seriously fond of gardening and bred rare heat-loving plants on their estates.

Often the property of the estate was a greenhouse. One of them was built in the 18th century. , preserved in Kuskovo. Once upon a time, oranges, almonds, laurel, pomegranates, bananas and coconut trees grew here. The height of some trees exceeded 10 m. In summer, in warm weather, they were taken out in huge tubs to the park under the open sky.

In the 70s, the French regular park in Russia gradually replaced the English landscape park. It was built on a completely different understanding of nature. Primordial nature, virginity was recognized as its highest aesthetic value. Art only followed nature, was subject to it. In the landscape park, visible interference with nature was kept to a minimum. Figuratively speaking, the garden architect gave way to a garden painter, whose example is the landscapes of famous French masters 17th century Claude Lorrain and Nicolas Poussin.

The rich, diverse world of gardens and parks was not limited to architecture, sculpture, greenery and water. Numerous painters lived here, an example for which is the landscapes of famous French masters of the 17th century. Claude Lorrain and Nicolas Poussin.

New manor parks now began to take shape in this way: in front of the house, as a tribute to the old fashion, they arranged a regular parterre; behind it is a pond or river; further on, natural nature opened up to the eye - fields, forests, meadows. This is exactly how Arkhangelskoye near Moscow is planned.

The composition of the landscape park was based on natural motifs. If regular gardens were preferred to be located on a flat space, then hilly terrain was chosen for landscape gardens. The geometrically correct form of pools and canals will be replaced by rivers and ponds with indented banks. Winding paths were replaced by straight paths, free planting of trees - orderly.

The nature of park architecture has also changed. All big role romantic and sentimental motifs begin to play. Parks began to be decorated with "romantic" ruins. By the way, their images in the paintings of a very popular at that time french artist Hubert Robert could be seen in many manor halls.

In park art of the late 18th century. great importance was attached to the formation of a certain mood. Indicative in this sense are the names of many buildings - "Caprice", "Monplaisir", "Temple of Silence". Nature, like architecture, was designed to influence sensitive notes. human soul: sadness and sadness were evoked by weeping willows leaning over the water, white trunks of birches instilled cheerfulness, powerful steel of oaks evoked a feeling of grandeur. The nature of the park inspired philosophical reflections. This was facilitated by the corresponding architecture - "Russ' Hut", "Barrel of Diogenes", "Tomb of Confucius". Both sad and pleasant memories were evoked by the monuments of the park, erected in memory of loved ones and dear people.

Sometimes corners were created in parks national culture and nature - Italian, Dutch, Chinese. In Kuskovo, next to the Italian and Dutch houses, gardens with flowers typical of these countries were once planted. Such corners were supposed to evoke nostalgic memories of foreign travels, awaken dreams of distant exotic countries.

The park culture was rich and varied. Architectural decoration - gazebos, pavilions, grottoes, hermitages, theaters, greenhouses, farms, aviaries, bridges - complemented the greenery: alleys, bosquets, lawns, flower beds, galleries. Curving, intricately intertwining alleys, lined with clipped bushes, were real labyrinths. Numerous ponds, pools, rivers, streams, canals, waterfalls, fountains "flooded" the estate. They swam in reservoirs, rode boats, and had picnics on artificial islands. In the ponds, fish were bred for the master's table.

Chairs, benches, benches, knocked down from boards or woven from birch branches, prudently placed in secluded corners of the park, as if they were inviting them to sit down and relax in the shade of trees during a walk, indulge in dreams, declare their love.

Sculpture played a special role in decorating parks. Statues of ancient gods and mythological heroes(Apollo, Jupiter, Mars, Venus, Hercules), historical figures (Caesar, Cicero, Homer, Alexander the Great), allegorical statues ("Melancholy", "Friendship", "Love", "America", "Asia") were scattered throughout the park. Closer to the reservoirs, figures of water deities - Neptune, Naiad, were installed, next to the flower beds - vegetable: Flora, Daphne; near the vineyards - sculptural images of Bacchus, Selena.

The rich, diverse world of gardens and parks was not limited to architecture, sculpture, greenery and water. Numerous birds and animals lived here. Special enclosures were set aside for them. Nightingale singing; a swan swimming on the water surface, a deer flashing in the distance between the trees - all this created an idyllic mood of unity with nature. In general, the estate was an image of Arcadia - a place created by the imagination of ancient poets for a carefree and happy life, full of festivities and entertainment.

Numerous estate holidays were part of the secular ritual, a form of communication with friends and neighbors, just relaxation and entertainment for the nobles. Rich receptions demonstrated to the guests the well-being of the owner, his cordiality and hospitality. They took place both in the manor house and in the open air. The park had a special play alley with swings, carousels, and a bowling alley. During the summer, garden walks, boating, and archery and target shooting were popular; in winter ~ skiing from the icy mountains. Many landowners - avid hunters - kept packs of expensive hunting dogs in their estates, had collections of excellent guns.

No holiday is complete without music. Some wealthy landlords, as we already know, had their own orchestras, composed of serf musicians. In the XVIII century. in Russian estates one could often hear horn music: each instrument (horn) could pour out the sound of only one key, and the musician's task was to play his note at the right time. Previously, orchestras of 30 or more musicians sounded like an organ. Contemporaries claimed that horn music could be heard at a distance of several miles.

Other holidays in the estates lasted for several days, and the number of guests who took part in them was in the hundreds. Up to 30 thousand people gathered for the grandiose festivities that were held in Kuskovo, up to 2800 carriages gathered. Usually the holiday began in the morning and lasted almost until dawn - long feasts, balls, performances, concerts succeeded each other and ended with magnificent fireworks.

A visit to his estate by the monarch was considered a special part for the owner. What the owner of the estate did not invent then, wanting to please the distinguished guest. In April 1797, Emperor Pavel 1, who had recently ascended the throne, decided to visit Ostankino, the estate of the richest landowner in Russia, the chief marshal of the court, Count Nikolai Petrovich Sheremetyev. A surprise was prepared for the emperor. Maryina Grove came close to the estate, blocking the view of the palace from the road. At the time when Pavel was driving through the grove, in the blink of an eye, part of the trees suddenly fell, and the emperor's gaze opened up a wonderful panorama of Ostankino. It turns out that on the eve, at the direction of Sheremetyev, the trees were cut down and a person was placed next to each. At a signal, they knocked down a section of the grove, striking Pavel with an unusual change in appearance.

A few days later, Sheremetyev arranged a celebration in Ostankino in honor of the arrival of another crowned guest - the Polish king Stanislav Poniatovsky. "358 Russian gentlemen and foreign ministers" were present, among them 64 people of the king's retinue, 107 Russian princes and princesses, 45 counts and countesses. On this occasion, one of the most spectacular operas in the repertoire, Samnite Marriages, was played at the Ostankino Theater. After the performance, the ball began, then the guests watched magnificent fireworks from the balconies. Finally, dinner was given for a hundred people. When the distinguished guest returned to Moscow, the road from the estate to the city was lit by burning tar barrels.

Holidays in the estate were noisy, cheerful, bright. On weekdays, life in the landowner's house calmed down, became monotonous and ordinary, something like this: the master woke up before sunrise, prayed with the sexton, received reports from the butler, the housekeeper, the village headman. Then he drank tea and went to church for matins. Upon returning home, we had breakfast, and in the evening I dined with my family.

Often, lunch lasts three hours: they served up to forty or more dishes - in Rus' at all times they loved to eat well. Dinner was not accepted. Soon after dinner, after giving orders for the household and praying, the owner went to bed. If sleep did not come right away, the master would sit down in an armchair and, reading something from the antique or, turning over the rosary, would say prayers. Such was the usual daily routine, not by any means of an ordinary, poorly educated nobleman, but of the noble master of the Elizabethan time, Vasily Vasilyevich Golovin. He was educated in St. Petersburg and abroad, knew Latin, Dutch, German and French, was fond of geography and astronomy.

TO late XIX V. estate culture fell into disrepair. Chekhov was right: Lopatinsky axes cut down the cherry orchards of the Ranevskys. Only in Russian classical literature - from Derzhavin to Bunin - did invaluable evidence of the estate life of the 18th-19th centuries remain.

Russian classical literature - from Derzhavin to Blok - is closely connected with the life of the noble estate. It was there that the great writers (Pushkin in Zakharov, Lermontov in Tarkhany, Nekrasov in Karabikha, Blok in Shakhmatov) already in their childhood got acquainted with the living source of Russian culture, national traditions and characters. Boratynsky absorbed the poetry of his native land in the quiet Maar, found in Muranov a "sweet country" in which "a languid heart, sick for friendship, blossomed, and happiness again enlightened." Pushkin for the first time felt himself a national poet in Mikhailovskoye, Turgenev in the midst of the bustle of Paris was carried away by thought to his native Spasskoye.

In the "village" lived the prototypes of their heroes. Each writer created his own own world, based on a personal vision, individual experience, in the real atmosphere of the "noble nest" in which he was born, brought up and lived.

In the play by A.P. Chekhov "The Cherry Orchard" the estate, the garden is a symbol, a symbol of Russia. Ranevskaya. The owner of the estate, unable to realistically assess the current situation. Accustomed to eating in good restaurants, distributing money to the poor, she cannot even imagine that the money may run out, that she may soon lose her estate altogether. Here she grew up, for her the garden is a symbol of childhood,

"Better to see once than hear a hundred times"

I invite you to take a short trip to the noble estate. Only for this we need to open the pages of Pushkin, the pages of the story "The Young Lady-Peasant Woman".

So, from the highway or country road, we drive into the alley, which leads to the gate of the front yard. Such an alley was often called the entrance alley, because it was through it that one could drive up to the house.

We stopped by, "to one of our remote provinces." The province is the main administrative-territorial unit in Russia with early XVII century. Hence, Russian empire divided into provinces, and provinces - into counties. And you and I ended up in the county of "one of our remote provinces" (remote from the capital). The entrance alley led us to the gate. This is the gate of Grigory Ivanovich Muromsky. And again we turn to the dictionary: the estate is a separate house with all adjoining buildings, lands. If we turn to the dictionary of V. I. Dahl, we will see that there the word estate is filled with a more specific content: “The estate is the master’s house in the village with all the gardens, a garden, a vegetable garden.” Lord's - means belonging to the master, that is, to a nobleman, landowner, master.

Let's find a description on the first page of the story actors, landowners Berestov and Murom, and descriptions of their estates. Their estates are not similar, they are different, as if to match their owners. There was a cloth factory in Berestov's estate, he built the house according to his own plan. The Muromsky estate was built in the English manner. “English garden”, “grooms are dressed in English jackets”, “he cultivated the fields according to the English method”.

English garden. If you and I had not been on an excursion in a piece, it would be very difficult for us to understand and imagine what an English park is without a description. The English garden is an inconspicuous park, where there was more natural nature, untouched by man. Such a park was located on hills with a large number of trees - oaks, maples, birches, lindens.

We continue on our journey with you. We enter the estate through the gate (“Nastya was waiting for the shepherd outside the gate”). They were sometimes made in the form of a solemn arch decorated with sculptural images of animals. But if there is a gate, then manor estate, probably fenced and has borders. Let's check our assumptions ("Approaching the grove, standing at the turn of her father's property, Liza went quieter").

And here we are driving along the main alley of the park to the manor house, which is the center of the estate. (“A homemade carriage harnessed by six horses drove into the yard and rolled around a densely green turf circle. Old Berestov climbed onto the porch with the help of two Muromsky footmen in livery.”) Berestov went up to the front porch, to which guests drove up. And there was also a back porch overlooking the utility yard (Liza “went out onto the back porch and ran through the garden into the field”).

And now let's follow Berestov into the noble house and see what kind of rooms were there.

Living room. (“She came into the living room. The table was set, breakfast was ready. Returning to the living room, they sat down together”). Usually guests were received in the living rooms, hence the name. Often the living room got its name from the color of the upholstery fabric, which was used to decorate the room. The living rooms were made with sofas, armchairs, their upholstery did not have to match the wall sheathing. Remember Kuskovo, in the living room they certainly put Card tables for playing cards, they were trimmed with green cloth. They got their name from the name of the card game "ombre". Albums for poems were laid out on small elegant tables, portraits of ancestors and paintings were hung on the walls.

Dining room. ("Following him, his son came on horseback and entered the dining room with him"). Next to the dining room was a pantry for storing dishes, tablecloths. Ready-made dishes from the kitchen were delivered to the pantry. The kitchen itself was far away from the house: it was impossible to annoy the owner with unpleasant odors.

Cabinet. (“The same evening he called his son to his office.”) This is the room where the owner was engaged in intellectual work.

Bedrooms; a library where, along with books, herbariums were kept; maid's quarters, Miss Jackson; maiden's ("Lisa planted all the maiden's for sewing"), where the female servant lived.

And now let's see what buildings and lands adjoined the manor's house within the estate.

Farm. (“Lisa came out of the forest, crossed the field, crept into the garden and ran headlong to the farm”).

Stables. ("The grooms were dressed as English jockeys").

Pasture for cows. ("The village herd stretched past the manor's yard").

Menagerie. (“Muromsky suggested that they take a look at the garden and the menagerie before dinner.”).

Alexei is constantly accompanied by dogs on the hunt, therefore, there must be kennels. If the gentlemen had wheelchairs at their disposal, then there should be a barn for them, among the outbuildings there was a bathhouse, a woodshed.

Now let's look into the daily life of a landowner in an ancient estate. Life here flowed according to the laws of nature itself: they got up at sunrise, went to bed at sunset. This mode gave energy and strength to the soul. The nobleman, on the other hand, woke up very early (“a seventeen-year-old young lady, alone, in a grove, at the sixth hour of a spring morning”; “Father praised her for an early walk”; “Every day, early in the morning, he went hunting with a gun”).

A. S. Pushkin tried to show us a day in the estate, the so-called day circle. There is early morning, there is noon in the living room, there is deep evening in the estate.

I will try to tell you not about the estate in general, but about the estate, where the destinies of people are visible. There is no estate without the life of a nobleman, without his fate. Is it possible to say that the word "estate" is associated with the word "destiny". Let's take a closer look at what we will see the same in these words: Usadba - Fate, repetition of consonants, after all.

The estate is also called the noble nest. Yes, the estate is the cradle of a nobleman. Here he was born, here he took his first steps in his life, here he comprehended the Russian language and the “Russian spirit”, here his first love came to him.

So I introduced you, based on the story of A. S. Pushkin "The Young Lady - a Peasant Woman", with the Russian noble estate, the life of the nobles in the estate, in which they learned a lot about Russian traditions, about family traditions, about friendship, fidelity, about how love was born, about happiness.

On the example of this story, we have come to the conclusion that, nevertheless, noble estates play a big role in the works of Russian literature.