The events of the novel by M.A. Bulgakov "The White Guard" unfold during the Civil War in Russia, which began in 1917. Fear, chaos and panic reign in the country. In such an environment, a person needs a place where he will feel safe, a small island of kindness and tranquility, an unshakable fortress. This is the place for the Turbin family house number 13 on Alekseevsky Spusk.
Bulgakov admires this house. Despite the horrors of war, it is always cozy and warm here, an atmosphere of love and goodwill reigns. Alexei, Nikolka, and especially Elena, the guardian hearth and family comfort, carefully preserve this atmosphere. The central item in the apartment is a Dutch tiled stove, where a bright, life-giving flame is constantly burning.
The tiles are painted with many illustrations and inscriptions, reflecting everything that worried the members of the Turbin family and their friends in different time 1918. In the corridor, the wall clock chimes, the books in the bookcases smell of "mysterious chocolate", in the bedroom there is a bronze lamp, always with a lampshade. On the piano - open notes of the eternal "Faust". On the table in the dining room is a perfectly starched white tablecloth, a festive service, fresh flowers. There are cream curtains on the windows, which seem to separate this quiet haven from the outside world. “This is from Elena, who cannot do otherwise, this is from Anyuta, who grew up in the Turbins’ house.” All these things don't represent for heroes material value, but they are dear to the memories embedded in them.
The Turbin family are people with highly developed morality and moral convictions.
Decency, justice, honor, courage, sincerity, compassion, nobility - all these qualities are unshakable and immutable for them. They despise lies and cowardice, which is why Alexei reproached himself for shaking hands with Thalberg before he fled from the City. Soul beauty- the core of the character of these people. In this house, they honor and readily fulfill the mother's covenant - to live together. Turbines cherish what is beauty and joy human being not in the class, but in the universal understanding. Even during the raging Civil War, books, music, art, love, kindness, hospitality are still important for them. Time invades this house, ruins family nest but, despite this, the characters do not change morally. The doors of the Turbins' house are always open for those who need it, whether they are family friends, namely Shervinsky, Myshlaevsky and Studzinsky, or distant relatives (Lariosik), or even the Lisovichi, forced to seek help due to a robbery.
For contrast, Bulgakov uses a description of the house of the engineer Lisovich, the householder. It is absolutely opposite to the description of the Turbins' house: a cool and damp apartment, complete silence, smells of "mice, mold, grouchy sleepy boredom." Lisovich himself and his wife are opposed to Alexei, Elena and Nikolka: for these people there are no concepts of honor, decency, duty, love for the Fatherland; they are cowardly, greedy, secretive and two-faced. The main thing for Vasilisa and Wanda Mikhailovna is their own safety and a comfortable existence.
Thus, the house for Bulgakov is something more than an ordinary dwelling. This is a place that can unite people, protect from adversity, give warmth family traditions, the personification of peaceful life and peace. It is the home and the family that bring goodness and harmony into the spiritual life of a person.
Updated: 2017-07-21
Attention!
Thank you for your attention.
If you notice an error or typo, highlight the text and press Ctrl+Enter.
Thus, you will provide invaluable benefit to the project and other readers.
M. A. Bulgakov said about The White Guard: “I love this novel more than all my other works.” Yes, this book is dear and special for the writer, it is full of memories of his native Kyiv, a large and friendly professorial family, childhood and youth, home comfort, friends, bright happiness and joy. At the same time, The White Guard is a historical novel, a strict and sad story about the great turning point of the revolution and the tragedy of the civil war, about blood, confusion, ridiculous deaths. Bulgakov himself portrays the intelligentsia here - the best layer of Russia - using the example noble family thrown during the civil war in the camp of the white guard.
The Turbin family lives on Alekseevsky Spusk in Kyiv. Young people - Alexei, Elena, Nikolka - were left without parents, "without a hint" how to live. Actually there was a hint. It was theirs great house, a tiled stove, a clock playing a gavotte, a Christmas tree and candles for Christmas, a bronze lamp under a shade, Tolstoy and The Captain's Daughter in the closet, a white starched tablecloth even on weekdays. All these are imperishable attributes of the house with its nobility, old-fashionedness, stability, which under no circumstances should be destroyed, because this is a testament to the new generations of the Turbins from their parents.
A house is not just things, but a structure of life, spirit, traditions, if lamps are lit in it at Christmas in front of the icon, if the whole family gathers at the bedside of a dying brother, if there is a constant circle of friends around the House. The house of the Turbins was built not "on the sand", but "on the rock of faith" in Russia, Orthodoxy, the tsar, and culture.
Young Turbins, stunned by the death of their mother, managed not to get lost in this terrible world, were able to remain true to themselves, preserve patriotism, officer honor, comradeship and brotherhood. That is why their home attracts close friends and acquaintances. Talberg's sister sends her son Lariosik from Zhytomyr to them.
However, Talberg himself, Elena's husband, who ran away and left his wife in a front-line city, is not with them. But the Turbins, Nikolka and Aleksey are only glad that their house has been cleared of a person alien to them. They no longer have to lie and adapt. Now there are only relatives and close in spirit people around.
Many find shelter in the house of the Turbins. Shervinsky, Karas, childhood friends of Alexei Turbin, come here, Larion Surzhansky, who timidly pestered, was also accepted here.
Elena is the keeper of the traditions of the house, in which she will always be accepted and helped. Into this comfort of home comes from scary world frozen Myshlaevsky. A man of honor, like Turbins, he did not leave his post under the city, where in terrible frost forty people waited for a day in the snow, without fires, for a shift that would never have come if Colonel Nai-Turs, also a man of honor and duty, had not brought two hundred junkers.
The lines of Nai-Turs and the Turbins are intertwined in the fate of Nikolka, who witnessed the last heroic minutes of the colonel's life. Admired by the feat and humanism of the colonel, Nikolka does the impossible - overcomes the seemingly insurmountable in order to pay Nai-Turs his last duty - to bury him with dignity and become a loved one for the mother and sister of the deceased hero.
The fates of all truly decent people are contained in the world of the Turbins, even if it would be the seemingly ridiculous Lariosik. But it was he who managed to quite accurately express the very essence of the House, which is opposed to the era of cruelty and violence. Lariosik spoke about himself, but many could subscribe to these words, “that he suffered a drama, but here, with Elena, he comes to life with his soul, because it is completely exceptional person Elena Vasilievna and their apartment is warm and cozy.”
But the House and the revolution became enemies. Clever, cultural Turbines in the midst of a flaring civil war live by the ideals and illusions of the former bright years and do not understand what is happening with them and around them in new era fracture. Their world is limited by Kyiv and the past. They do not even know what is happening in Ukraine and abroad, they naively believe all the rumors and promises, believe the newspapers, the hetman, the Germans, the allies, the Petliurists, Denikin. For the Turbins, the people, the peasants, are a mysterious and hostile force that suddenly appeared on the living chessboard of history.
Of course, the Turbins feel in their hearts that the last, terrible times are coming. These young people, who once lived in peace and complete peace and were left without support, were seized by melancholy, anxiety, despair: “They prosentimentalized their lives. Enough". Peace and tranquility are gone forever. Horror gave rise to the collapse of all the old ideals and values: "You will not stop this collapse and decay, which have now built a nest in human souls, with no signaling." And the Turbins say bitterly: "In essence, a completely lost country ... and how stupid and wild everything is in this country."
Like the "Captain's Daughter", the "White Guard" becomes not only historical novel, Where Civil War seen by its witness and participant from a certain historical distance, but also by a work where, in the words of Tolstoy, family thought is combined with folk thought. After all, Pushkin chose as the epigraph to The Captain's Daughter proverb: "Take care of honor from a young age."
This wisdom is understandable and close to Bulgakov and the young Turbin family. The whole novel confirms the correctness of the proverb, since the Turbines would have died if they had not cherished honor from a young age. And their concept of honor was based on love for Russia.
Analysis of the interior of the Turbins' house in the novel The White Guard. The interior of the Turbins' house appears in Bulgakov's novel on the very first pages and will be reproduced by the author many times throughout the novel.
historical time and the ongoing events, great, close in scale to the biblical ones, have already been comprehended by the author in the first sentence of the work The year was great and terrible after the birth of Christ 1918, from the beginning of the second revolution. History is inscribed in this tragic union of the era and world events. ordinary family Turbin, whose existence becomes the focus of all the key problems and most characteristic features of the time and is separated by a milestone revolutionary year 2 stages BEFORE and AFTER. The death of the head of the family - the mother, the center of all the former turbine space - also fell on terrible year, the first coincidence of family and historical catastrophes since the beginning of the revolution becomes for Bulgakov a great omen of future sad events.
And the only protection, a saving ship in the terrible sea of disasters becomes for the Turbins their house, left to them by their parents as a special spiritual world, an ark that stores enduring, eternal values.
Consider the first picture of the turbine house. Drawing it, the author emphasizes antiquity - the word tradition in translation means transmission, habitation, a long-established way of life and family relations. The atmosphere of the house is shrouded in childhood impressions, preserved by memory, strengthened by habits that have become part of the character of the Turbin family itself. The center of the interior - and the whole house - is a blazing tiled stove, the legendary hearth, a wise rock, a symbol of comfort and well-being, tranquility and the inviolability of family traditions.
She is the keeper family history inscriptions different years, made by the children's hands of the little Turbins, and the guests of the house, and the cavaliers in love with Elena - this is an album-chronicle, a book from which you can read how the family lived in this house. Warmth, happiness and wise carelessness emanates from these tiles. From the same home stove, a person dances in life, Bulgakov believes what they taught him at home, what he remembered and learned from his parents, in the family, that will determine him moral character, his fate, his destiny.
And the Turbins learn from their home, their life is subject to the order that, according to Bulgakov, has been given to man from time immemorial by the ancestors and this is how their house is arranged. Each room has its own purpose - a dining room, a nursery, a bedroom for parents, all seven dusty and full rooms that raised the young Turbins are special microworlds, necessary components big world Families, shown through the eyes of not only the author, who recreated the world of his own childhood in this interior, but also the already adult Turbins, this tile, and old red velvet furniture, and beds with shiny knobs, the best bookcases in the world with books smelling of mysterious old chocolate - all this his memories and everlasting memory his heroes.
The image of this particular collective hero - the Turbin family, which previously included elders, founders, creators of the tradition, and now decapitated, but still living and preserving its own world, is interesting to the author.
But not so much social status The Turbin family of intellectuals worries the author how many of them spiritual state, brought up, grown up in the walls of this house. Not only material wealth of a wealthy family, gilded cups, silverware, but also spiritual treasures fill it, as the book about Peter I was often read near the tiled square Saardamsky Carpenter, the historical figures of Alexei Mikhailovich are well known to Turbin, Louis XIV even though at first the acquaintance took place on the patterns of shabby carpets, the characters of Russian literature, bookcases, with Natasha Rostova, the Captain's daughter, became almost familiar. Pushkin's Take care of honor from a young age, learned from childhood by the Turbins, will be constantly felt further in every act of each of them. The whole interior is based on the impersonation that hot tiles, and the lights of Christmas candles, and old photographs taken back when women wore funny, bubble-like sleeves at the shoulders, and the hero of the children's book, the Saardam Carpenter, and even beds with shiny bumps, seem to be alive. Like in fairy tales Andersen, these things live their own special life, accessible only to children's understanding, and respond to every call of our inner voice.
The smell of pine needles from a festive Christmas tree and mysterious old chocolate emanating from books, a bronze lamp under a lampshade is another eternal symbol of the integrity and eternity of home comfort, wonderful curls on Turkish carpets and music, native voice hours - this is the unique and fragile world that the Turbines will protect from the terrible destructive misfortunes that surged with the waves of civil war. An important subject of the turbine home world- a bronze clock with a gavotte - in the mother's bedroom, a black wall clock with a tower battle - in the dining room.
The symbolism of watches is one of the most telling in world art. With Bulgakov, it takes on new meanings, if in the period before the beginning of the revolution, the clock playing its own music was a sign of habitability, movement, the seething of life within these walls, now, after the death of his father and mother, their hands count down last hours beautiful but outgoing former life. But the author does not believe in the possibility of the death of this house. And even in the style of this fragment, in the use of repetitions, the refrain passes twice with a tower battle, he affirms eternity, the inviolability of both the material symbols of the watch and the bronze lamp, and the spiritual ones, because the clock, fortunately, is completely immortal, both the Saardam Carpenter and the Dutch tile are immortal , like a wise rock, in the most difficult time, life-giving and hot. That's what it is the main objective creating the interior of the Turbins' house. 2.2. SPIRITUAL, MORAL AND CULTURAL TRADITIONS IN THE NOVEL WHITE GUARD The theme of saving spiritual, moral and cultural traditions runs through the whole novel, but, perhaps, most tangibly, it is materially realized in the image of the House, which, apparently, is extremely expensive and important for the author.
This image, repeatedly criticized in the past by impatient reformers of literature and life, is rightfully rehabilitated and elevated by modern reading.
Bulgakov's House is quite real, it is an apartment where the main characters of the novel are settled and the main action unfolds, where many converge storylines storytelling. Life in this home goes as if in defiance of the surrounding unrest, bloodshed, devastation, bitterness of morals.
Its owner and soul is Elena Turbina-Talberg, and beautiful Elena, the personification of beauty, kindness, Eternal Femininity, the one to which you can dedicate the lines of S. A. Yesenin from the poem The Black Man In thunderstorms, in storms, In the coldness of life, In severe losses And when you are sad, Seem smiling and simple - The highest in world of art. The dishonest and duplicitous Talberg leaves this house at a rattling pace, and the friends of the Turbins heal their wounded bodies and souls in it. And even one who, like the chairman of the house committee, the opportunist and coward Lisovich, nicknamed Vasilisa, hates the tenants of the house, it is in him that he seeks protection from robbers.
The Turbin House is depicted in the novel as a fortress under siege but not surrendering. Moreover, his image is given a tall, almost philosophical meaning. According to Alexei Turbin, a house is supreme value being, for the sake of preserving which a person fights and, in essence, speaking, because of nothing else, one should not fight in any case. To protect human peace and hearth - this is the only goal that he sees, allowing him to take up arms.
Yes, the author of the White Guard was far from those who in the 1920s rapturously called on the whole world of violence, we will destroy it to the ground, renounce the old world, shake off its ashes from our feet. And I think that it is no coincidence that the theme of his novel was not the renunciation of the whole past, but the preservation and poeticization of all the best that was in it - first of all, the principles of high spiritual culture, morality, with which he own life cherished above all, being a man who did not forgive any betrayal, a knight of nobility and decency Embodied conscience.
Incorruptible honour. The idea of high morality was so organic to Bulgakov's self-awareness and worldview that it could not help penetrating into the very depths of the White Guard, predetermining not only its theme, but also its character. central conflict. The writer passionately defends the House, a stronghold of peace, hope, love, a center of culture, a repository of traditions.
Like a drill cry about the approaching test, Pushkin's voice flew through the stormy howl and the darkness of the blizzard of another century to Bulgakov's hearing. The light and warmth of human habitation, especially expensive in such bad weather, exuded by a small Pushkin's story, warmed the pages of Bulgakov's first novel. In the Turbins' house, everything is beautifully furnished in old red velvet, beds with shiny knobs, cream-colored curtains, a bronze lamp with a shade, chocolate-bound books, a piano, flowers, an icon in an ancient frame, a tiled stove, a clock with a gavotte.
All this is a symbol of the stability of life. But the clock, fortunately, is completely immortal, both the Saardam Carpenter and the Dutch tile are immortal, like a wise rock, life-giving and hot in the most difficult time. On its surface, the stove bears inscriptions and drawings made at different times by both family members and Turbine friends.
There are both playful messages and words filled with deep meaning, and declarations of love, and formidable prophecies - all that was rich in the life of the family at different times. The Turbins know and love music. Snow and lights outside the windows remind Myshlaevsky famous opera Rimsky-Korsakov Night before Christmas. Following the dying Talberg, the multi-colored Valentine sings with the voices of the brothers I pray for your sister from the opera Faust Gounod, in words famous romance Gliera encourages Elena Shervinsky To live, we will live. Great Russian
End of work -
This topic belongs to:
Family values in the novel "The White Guard" by Bulgakov
Family. History Conclusions on Chapter II Conclusion Literature INTRODUCTION Interest in the work of M. Bulgakov has not subsided for several decades, and about .. Researchers of M. Bulgakov's work of the 60-80s often evaluated .. Many emphasize in their works one of the features creative method writer, which became methodological.
If you need additional material on this topic, or you did not find what you were looking for, we recommend using the search in our database of works:
What will we do with the received material:
If this material turned out to be useful for you, you can save it to your page on social networks:
ANALYSIS OF THE THEME OF FAMILY VALUES IN M.A. BULGAKOV "WHITE GUARD"
ANALYSIS OF THE INTERIOR OF THE TURBINS' HOUSE IN THE NOVEL "THE WHITE GUARD"
The interior of the Turbins' house appears in Bulgakov's novel on the very first pages and will be reproduced by the author many times throughout the novel. The historical time and the ongoing events, great, close in scale to the biblical ones, are already comprehended by the author in the first sentence of the work: “The year was great and terrible after the birth of Christ 1918, from the beginning of the second revolution.” The history of the ordinary Turbin family is inscribed in this tragic union of the era and world events, the existence of which becomes the focus of all the key problems and most characteristic features of the time and is divided by a milestone of the revolutionary year into 2 stages: BEFORE and AFTER. The death of the head of the family - the mother, the center of the entire former Turbine "cosmos" - also fell on a terrible year, the first "from the beginning of the revolution": the coincidence of family and historical disasters becomes for Bulgakov a great omen of future sad events. And the only protection, "a saving ship in a terrible sea of disasters," becomes for the Turbins their house, left to them by their parents as a special spiritual world, an ark that stores enduring, eternal values.
Consider the first picture of the turbine house. Drawing it, the author emphasizes antiquity - tradition (the word in translation means "transfer"), habitation, a long-established way of life and family relations. The atmosphere of the house is shrouded in childhood impressions, preserved by memory, strengthened by habits that have become part of the character of the Turbin family itself. The center of the interior - and of the whole house - is a "burning" tiled stove, the legendary hearth, the "wise rock", a symbol of comfort and well-being, tranquility and the inviolability of family traditions. She is also the keeper of family history: the inscriptions of different years, made by the children's hands of the little Turbins, and the guests of the house, and the cavaliers in love with Elena - this is an “album”-chronicle, a book from which you can “read” how the family lived in this house . Warmth, happiness and wise carelessness emanates from these tiles.
From the same home stove, a person “dances” in life, Bulgakov believes: what they taught him at home, what he remembered and learned from his parents, in the family, will determine his moral character, his fate, his destiny.
And the Turbins learn from their home: their life is subject to the order that, according to Bulgakov, has been given to man from time immemorial by their ancestors; that's how their house is set up. Each room has its own purpose: the dining room, the nursery, the parents' bedroom, "all the seven dusty and full rooms that raised the young Turbins" are special microworlds, the necessary components of the big world of the Family, shown through the eyes of not only the author, who recreated the world of his own childhood in this interior , but also for the adult Turbins: “this tile, and old red velvet furniture, and beds with shiny bumps, the best bookcases in the world with books smelling of mysterious old chocolate ...” - all these are his memories and the eternal memory of his heroes.
The image of this collective hero - the Turbin family, which previously included elders, founders, creators of the tradition, and now decapitated, but still living and preserving its world - is interesting to the author. But it is not so much the social status of the Turbins (a family of intellectuals) that worries the author, but their spiritual state, brought up, “grown” within the walls of this house. Not only the material wealth of a prosperous family (“gilded cups, silverware”), but also spiritual treasures fill it: “as often read at ... the tiled square“ Saardamsky Carpenter ”(a book about Peter I), the historical figures of Alexei Mikhailovich are well known to Turbin, Louis XIV (even if at first the acquaintance took place on the patterns of shabby carpets); the characters of Russian literature became almost familiar (“cases with books (…), with Natasha Rostova, the Captain’s daughter…”). Pushkin's "Take care of honor from a young age", learned from childhood by the Turbins, will constantly be felt further in every act of each of them.
The whole interior is based on personification: the hot tiles, the lights of Christmas candles, and old photographs taken back then “when women wore funny, bubble-like sleeves at the shoulders”, and the hero of the children's book Saardam Carpenter, and even beds with shiny knobs … As in Andersen's fairy tales, these things live their own special life, accessible only to children's understanding, and respond to every call of our inner voice. The author's ability to verbally reproduce that perception of the world that distinguishes a child from an adult is amazing.
special, hallmark Bulgakov's style is his careful and close attention to details, which makes his style related to the creative style of Gogol, whom he loved, and is clearly manifested in this interior. The smell of pine needles from a festive Christmas tree and “mysterious old chocolate” coming from books, a bronze lamp under a lampshade (another eternal symbol of the integrity and eternity of home comfort), “wonderful curls” on Turkish carpets and music, the “native voice” of watches - this is the one a unique and fragile world that will be protected by the Turbines from the terrible destructive misfortunes that surged with the waves of civil war.
An important object of the turbine home world is the clock: “bronze, with a gavotte” - in the mother’s bedroom, “black wall clocks” with tower chimes - in the dining room. The symbolism of watches is one of the most "talking" in world art. With Bulgakov, it takes on new meanings: if in the period before the beginning of the revolution, the clock playing its own music was a sign of habitability, movement, the seething of life within these walls, now, after the death of his father and mother, their hands are counting the last hours of a beautiful, but passing former life. But the author does not believe in the possibility of the death of this house. And even in the style of this fragment, in the use of repetitions (the refrain passes twice “beaten with a tower battle”), he affirms eternity, the inviolability of both material symbols (a clock and a bronze lamp) and spiritual ones, because “the clock, fortunately, is completely immortal, immortal and the Saardam Carpenter, and the Dutch tile, like a wise rock, life-giving and hot in the most difficult time. This is the main goal of creating the interior of the Turbins' house.
The basis of the novel by M.A. Bulgakov's "White Guard", written in 1925, formed real events tragic time: civil war in Ukraine. Much is autobiographical here: The city is beloved Kyiv, the address is House No. 13 on Alekseevsky Spusk (in fact, the Bulgakovs lived in house No. 13 on Andreevsky Spusk, where the M.A. Bulgakov Museum is now). The atmosphere of the Turbin family, large and friendly, but going through hard times, is also autobiographical.
Turbines love their home, cozy and warm. His whole atmosphere seems to be inspired by the memories associated with it. The tiled stove in the dining room - a symbol of the warmth of the hearth - "warmed and raised little Elena, Alexei the elder and very tiny Nikolka." “The Carpenter of Saardam” was read by the burning stove, “the clock played grease, and always at the end of December there was a smell of pine needles, and multi-colored paraffin burned on green branches.” Things are valuable not in themselves, but because of what is connected with them: the clock is a memory of the deceased father, “the best bookcases in the world, smelling of mysterious old chocolate,” they speak of spiritual world growing children, a bronze lamp under the lampshade gives an idea of the warmth and comfort of evening twilight." Terrible trials also affected the Turbin family - the mother died, bequeathing to the children to live together. And the destruction of time could not but affect the usual life: the mother's festive service went to everyone daytime, meager treats for tea. The tiled stove is covered with "historical records" and drawings on topical topics: the revolution, the offensive of Ietlura, the expression of political sympathies and antipathies. "Anxious in the City, foggy, bad ..." And although the tablecloth "still white and starchy”, because Elena cannot do otherwise, and the flowers affirm “the beauty and strength of life”, one feels that the former comfort is fragile and fragile, that at any moment the insidious enemy “can smash the beautiful snowy City and trample the fragments of peace with his heels”.
It is difficult for children without a mother, they involuntarily feel the possibility of the collapse of the usual good peace. “Walls will fall, an alarmed falcon will fly from a white mitten, the fire will go out in a bronze lamp, and“ captain's daughter"burn in the oven." Turbines value their home, they keep its traditions, relationships that have developed in the family. Here the brothers love and take care of their sister, for her sake they agree to endure her husband, whom they themselves do not like, console Elena when she is worried about her husband. Friends are always welcome here: how frostbitten Myshlaevsky comes to his home to the Turbins after- unsuccessful defense on the outskirts of the City, and he is really received as a welcome guest. Here come Shervinsky, who is courting Elena, and Karas, a friend and colleague of Myshlaevsky at the gymnasium. Lariosik, who arrived from Zhytomyr, at first does not understand why he likes it so much in the Turbins' house, but he likes it here so much that he feels like "it comes to life with his soul." The outside world behind cream curtains is "dirty, bloody and meaningless", and "wounded souls seek rest in perishable way behind such cream curtains." Such an explanation by Lariosik clearly proves that all the friends of the Turbins appreciate in their house, first of all, the warmth of friendly relations, an atmosphere of trust, mutual assistance, and the cordiality of the hosts. Even Vasilisa, the landlord, greedy and cowardly, in a moment of danger comes to the Turbins for protection and support.
So, the house of the Turbins is not just a dwelling, “my fortress”, which Vasilisa dreams of, robbed in his own apartment. It's not just the comfort and warmth of the hearth - it's a special atmosphere of love and understanding. In a cruel and disturbing world, this is an island of kindness, a safe place, protected from dangers, where you can believe that everything will finally be fine and happy.
