He created for himself a strong position in literature, as an artist, outstanding in terms of the strength and depth of his works. The novel appeared in 1856 and was met with unanimous praise from the public and critics. In this new work, the task of the artist is more difficult, more action, tricks artistic image here it is thinner and more peculiar. With the greatest simplicity, the author approached the complex emotional drama of his heroes, gave them living images and drew a gentle and pure image of Lisa, full of beauty and completely truthful under the artist's pen. The figures of the characters here are very diverse, and each is outlined in all its specificity: with special tricks artistic drawing. Such is Marfa Timofeevna's somewhat rude, but breathing directness and good-natured image, for whom the author found a special folk phrase, an image that is well sustained throughout the novel. The appearance of Panshin is also characteristic and whole. Drawing Lavretsky's wife, the author in a detailed and colorful description emphasizes the sensual nature of beauty, while the writer approaches Lisa's appearance with some gentle caution and sketches it with features that are airy, light and, despite the fact, shining with all the charm of her nature. The author almost does not give a complete picture of her, but outlines individual features that make up the appearance of this pure, inwardly concentrated, somewhat harsh towards herself and others girls in a harmonious and living whole. The image of Lavretsky is also simply and vitally drawn.
Turgenev. Noble Nest. audiobook
Life of Lavretsky. Childhood. Lavretsky's life represented the struggle of two influences - the initial influence of his father, who raised his son according to a special method, and the later influence of books, friends and his own thoughts. This struggle cost Lavretsky a lot of strength. His father, admirer European culture, loved in his youth to flaunt among the peasants and neighboring landowners with a Parisian tailcoat, a fashionable cane and fashionable free-thinking, the ideas of French philosophy of the 18th century. Later, he also became interested in imitation in a purely external way. English character life. In accordance with his new ideas about education, he took it into his head to develop his son as well. The boy had to endure a difficult and ridiculous regime, to which he submitted, as to the tyranny of his father. The young Lavretsky was inspired by the ideas of Rousseau, they tried to instill in him an early disgust for the amusements and hobbies of life, dressed him in a Scottish costume, accustomed him to a "Spartan" way of life. Having gone through this drill, after the death of his father, Lavretsky found himself completely helpless in life, not knowing it, having no idea about how people generally live in the world. A counterbalance to the influence of his father were the traits of natural good nature, stamina, patience and sincere directness inherited from his mother by Lavretsky. A simple peasant woman whom the master married out of a whim, Lavretsky's mother experienced many torments in her life and was a living example of kindness, patience and humility. Later, Lavretsky always knew how to deeply feel this spiritual "people's truth", the truth of the infinite kindness and humility of the soul, and preached "humility" before her.
In the University. Having overcome his father's influence and thrown it off, Lavretsky entered life as a simple and kind fellow, completely unrepentant. knowing life and from that embarrassing and severely hiding in himself. Proud and cautious, he suffered for his absurd past, he was afraid to show traces of the breaking, which in childhood was stubbornly made on him. But the natural stamina of nature helped him catch up. Far from being a young man, realizing the big gaps in his education, he enters the university, where he keeps himself apart. He made friends only with Mikhalevich, a typical romantic of the 1830s, an enthusiastic enthusiast who brightens up his harsh days of need and deprivation with eternal outbursts of spirit and eternal projects and plans for an ideal life. Mikhalevich introduces Lavretsky to his future wife. When a blow broke out over Lavretsky, breaking him family life, he again, thanks to the strength and stamina of his nature, recovers and decides to go to the village, live peacefully in his native land, near his native people, fulfilling his duty towards them.
Proximity to the people. By some invisible threads Lavretsky is connected with the people, he deeply feels the moral and religious foundations on which the life of the people is built. Hereditary traits from a mother - a peasant woman, a deep and simple nature, strengthened this connection between Lavretsky and the people. The aspirations of the father to "Europeanize" him with early years they inspired him only with disgust for everything outwardly Western. Lavretsky himself does not think about whether he is a Slavophile or a Westerner, but, being a sensitive and serious person, he cannot but reckon with that inner spiritual way of life. folk life in which he feels something truthful, important and deeply significant. That is why he speaks of the need to "recognize the truth of the people and humble themselves before it." Without realizing it, he feels deep calm and peace in his soul when he comes to his native places, to the village, feeling his homeland right here - among the expanses of his native nature and near his native people.
The matter of life. He found for himself now quiet and close to the soul his occupation, to which he wants to devote his whole life: this is work on the land, he wants to "plow the land and plow it as best as possible." With such plans, he settles in his quiet village, where his soul is embraced by imperturbable peace, poured around in the life of people and all of nature. But having recognized Lisa, he feels a deep spiritual attraction to her and becomes attached to the girl imperceptibly for himself. For several days he knew happiness, which was, as it were, illuminated by the sudden inspiration of old man Lemm and his marvelous music, from which Lavretsky wept in delight. But for the second time, his personal life is broken, and again, this time for good, he leaves in the quiet fulfillment of his duty, giving his life to his beloved work in his native land. Like Liza, like his peasant mother, he spends his life in renunciation and service to duty.
Lisa's life. Childhood. The integrity of Lisa's character. The main character traits of Lisa can be traced back to her childhood. Liza is not one of those natures who experience drastic changes in their inner structure and worldview in life. On the contrary, the features of her character from childhood developed in her and grew stronger, and in general lisa represents a very integral, firm and steadfast nature, and her steadfastness and strength are explained not by the natural stubbornness of her character, but by the fact that she once and for all believed in the inviolable internal binding nature of her moral ideals, to which she was faithful all her life. Her world outlook was determined under the influence of the religious ideal. From childhood, she was distinguished by isolation, the ability to live her own inner life.
Nanny Agafya. Her influence. The thoughtful and dreamy child was greatly influenced by her nanny Agafya, a peasant woman who had endured a lot in her lifetime, who knew both the contentment of life and the oppression of lordly disgrace. Having gone through various conditions of life, being either a slave, approached at the whim of the master, or oppressed, Agafya finally felt the desire to free herself from the conditions of her former life, which made her a toy of other people's whims. She withdrew into herself, began to dress in dark and coarse clothes, prayed a lot and with all her thoughts went into religion. Her life took on a monastic character; in the end, surrendering to the desire of her heart, she went to wander through the monasteries and pray for the world. During the period of such an internal transformation, Agafya became Lisa's nanny, and the girl really liked her strict, religiously-minded and quiet nanny. Together they read the lives of the saints, talked about their life in the desert, strict, pure, illumined by deep faith, about the sacrifices they offered to God, about the executions and torments of the saints. In the mornings, secretly from her mother, Agafya woke up Lisa, and they left for matins and prayed fervently in church.
Religiosity Lisa. In the girl's imagination grew the ideal of pure religious life full of grandeur and beauty due to the constant unity of the soul with God. With her childish imagination, she comprehended the mysterious appearance of God: “the image of the Omnipresent, Omniscient God with some kind of sweet power pressed into her soul, filled her with pure reverent fear, and Christ became something close, familiar, almost native to her.” The religious ideal illuminated her whole life, distinguished by modesty, simplicity and strictness in relation to herself and to people. Lisa considered it immutable all her life, every step of it, to comply with the requirements of conscience, with her moral ideal.
Life in the mother's house. When Agafya went on a wandering, and a frivolous French governess was assigned to her, Lisa closed herself even more and continued to live alone, going her own special way in life, faithful once and for all accepted higher goals. The example of Agafya more than once made her think about the silence and purity of monastic life, completely devoted to God. Life in the "world", among people, always seemed terrible and rude to her. The author notes that the nature of Lisa's life in her mother's house made her look like a nun, her room, with its cleanliness and strict simplicity, looked like a cell. Without making any definite decision and fearing to upset her mother and the old woman she loved, Marfa Timofeevna, Liza, before meeting Lavretsky, led a simple and quiet life at mother's house. She did not expect at all and did not dream of personal happiness.
Relationship to life and people. Life seemed to her some kind of responsible important task that had to be solved in full accordance with the voice of conscience and her sense of God. This consciousness made her life serious and deep. She treats people equally, loves everyone equally, and wants for everyone a single, correct solution to the life task, for “we all walk under God.” Gloomy and lonely natures, like the old musician Lemm, come to life in her presence, reveal the secrets of their souls, are drawn to her pure and bright soul. But the frivolous egoist Panshin finds hospitality in her and also tests the power of her charm. Simple, restrained and trusting, Lisa loves the common people, willingly communicates and. talks with peasants, feeling that the most important thing is religious mental ideal She and they have one.
The independence of Lisa's nature. One of the distinguishing properties of Lisa should be recognized as her independence, her independence in life. She will not ask anyone for instructions on how to live and how to act in individual cases. She considers only the voice of her conscience, being very sensitive to her demands. She set her whole life on moral ideal, which I realized with my mind and enthusiastically felt with my soul. And that is why she firmly goes on her way of life, not deviating from the path that seems to her the only true one. When she thinks of a decision, neither Lavretsky, nor her mother, nor Marfa Timofeevna try to argue with her, but accept her decision, for Liza did not accept it lightly, but because of a deep inner need.
Turgenev conceived the novel "The Nest of Nobles" back in 1855. However, the writer experienced at that time doubts about the strength of his talent, and the imprint of personal disorder in life was also superimposed. Turgenev resumed work on the novel only in 1858, upon arrival from Paris. The novel appeared in the January book of Sovremennik for 1859. The author himself subsequently noted that "The Nest of Nobles" had the greatest success that had ever befallen him.
Turgenev, who was distinguished by his ability to notice and depict the new, the emerging, reflected modernity in this novel, the main moments in the life of the noble intelligentsia of that time. Lavretsky, Panshin, Lisa are not abstract images created by the head, but living people - representatives of the generations of the 40s of the 19th century. In Turgenev's novel, not only poetry, but also a critical orientation. This work of the writer is a denunciation of autocratic-feudal Russia, a dying song for "noble nests".
The favorite place of action in Turgenev's works is the "noble nests" with the atmosphere of sublime experiences reigning in them. Their fate excites Turgenev and one of his novels, which is called "The Noble Nest", is imbued with a sense of anxiety for their fate.
This novel is imbued with the consciousness that "noble nests" are degenerating. Turgenev critically illuminates the noble genealogies of the Lavretskys and Kalitins, seeing in them a chronicle of feudal arbitrariness, a bizarre mixture of "wild nobility" and aristocratic admiration for Western Europe.
Let's consider the ideological content and the system of images of "The Nest of Nobles". Turgenev placed representatives of the noble class at the center of the novel. Chronological framework novel - 40s. The action begins in 1842, and the epilogue tells about the events that took place 8 years later.
The writer decided to capture that period in the life of Russia, when in the best representatives the noble intelligentsia is growing anxious for the fate of their own and their people. Turgenev interestingly decided the plot and compositional plan of his work. He shows his heroes in the most intense turning points their lives.
After an eight-year stay abroad, he returns to his family estate Fyodor Lavretsky. He experienced a great shock - the betrayal of his wife Varvara Pavlovna. Tired, but not broken by suffering, Fedor Ivanovich came to the village to improve the life of his peasants. In a nearby town, in the house of his cousin Marya Dmitrievna Kalitina, he meets her daughter, Lisa.
Lavretsky fell in love with her pure love, Lisa answered him in kind.
In the novel "The Nest of Nobles" the author pays a lot of attention to the theme of love, because this feeling helps to highlight all the best qualities of the characters, to see the main thing in their characters, to understand their soul. Love is depicted by Turgenev as the most beautiful, bright and pure feeling that awakens all the best in people. In this novel, as in no other novel by Turgenev, the most touching, romantic, sublime pages are devoted to the love of heroes.
The love of Lavretsky and Liza Kalitina does not manifest itself immediately, it approaches them gradually, through many reflections and doubts, and then suddenly falls upon them with its irresistible force. Lavretsky, who has experienced a lot in his lifetime: both hobbies, and disappointments, and the loss of all life goals, at first simply admires Lisa, her innocence, purity, spontaneity, sincerity - all those qualities that Varvara Pavlovna lacks, hypocritical, depraved Lavretsky's wife, who abandoned him. Lisa is close to him in spirit: “It sometimes happens that two people who are already familiar, but not close to each other, suddenly and quickly approach each other within a few moments, and the consciousness of this rapprochement is immediately expressed in their views, in their friendly and quiet smiles, in themselves their movements. That is exactly what happened to Lavretsky and Liza." They talk a lot and realize that they have a lot in common. Lavretsky takes life, other people, Russia seriously, Lisa is also a deep and strong girl who has her own ideals and beliefs. According to Lemm, Liza's music teacher, she is "a fair, serious girl with lofty feelings." Lisa is courted by a young man, a city official with a bright future. Lisa's mother would be glad to give her in marriage to him, she considers this a great match for Lisa. But Lisa cannot love him, she feels falseness in his attitude towards her, Panshin is a superficial person, he appreciates external brilliance in people, and not the depth of feelings. Further events of the novel confirm this opinion about Panshin.
Only when Lavretsky receives news of the death of his wife in Paris does he begin to admit the thought of personal happiness.
They were close to happiness, Lavretsky showed Liza a French magazine, which reported the death of his wife Varvara Pavlovna.
Turgenev, in his favorite manner, does not describe the feelings of a person freed from shame and humiliation, he uses the technique of "secret psychology", depicting the experiences of his characters through movements, gestures, facial expressions. After Lavretsky read the news of his wife's death, he "dressed, went out into the garden, and walked up and down the same alley until morning." After some time, Lavretsky becomes convinced that he loves Lisa. He is not happy about this feeling, as he already experienced it, and it brought him only disappointment. He is trying to find confirmation of the news of his wife's death, he is tormented by uncertainty. And love for Liza grows ever stronger: “He did not love like a boy, it was not to his face to sigh and languish, and Liza herself did not arouse this kind of feeling; but love at every age has its suffering, and he experienced them completely. The author conveys the feelings of the heroes through descriptions of nature, which is especially beautiful before their explanation: “Each of them had a heart growing in their chest, and nothing was lost for them: a nightingale sang for them, and the stars burned, and the trees whispered softly, lulled by sleep, and the bliss of summer, and warmth. The scene of the declaration of love between Lavretsky and Lisa was written by Turgenev in a surprisingly poetic and touching way, the author finds the simplest and at the same time the most tender words to express the feelings of the characters. Lavretsky wanders around Liza's house at night, looks at her window, in which a candle burns: "Lavretsky did not think anything, did not expect anything; it was pleasant for him to feel close to Lisa, to sit in her garden on a bench, where she sat more than once .. At this time, Liza goes out into the garden, as if sensing that Lavretsky is there: “In a white dress, with braids not untwisted over her shoulders, she quietly approached the table, bent over it, put a candle and looked for something; then, turning around facing the garden, she approached the open door and, all white, light, slender, stopped on the threshold.
There is a declaration of love, after which Lavretsky is overwhelmed with happiness: “Suddenly it seemed to him that some wondrous, triumphant sounds spilled in the air above his head; he stopped: the sounds thundered even more magnificent; they flowed in a melodious, strong stream, - into them, all his happiness seemed to speak and sing. It was the music composed by Lemm, and it fully corresponded to Lavretsky’s mood: “For a long time Lavretsky had not heard anything like it: the sweet, passionate melody from the first sound embraced the heart; it shone all over, all languished with inspiration, happiness, beauty, it grew and melted; she touched everything that is dear, secret, holy on earth; she breathed immortal sadness and went to heaven to die. Music portends tragic events in the lives of the heroes: when happiness was already so close, the news of the death of Lavretsky's wife turns out to be false, Varvara Pavlovna returns from France to Lavretsky, as she was left without money.
Lavretsky endures this event stoically, he is submissive to fate, but he is worried about what will happen to Lisa, because he understands what it is like for her, who fell in love for the first time, to experience this. She is saved from terrible despair by a deep, selfless faith in God. Liza leaves for the monastery, wishing only one thing - that Lavretsky would forgive his wife. Lavretsky forgave him, but his life was over, he loved Lisa too much to start all over again with his wife. At the end of the novel, Lavretsky, far from being an old man, looks like an old man, and he feels like a man who has outlived his age. But the love of the characters did not end there. This is the feeling that they will carry through their lives. The last meeting between Lavretsky and Lisa testifies to this. “They say that Lavretsky visited that remote monastery where Lisa had hidden - he saw her. Moving from choir to choir, she walked close past him, walked with the even, hastily humble gait of a nun - and did not look at him; only the eyelashes of her eyes turned to him trembled a little, only she bent her emaciated face even lower - and her fingers clenched hands, intertwined with a rosary, clung to each other even more tightly. "She did not forget her love, did not stop loving Lavretsky, and her departure to the monastery confirms this. And Panshin, who so demonstrated his love for Liza, completely fell under the spell of Varvara Pavlovna and became her slave.
The love story in the novel by I.S. Turgenev's "The Nest of Nobles" is very tragic and at the same time beautiful, beautiful because this feeling is not subject to either time or the circumstances of life, it helps a person to rise above the vulgarity and everyday life around him, this feeling ennobles and makes a person human.
Fyodor Lavretsky himself was a descendant of the gradually degenerated Lavretsky family, once strong, outstanding representatives of this family - Andrei (Fyodor's great-grandfather), Peter, then Ivan.
The commonality of the first Lavretskys is in ignorance.
Turgenev very accurately shows the change of generations in the Lavretsky family, their connections with - different periods historical development. A cruel and wild tyrant-landowner, Lavretsky's great-grandfather ("whatever the master wanted, he did, he hung men by the ribs ... he did not know the elder above him"); his grandfather, who once "ripped through the whole village", a careless and hospitable "steppe master"; full of hatred for Voltaire and the "fanatic" Diderot, is typical representatives Russian "wild nobility". They are replaced by those who have joined the culture, either claims to "Frenchness" or Anglomanism, which we see in the images of the frivolous old Princess Kubenskaya, in a very old age who married a young Frenchman, and the father of the hero Ivan Petrovich. Starting with a passion for the "Declaration of the Rights of Man" and Diderot, he ended with prayers and a bath. "A freethinker - began to go to church and order prayers; a European - began to bathe and dine at two o'clock, go to bed at nine, fall asleep to the butler's chatter; statesman- burned all his plans, all correspondence, trembled before the governor and fussed before the police officer. "This was the story of one of the families of the Russian nobility.
In the papers of Pyotr Andreevich, the grandson found the only dilapidated book in which he entered either “Celebration in the city of St. Petersburg of the reconciliation concluded with the Turkish Empire by His Excellency Prince Alexander Andreevich Prozorovsky”, or a recipe for chest dekocht with a note; "this instruction was given to General Praskovya Feodorovna Saltykova from the protopresbyter of the Church of the Life-Giving Trinity Fyodor Avksentievich," etc.; besides calendars, a dream book and the work of Abmodik, the old man had no books. And on this occasion, Turgenev ironically remarked: "Reading was not in his line." As if in passing, Turgenev points to the luxury of the eminent nobility. So, the death of Princess Kubenskaya is conveyed in the following colors: the princess "flushed, perfumed with ambergris a la Rishelieu, surrounded by black-legged little dogs and noisy parrots, died on a crooked silk sofa from the time of Louis XV, with an enamel snuffbox made by Petitot in her hands."
Bowing before everything French, Kubenskaya instilled in Ivan Petrovich the same tastes, gave a French upbringing. The writer does not exaggerate the significance of the war of 1812 for noblemen like the Lavretskys. They only temporarily "felt that Russian blood flows in their veins." "Peter Andreevich dressed a whole regiment of warriors at his own expense." But only. Fyodor Ivanovich's ancestors, especially his father, were more fond of foreign than Russian. The European-educated Ivan Petrovich, returning from abroad, introduced a new livery to the household, leaving everything as before, about which Turgenev writes, not without irony: peasants were forbidden to address directly to the master: the patriot really despised his fellow citizens.
And Ivan Petrovich decided to raise his son according to the foreign method. And this led to a separation from everything Russian, to a departure from the homeland. "An unkind joke was played by an Angloman with his son." Torn from childhood from his native people, Fedor lost his support, the real thing. It is no coincidence that the writer led Ivan Petrovich to an inglorious death: the old man became an unbearable egoist, who with his whims did not allow everyone around him to live, a pitiful blind man, suspicious. His death was a deliverance for Fyodor Ivanovich. Life suddenly opened up before him. At the age of 23, he did not hesitate to sit on the student bench with the firm intention of acquiring knowledge in order to apply it in life, to benefit at least the peasants of his villages. Where did Fedor's isolation and unsociableness come from? These qualities were the result of "Spartan education". Instead of introducing the young man into the midst of life, "he was kept in artificial seclusion", they protected him from life's upheavals.
The genealogy of the Lavretskys is intended to help the reader trace the gradual departure of the landowners from the people, to explain how Fyodor Ivanovich “dislocated” from life; it is designed to prove that the social death of the nobility is inevitable. The ability to live at the expense of others leads to the gradual degradation of a person.
Also given is an idea of the Kalitin family, where parents do not care about children, as long as they are fed and clothed.
This whole picture is complemented by the figures of the gossip and jester of the old official Gedeonov, a dashing retired captain and famous player - Father Panigin, a lover of government money - retired General Korobin, future father-in-law Lavretsky, etc. Telling the story of the families of the characters in the novel, Turgenev creates a picture very far from the idyllic image of "noble nests". He shows a motley Russia, whose people hit hard from a full course to the west to literally dense vegetation in their estate.
And all the "nests", which for Turgenev were the stronghold of the country, the place where its power was concentrated and developed, are undergoing a process of decay and destruction. Describing the ancestors of Lavretsky through the mouths of the people (in the person of Anton, the courtyard man), the author shows that the history of noble nests is washed by the tears of many of their victims.
One of them - Lavretsky's mother - a simple serf girl, who, unfortunately, turned out to be too beautiful, which attracts the attention of the nobleman, who, having married out of a desire to annoy his father, went to Petersburg, where he became interested in another. And poor Malasha, unable to bear the fact that her son was taken from her for the purpose of education, "resignedly, in a few days faded away."
Fyodor Lavretsky was brought up in conditions of abuse human personality. He saw how his mother, the former serf Malanya, was in an ambiguous position: on the one hand, she was officially considered the wife of Ivan Petrovich, transferred to half of the owners, on the other hand, she was treated with disdain, especially her sister-in-law Glafira Petrovna. Pyotr Andreevich called Malanya "a raw-hammered noblewoman." Fedya himself in childhood felt his special position, a feeling of humiliation oppressed him. Glafira reigned supreme over him, his mother was not allowed to see him. When Fedya was in his eighth year, his mother died. “The memory of her,” writes Turgenev, “of her quiet and pale face, her dull looks and timid caresses, was forever imprinted in his heart.”
The theme of the "irresponsibility" of the serfs accompanies Turgenev's entire narrative about the past of the Lavretsky family. The image of Lavretsky's evil and domineering aunt Glafira Petrovna is complemented by the images of the decrepit footman Anton, who has grown old in the lord's service, and the old woman Apraksey. These images are inseparable from the "noble nests".
In childhood, Fedya had to think about the situation of the people, about serfdom. However, his caregivers did everything possible to distance him from life. His will was suppressed by Glafira, but "... at times a wild stubbornness came over him." Fedya was raised by his father himself. He decided to make him a Spartan. The "system" of Ivan Petrovich "confused the boy, planted confusion in his head, squeezed it." Fedya was presented exact sciences and "heraldry to maintain chivalrous feelings". The father wanted to mold the soul of the young man to a foreign model, to instill in him a love for everything English. It was under the influence of such an upbringing that Fedor turned out to be a man cut off from life, from the people. The writer emphasizes the richness of the spiritual interests of his hero. Fedor is a passionate admirer of Mochalov's performance ("he never missed a single performance"), he deeply feels the music, the beauties of nature, in a word, everything is aesthetically beautiful. Lavretsky cannot be denied industriousness either. He studied very hard at the university. Even after his marriage, which interrupted his studies for almost two years, Fedor Ivanovich returned to independent studies. “It was strange to see,” writes Turgenev, “his powerful, broad-shouldered figure, forever bent over a desk. Every morning he spent at work.” And after the betrayal of his wife, Fedor pulled himself together and “could study, work,” although skepticism, prepared by life experiences and upbringing, finally climbed into his soul. He became very indifferent to everything. This was a consequence of his isolation from the people, from his native soil. After all, Varvara Pavlovna tore him not only from his studies, his work, but also from his homeland, forcing him to wander around Western countries and forget about the duty to their peasants, to the people. True, from childhood he was not accustomed to systematic work, so at times he was in a state of inactivity.
Lavretsky is very different from the heroes created by Turgenev before The Noble Nest. The positive features of Rudin (his loftiness, romantic aspiration) and Lezhnev (soberness of views on things, practicality) passed to him. He has a firm view of his role in life - to improve the life of the peasants, he does not lock himself into the framework of personal interests. Dobrolyubov wrote about Lavretsky: "... the drama of his position is no longer in the struggle with his own impotence, but in the clash with such concepts and morals, with which the struggle, indeed, should frighten even an energetic and courageous person." And then the critic noted that the writer "knew how to put Lavretsky in such a way that it is embarrassing to be ironic over him."
With great poetic feeling, Turgenev described the emergence of love in Lavretsky. Realizing that he loved deeply, Fyodor Ivanovich repeated the meaningful words of Mikhalevich:
And I burned everything that I worshiped;
He bowed to everything that he burned ...
Love for Liza is the moment of his spiritual rebirth, which came upon his return to Russia. Lisa is the opposite of Varvara Pavlovna. She would be able to help develop Lavretsky's abilities, would not prevent him from being a hard worker. Fedor Ivanovich himself thought about this: "... she would not distract me from my studies; she herself would inspire me to honest, rigorous work, and we would both go forward, towards a wonderful goal." In the dispute between Lavretsky and Panshin, his boundless patriotism and faith in the bright future of his people are revealed. Fedor Ivanovich "stands up for new people, for their beliefs and desires."
Having lost personal happiness for the second time, Lavretsky decides to fulfill his public duty (as he understands it) - he improves the life of his peasants. “Lavretsky had the right to be satisfied,” writes Turgenev, “he became a really good farmer, really learned to plow the land and worked not for himself alone.” However, it was half-hearted, it did not fill his entire life. Arriving at the Kalitins' house, he thinks about the "work" of his life and admits that it was useless.
The writer condemns Lavretsky for the sad outcome of his life. With all your pretty ones positive qualities main character The "noble nest" did not find his calling, did not benefit his people, and did not even achieve personal happiness.
At the age of 45, Lavretsky feels aged, incapable of spiritual activity; the "nest" of the Lavretskys has virtually ceased to exist.
In the epilogue of the novel, the hero appears aged. Lavretsky is not ashamed of the past, he does not expect anything from the future. "Hello, lonely old age! Burn out, useless life!" he says.
"Nest" is a house, a symbol of a family, where the connection of generations is not interrupted. In the novel The Noble Nest, this connection is broken, which symbolizes the destruction, the withering away of family estates under the influence of serfdom. We can see the result of this, for example, in N.A. Nekrasov’s poem “The Forgotten Village”.
But Turgenev hopes that not everything is lost yet, and in the novel, saying goodbye to the past, he turns to the new generation, in which he sees the future of Russia.
Let us turn to the "nodal" moments of the analysis of "The Nest of Nobles". It is necessary to start with the fact that, undoubtedly, it was a public, acutely topical novel, in which Turgenev again addresses the problem of the nobility, its role in difficult period life of Russia. Death of Nicholas I, defeat in Crimean War, climb peasant movement unusually intensified Russian society. What position can a nobleman take under such a set of circumstances? How to live on? Panshin directly poses this question to Lavretsky: "... What are you going to do?" “To plow the land,” answers Lavretsky, “and try to plow it as best as possible.”
"The Nest of Nobles" is a "personal novel", the hero of which, with his inner nobility, decency, patriotism and many other worthy qualities, will remind himself of himself in Pierre Bezukhov, Andrei Bolkonsky, Chekhov's heroes-intellectuals.
In The Nest of Nobles, Turgenev turned not only to the personal fate of the protagonist, but also depicted the history of the Lavretsky family in a panoramic view in order to be able to present a generalized portrait of the Russian nobility in terms of the novel's problems. The author is especially cruel in assessing the separation of the most advanced class of Russia from their national roots. In this regard, the theme of the motherland becomes one of the central, deeply personal and poetic. The motherland heals Lavretsky, who has returned from abroad, just as the people's sense of life helps him survive tragic love to Lisa Kalitina, endowing him with wisdom, patience, humility - everything that helps a person to live on earth.
The hero passes the test of love and passes it with honor. Love revives Lavretsky to life. Let us recall the description of the summer moonlit night that he saw. Following the principle of "secret psychology", Turgenev reveals through the landscape the awakening of the hero's soul - the source of his moral strength. But Lavretsky will also have to go through a state of self-denial: he comes to terms with the loss of love, comprehending the highest wisdom of humility.
"The Nest of Nobles" as a "test novel" involves testing the hero's position in life. Unlike Lisa, Mikhalevich, Lem, who are marked by the height of their chosen goal, Lavretsky is ordinary in his earthly claims and in conceivable ideals. He wants to work and work as best as possible, remaining true to himself to the end. Finding himself without hope for his own happiness, the hero finds the strength to live, to accept the laws of the natural course of life, reflected in the people's worldview, such as being able to suffer and endure and at the same time recognize the moral duty of a person not to lock himself in, but to remember those around you and try to work for their benefit.
Lavretsky, and with him Turgenev, consider such a state to be the only worthy one, although not without bitter internal losses. It is no coincidence that in the finale the hero feels like a lonely homeless wanderer, looking back at his life - a dying candle.
Thus, in The Nest of Nobles, two time planes characteristic of Turgenev's novel organically closed: historical and timeless, resulting in a philosophical and symbolic finale - a feature of all Turgenev's novels - with his idea of accepting the laws of a fast-flowing life with its eternal contradictions, gains and losses. And here Turgenev’s thoughts about the interrupted connection between generations in Russian history sound, which will become the main theme of the novel “Fathers and Sons”.
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Kaluga State University K.E. Tsiolkovsky
Referat
TOcomplex analysis of the novel "The Nest of Nobles" by I.S. Turgenev
Completed by Kozhenkina A.S.
Kaluga 2013
Introduction
1. Biography of I.S. Turgenev
2. Stories, novels and novels by I.S. Turgenev
3. The novel "The Noble Nest" by I.S. Turgenev
Conclusion
List of used literature
Introduction
Name I.S. Turgenev for almost a century aroused passionate disputes in Russian and foreign criticism. Already his contemporaries were aware of the enormous social significance of the works he created, not always agreeing with his assessment of the events and figures of Russian life, often denying in the sharpest form the legitimacy of his writer's position, his concept of the socio-historical development of Russia.
Turgenev belonged to the galaxy of the largest Russian writers of the second half of XIX century. In his work, the realistic traditions of Pushkin, Lermontov, Gogol continue to develop, enriched with new content.
Turgenev possessed an amazing talent - to combine the so-called topic of the day with generalizations of the broadest, truly universal order and to give them an artistically perfect form and aesthetic persuasiveness, but the philosophical basis of Turgenev's work to date, unfortunately, has not received due attention from researchers.
1. Biography of I.S. Turgenev
Turgenev's life had a very great influence on the works he created, since in them he described reality, all the subtleties of relations between different people under the influence of the reality of that time.
Ivan Sergeevich Turgenev was born on October 28 (November 9, n.s.), 1818. in the city of Orel. It was a noble family: his father, Sergei Nikolaevich, a retired hussar officer, came from an old noble family; mother, Varvara Petrovna, is from a wealthy landowning family of the Lutovinovs. Turgenev's childhood passed in the family estate of Spassky-Lutovinovo. He grew up in the care of tutors and teachers, Swiss and Germans, homegrown uncles and serf nannies. Here he early learned to subtly feel nature and hate serfdom.
With the family moving to Moscow in 1827 future writer was sent to a boarding school, spent about two and a half years there. Further education continued under the guidance of private teachers. Since childhood, he knew French, German, English.
In the autumn of 1833, before reaching the age of fifteen, he entered Moscow University, and the following year he transferred to St. Petersburg University, from which he graduated in 1936 in the verbal department of the philosophical faculty. One of the strongest impressions early youth(1833) falling in love with Princess E.L. Shakhovskaya, who at that time was experiencing an affair with Turgenev's father, was reflected in the story "First Love" (1860).
In May 1838, Turgenev went to Germany (the desire to complete his education was combined with the rejection of the Russian way of life based on serfdom). The catastrophe of the steamer "Nikolai I", on which Turgenev sailed, will be described by him in the essay "Fire at Sea" (1883; on French). Until August 1839, Turgenev lived in Berlin, listened to lectures at the university, studied classical languages, wrote poetry, and communicated with T.N. Granovsky, N.V. Stankevich. After a short stay in Russia, where he prepares for master's exams and attends literary circles and salons, he meets N. Gogol, S. Aksakov, A. Khomyakov. On one of his trips to St. Petersburg - with Herzen, in January 1840 he went to Italy, but from May 1840 to May 1841 he was again in Berlin, where he met M.A. Bakunin. Arriving in Russia, he visits the Bakunin estate Premukhino, converges with this family: soon an affair begins with T.A. Bakunina, which does not interfere with communication with the seamstress A.E. Ivanova (in 1842 she will give birth to Turgenev's daughter Pelageya). In January 1843 Turgenev entered the service of the Ministry of the Interior.
In 1842 he successfully passed the master's exams, hoping to get a professorship at Moscow University, but since philosophy was taken under suspicion by the Nikolaev government, the departments of philosophy were abolished at Russian universities, and it was not possible to become a professor.
In 1843, a poem based on modern material "Parasha" appeared, which was highly appreciated by V.G. Belinsky. Acquaintance with the critic, which turned into friendship (in 1846 Turgenev became his son's godfather), rapprochement with his entourage (in particular, with N.A. Nekrasov) change his literary orientation: from romanticism, he turns to an ironic moral descriptive poem ("The Landowner" , "Andrey", both 1845) and prose, close to the principles of the "natural school" and not alien to the influence of M.Yu. Lermontov ("Andrey Kolosov", 1844; "Three Portraits", 1846; "Breter", 1847). In the same year, he entered the service of an official in the "special office" of the Minister of the Interior, where he served for two years. Public and literary views Turgenev were determined during this period mainly by the influence of Belinsky. Turgenev publishes his poems, poems, dramatic works, stories. The critic guided his work with his assessments and friendly advice.
November 1, 1843 Turgenev meets the singer Pauline Viardot (Viardot Garcia) during her tour in St. Petersburg, love, which will largely determine the external course of his life. In May 1845 Turgenev retired. From the beginning of 1847 to June 1850 he lives abroad (in Germany, France; Turgenev witness french revolution 1848): takes care of the sick Belinsky during his travels; closely communicates with P.V. Annenkov, A.I. Herzen, meets J. Sand, P. Merimet, A. de Musset, F. Chopin, C. Gounod; writes the novels "Petushkov" (1848), "The Diary of a Superfluous Man" (1850), the comedy "The Bachelor" (1849), "Where it is thin, there it breaks", "Provincial Girl" (both 1851), the psychological drama "A Month in the Country" (1855).
The main work of this period is "The Hunter's Notes", a cycle of lyrical essays and stories that began with the story "Khor and Kalinich" (1847; the subtitle "From the Hunter's Notes" was invented by I.I. Panaev for publication in the "Mixture" section of the Sovremennik magazine ); a separate two-volume edition of the cycle was published in 1852, later the stories "The End of Chertop-hanov" (1872), "Living Powers", "Knocks" (1874) were added.
In 1850 he returned to Russia as an author and critic, collaborating in Sovremennik, which became a kind of center of Russian literary life.
Impressed by the death of N. Gogol in 1852, he published an obituary banned by the censors. For this, he is arrested for a month (while under arrest, he writes the story "Mumu"), and then sent to his estate under the supervision of the police without the right to leave the Oryol province.
In May he was exiled to Spasskoye, where he lived until December 1853 and worked on an unfinished novel, the story Two Friends. Here he meets A.A. Fet, actively corresponded with S.T. Aksakov and writers from the Sovremennik circle. A.K. played an important role in the efforts to release Turgenev. Tolstoy.
In 1853 it was allowed to come to St. Petersburg, but the right to travel abroad was returned only in 1856.
Turgenev takes part in the publication of "Poems" by F.I. Tyutchev (1854) and provides him with a preface. Mutual cooling off with a distant Viardot leads to a brief, but almost marriage-ended romance with a distant relative, O.A. Turgeneva. The novels "Calm" (1854), "Yakov Pasynkov" (1855), "Correspondence", "Faust" (both 1856) are published.
"Rudin" (1856) opens a series of Turgenev's novels, compact in volume, unfolding around the hero-ideologist, accurately fixing the current socio-political issues and, ultimately, putting "modernity" in the face of the unchanging and mysterious forces of love, art, nature. Continue this line: "Noble Nest", 1859; "On the Eve", 1860; "Fathers and Sons", 1862; "Smoke" (1867); "Nov", 1877.
Having served abroad in July 1856, Turgenev finds himself in a painful whirlpool of ambiguous relations with Viardot and his daughter, who was brought up in Paris. He goes to England, then to Germany, where he writes "Asya", one of the most poetic stories, which, however, can be interpreted in a public way (article by N.G. Chernyshevsky "Russian man on rendez-vous", 1858), and autumn and spends the winter in Italy. By the summer of 1858 he was in Spasskoye; in the future, often the year of Turgenev will be divided into "European, winter" and "Russian, summer" seasons.
After "On the Eve" there is a break between Turgenev and the radicalized Sovremennik (in particular, with N.A. Nekrasov). The conflict with the "young generation" was aggravated by the novel "Fathers and Sons". In the summer of 1861 there was a quarrel with L.N. Tolstoy, which almost turned into a duel (reconciliation in 1878).
In the story "Ghosts" (1864), Turgenev condenses those outlined in "Notes of a Hunter" and "Faust" mystical motives; this line will be developed in The Dog (1865), The Story of Lieutenant Ergunov (1868), Dream, The Story of Father Alexei (both 1877), Songs of Triumphant Love (1881), After Death ( Clara Milic)" (1883).
The theme of the weakness of a person, who turns out to be a toy of unknown forces and is doomed to non-existence, to a greater or lesser extent colors the entire late prose Turgenev; it is most directly expressed in the lyrical story "Enough!" (1865), perceived by contemporaries as evidence of Turgenev's situationally conditioned crisis.
In 1863 there is a new rapprochement between Turgenev and Pauline Viardot; until 1871 they live in Baden, then (at the end of the Franco-Prussian war) in Paris. Turgenev closely converges with G. Flaubert and through him with E. and J. Goncourt, A. Daudet, E. Zola, G. de Maupassant; he assumes the function of an intermediary between Russian and Western literatures.
His all-European fame is growing: in 1878, at the international literary congress in Paris, the writer was elected vice president; in 1879 he received an honorary doctorate from Oxford University. Turgenev maintains contacts with Russian revolutionaries (P.L. Lavrov, G.A. Lopatin) and provides material support to emigrants. In 1880, Turgenev took part in the celebrations in honor of the opening of a monument to Pushkin in Moscow.
Along with stories about the past ("King of the Steppe Lear", 1870; "Punin and Baburin", 1874) and the "mysterious" stories mentioned above, in the last years of his life, Turgenev turned to memoirs ("Literary and everyday memories", 1869-80) and "Poems in Prose" (1877-82), where almost all the main themes of his work are presented, and the summing up takes place as if in the presence of impending death.
In February 1879, when he arrived in Russia, he was honored at literary evenings and ceremonial dinners, strenuously inviting him to stay in his homeland.
In the spring of 1882, the first signs of a serious illness appeared, which deprived the writer of the opportunity to move (cancer of the spine).
Turgenev died in Bougival, a suburb of Paris. According to the writer's will, his body was transported to Russia and buried in St. Petersburg.
As an eminent master of psychological analysis and landscape painting Turgenev had a significant impact on the development of Russian and world literature.
2. Rstories, Pnews and novels by I.S. Turgenev
The initial period of creativity I.S. Turgenev, who had the character of a literary apprenticeship for him, can be considered from 1834, when Turgenev wrote his first youthful poem "The Wall", and until 1843, when the work "Parasha. A Story in Verse" was published.
“In 1843,” Turgenev wrote in Literary and Everyday Memoirs, “an event took place in St. Petersburg, and in itself it was extremely insignificant and long ago absorbed by general oblivion. Namely: a small poem appeared by a certain T.L. entitled” Parasha. "This T.L. was me; with this poem I entered the literary field."
Most of the early works of I.S. Turgenev refers to the 30s and early 40s of the XIX century - to this transitional period in the history of Russian society.
The young Turgenev, in his first poetic experiments in the 1930s, paid a certain tribute to the passion for romantic images and the romantic lexicon of Benediktov and Marlinsky, but this influence was very short-lived and shallow.
Some traces of this passion can be found in the very few poems written by Turgenev in initial period creativity. So, in poems devoted to the themes of love and nature, there are romantic exaggerations. Love in these verses is "rebellious", "mad", "sultry", kisses are "burning", the picture of the morning (in the poem "Confession") is given with excessive, pretentious splendor:
And, descending from the peaks of the Urals,
Like the palace of Sardanapalus,
A clear day will light up...
But in the vast majority of young Turgenev's poetic experiments, the general character of his work was realistic. Pushkin, Lermontov and Gogol were his true literary teachers.
What was Turgenev's work before the "Notes of a Hunter", how to regard his numerous poems and poems, which he was ready to abandon in the subsequent, mature period of literary activity?
If we approach them with the yardstick with which Turgenev approached them, they really do not meet the necessary requirements either from an ideological or artistic side. They rehearse either Pushkin's ("Parasha") or Lermontov's ("Conversation") poetry, and although Turgenev approaches the development of the themes of his literary teachers in his own way, he tries to give an independent interpretation " extra people"and "restless" heroes, but his positions are not clear to him, and the heroes of his poems leave readers with the impression of something unsaid and vague. There is no clarity of thought and in most lyric poems dedicated to the themes of love and nature.
However, in no case can it be said that the initial stage of Turgenev's literary activity was a complete failure for him, and, moreover, that he did not give anything to the writer himself in relation to his artistic growth. Poetic creativity taught Turgenev the layout of material, developed in him the ability to select from the mass of impressions and thoughts the most significant and typical, the ability to concentrate material and say a lot in a little.
Already Belinsky singled out such poems as "Fedya" and "Ballad" in Turgenev's early work.
"Ballad" (1842), written based on the folk song about Vanka the key keeper, was set to music by Rubinstein and still lives in chamber performance.
It should also be noted, as a significant creative achievement of young Turgenev, the poem "On the Road", which, along with great musicality, sincerity of feeling and sincerity, the lines of which are known to everyone without exception:
Foggy morning, gray morning
Fields sad, covered with snow,
Reluctantly remember the time of the past,
Remember the faces long forgotten...
And in the poems of I.S. Turgenev, who usually suffer from insufficient clarity in the disclosure of characters and the main ideological sense, there are separate bright domestic scenes and landscapes, showing that already in these years Turgenev was able to notice the essential, characteristic in life and nature and find the necessary precise and expressive words to describe.
The greatest success among Turgenev's poems was the poem "The Landowner", which is a series of live sketches of the landowner's life. Belinsky wrote about this poem: "Finally, Turgenev wrote a poetic story" The Landowner "- not a poem, but a physiological sketch of the landowner's life, a joke, if you like, but this joke somehow came out far better than all the author's poems. Glib epigrammatic verse, cheerful irony , the fidelity of the paintings, at the same time the consistency of the whole work, from beginning to end - everything showed that Turgenev attacked the true kind of his talent, took up his own, and that there was no reason to leave poetry to him at all.
Turgenev was already a good poet in the 40s. But just good. And his ambition demanded more.
One of the main problems posed to writers in the second period of the Russian liberation movement was the problem goodie, actively participating in the implementation of the immediate tasks of socio-political and economic life, and in connection with this - a reassessment of the advanced noble intelligentsia, which until now has played a leading role in Russian society. This problem confronted Chernyshevsky, Goncharov, Pisemsky, and other writers. Turgenev came close to this problem in the mid-1950s.
In the 1940s, stories and comedies did not occupy a major place in Turgenev's work and were not his best works - he won well-deserved fame in the 40s not with stories or comedies, but with "Notes of a Hunter".
After 1852, short stories and novels became his dominant genres. In terms of subject matter, these works differed significantly from the "Notes of a Hunter". Only in a few of them Turgenev still depicts the peasantry and paints pictures of serf life; such are the stories "The Inn", "The Lord's Office" (an excerpt from an unpublished novel), the story "Mumu" and later, in 1874, the story "Living Powers". In most of the works of the 1950s and 1970s, Turgenev's main subject of depiction is various groups of the noble class, and above all the progressive noble intelligentsia, usually compared with the Raznochinskaya, revolutionary-democratic intelligentsia. Mostly in these works, new means are developed and refined. artistic skill Turgenev.
Turgenev's stories and novels of the 1850s, the famous literary critic D.N. Ovsyaniko-Kulikovsky connected with the history of the Russian intelligentsia.
Turgenev's novels combined several of the most important properties for literature: they were smart, fascinating and impeccable in terms of style.
The ideological and artistic design of the works: the story "Asya" and the stories "Calm" and "Spring Waters" determined the originality of the conflicts laid in their basis and a special system, a special relationship of characters.
The conflict on which all three works are built is the clash young man, not quite ordinary, not stupid, undoubtedly cultured, but indecisive, weak-willed, and a young girl, deep, strong spirit, holistic and strong-willed.
It is essential that the conflicts in these works, and the selection of characteristic episodes, and the correlation of characters - all obey one main task of Turgenev: the analysis of the psychology of the noble intelligentsia in the field of personal, intimate life.
The central part of the plot is the origin, development and tragic ending love. It was to this side of the stories that Turgenev's main attention, as a writer-psychologist, was directed, in the disclosure of these intimate experiences and his artistic skill is manifested mainly.
Turgenev's novels are permeated with historicism in all their details, since the vast majority of the characters have one or another relation to the main social problem posed by the writer. In the novel "On the Eve" not only Elena lives under the impression of a decisive, impending turning point in Russian public life - everyone experiences this feeling in their own way: Bersenev, and Shubin, and Uvar Ivanovich, and, at least in a negative sense, Kurnatovsky and Stakhov Elena's father. In the novel "Nov" not only Nejdanov and Marianna, but almost all characters, one way or another, are directly or indirectly connected with the unfolding revolutionary movement.
Turgenev's novels (as well as stories) cannot be regarded as an accurate, photographic reflection of real historical reality. It is impossible, as some pre-revolutionary critics did (for example, Avdeev), to study the history of Russian social life in the 1950s-70s based on Turgenev's novels. One can speak about the historicism of these novels only taking into account the socio-political position of Turgenev, his assessment of those social forces who took part in historical process, and, first of all, his relationship to the noble class that dominated at that time.
At the center of Turgenev's novels are the main characters, who can be divided into four groups. The first group is advanced intellectual nobles who took on the role of leaders of the social movement, but due to their impracticality, weak character, they did not cope with the task and turned out to be superfluous people (Rudin, Nezhdanov). The second group is representatives of the young intelligentsia, raznochintsy or nobility, who have both knowledge, and willpower, and hardening by labor, but found themselves in the grip of wrong, from Turgenev's point of view, views and therefore went down the wrong road (Bazarov, Markelov).
The third group - positive heroes (also in the understanding of Turgenev), approaching the correct solution of the issue of truly progressive activity. These are Lavretsky, Litvinov, noble intellectuals who managed to overcome the legacy of gentleness of the nobility, who came after hard trials to socially useful work; in particular, this is a raznochinets, a native of the people of Solomin, the most perfect image of a positive hero in Turgenev in the last period of his literary work. And, finally, the fourth group is advanced girls, in whose images Turgenev presents three successive stages of involving a Russian woman of the 50s-70s in public life: Natalya, who is still striving for social activity, Elena, who has already found a useful business for herself, but is still in a foreign land, and Marianna, a participant in the Russian revolutionary movement, who finally determined her real life path in joint cultural work with Solomin.
Summing up all the above, we can note the key importance of the early work of the writer for the further development of his skill. It was this experience, which seemed so insignificant to Turgenev himself, that subsequently allowed him to write "Notes of a Hunter", "Fathers and Sons" and other significant works, which, in turn, had a huge impact on the development of Russian and foreign literature.
Turgenev's merit in a more specific area of the novel lies in the creation and development of a special variety of this genre - the public novel, in which new and, moreover, the most important trends of the era were promptly and quickly reflected. The main characters of Turgenev's novel - the so-called "superfluous" and "new" people, the noble and raznochin-democratic intelligentsia, for a significant historical period determined the moral and ideological level of Russian society.
3. Roman" Noble Nest" I.S. Turgenev
Turgenev conceived the novel "The Nest of Nobles" back in 1855. However, the writer experienced at that time doubts about the strength of his talent, and the imprint of personal disorder in life was also superimposed. Turgenev resumed work on the novel only in 1858, upon arrival from Paris. The novel appeared in the January book of Sovremennik for 1859. The author himself subsequently noted that "The Nest of Nobles" had the greatest success that had ever befallen him.
Turgenev, who was distinguished by his ability to notice and depict the new, the emerging, reflected modernity in this novel, the main moments in the life of the noble intelligentsia of that time. Lavretsky, Panshin, Lisa are not abstract images created by the head, but living people - representatives of the generations of the 40s of the 19th century. In Turgenev's novel, not only poetry, but also a critical orientation. This work of the writer is a denunciation of autocratic-feudal Russia, a dying song for "noble nests".
The favorite place of action in Turgenev's works is the "noble nests" with the atmosphere of sublime experiences reigning in them. Their fate excites Turgenev and one of his novels, which is called "The Noble Nest", is imbued with a sense of anxiety for their fate.
This novel is imbued with the consciousness that "noble nests" are degenerating. Turgenev critically illuminates the noble genealogies of the Lavretskys and Kalitins, seeing in them a chronicle of feudal arbitrariness, a bizarre mixture of "wild nobility" and aristocratic admiration for Western Europe.
Let's consider the ideological content and the system of images of "The Nest of Nobles". Turgenev placed representatives of the noble class at the center of the novel. The chronological framework of the novel is the 40s. The action begins in 1842, and the epilogue tells about the events that took place 8 years later.
The writer decided to capture that period in the life of Russia, when the best representatives of the noble intelligentsia are growing anxious for the fate of their own and their people. Turgenev interestingly decided the plot and compositional plan of his work. He shows his heroes in the most intense turning points of their lives.
After an eight-year stay abroad, Fyodor Lavretsky returns to his family estate. He experienced a great shock - the betrayal of his wife Varvara Pavlovna. Tired, but not broken by suffering, Fedor Ivanovich came to the village to improve the life of his peasants. In a nearby town, in the house of his cousin Marya Dmitrievna Kalitina, he meets her daughter, Lisa.
Lavretsky fell in love with her with pure love, Lisa answered him in return.
In the novel "The Nest of Nobles" the author pays a lot of attention to the theme of love, because this feeling helps to highlight all the best qualities of the characters, to see the main thing in their characters, to understand their soul. Love is depicted by Turgenev as the most beautiful, bright and pure feeling that awakens all the best in people. In this novel, as in no other novel by Turgenev, the most touching, romantic, sublime pages are devoted to the love of heroes.
The love of Lavretsky and Liza Kalitina does not manifest itself immediately, it approaches them gradually, through many reflections and doubts, and then suddenly falls upon them with its irresistible force. Lavretsky, who has experienced a lot in his lifetime: both hobbies, and disappointments, and the loss of all life goals, at first simply admires Lisa, her innocence, purity, spontaneity, sincerity - all those qualities that Varvara Pavlovna lacks, hypocritical, depraved Lavretsky's wife, who abandoned him. Lisa is close to him in spirit: “It sometimes happens that two people who are already familiar, but not close to each other, suddenly and quickly approach each other within a few moments, and the consciousness of this rapprochement is immediately expressed in their views, in their friendly and quiet smiles, in themselves their movements. That is exactly what happened to Lavretsky and Liza." They talk a lot and realize that they have a lot in common. Lavretsky takes life, other people, Russia seriously, Lisa is also a deep and strong girl who has her own ideals and beliefs. According to Lemm, Liza's music teacher, she is "a fair, serious girl with lofty feelings." Lisa is courted by a young man, a city official with a bright future. Lisa's mother would be glad to give her in marriage to him, she considers this a great match for Lisa. But Lisa cannot love him, she feels falseness in his attitude towards her, Panshin is a superficial person, he appreciates external brilliance in people, and not the depth of feelings. Further events of the novel confirm this opinion about Panshin.
Only when Lavretsky receives news of the death of his wife in Paris does he begin to admit the thought of personal happiness.
They were close to happiness, Lavretsky showed Liza a French magazine, which reported the death of his wife Varvara Pavlovna.
Turgenev, in his favorite manner, does not describe the feelings of a person freed from shame and humiliation, he uses the technique of "secret psychology", depicting the experiences of his characters through movements, gestures, facial expressions. After Lavretsky read the news of his wife's death, he "dressed, went out into the garden, and walked up and down the same alley until morning." After some time, Lavretsky becomes convinced that he loves Lisa. He is not happy about this feeling, as he already experienced it, and it brought him only disappointment. He is trying to find confirmation of the news of his wife's death, he is tormented by uncertainty. And love for Liza grows ever stronger: “He did not love like a boy, it was not to his face to sigh and languish, and Liza herself did not arouse this kind of feeling; but love at every age has its suffering, and he experienced them completely. The author conveys the feelings of the heroes through descriptions of nature, which is especially beautiful before their explanation: “Each of them had a heart growing in their chest, and nothing was lost for them: a nightingale sang for them, and the stars burned, and the trees whispered softly, lulled by sleep, and the bliss of summer, and warmth. The scene of the declaration of love between Lavretsky and Lisa was written by Turgenev in a surprisingly poetic and touching way, the author finds the simplest and at the same time the most tender words to express the feelings of the characters. Lavretsky wanders around Liza's house at night, looks at her window, in which a candle burns: "Lavretsky did not think anything, did not expect anything; it was pleasant for him to feel close to Lisa, to sit in her garden on a bench, where she sat more than once .. At this time, Liza goes out into the garden, as if sensing that Lavretsky is there: “In a white dress, with braids not untwisted over her shoulders, she quietly approached the table, bent over it, put a candle and looked for something; then, turning around facing the garden, she approached the open door and, all white, light, slender, stopped on the threshold.
There is a declaration of love, after which Lavretsky is overwhelmed with happiness: “Suddenly it seemed to him that some wondrous, triumphant sounds spilled in the air above his head; he stopped: the sounds thundered even more magnificent; they flowed in a melodious, strong stream, - into them, all his happiness seemed to speak and sing. It was the music composed by Lemm, and it fully corresponded to Lavretsky’s mood: “For a long time Lavretsky had not heard anything like it: the sweet, passionate melody from the first sound embraced the heart; it shone all over, all languished with inspiration, happiness, beauty, it grew and melted; she touched everything that is dear, secret, holy on earth; she breathed immortal sadness and went to heaven to die. Music portends tragic events in the lives of the heroes: when happiness was already so close, the news of the death of Lavretsky's wife turns out to be false, Varvara Pavlovna returns from France to Lavretsky, as she was left without money.
Lavretsky endures this event stoically, he is submissive to fate, but he is worried about what will happen to Lisa, because he understands what it is like for her, who fell in love for the first time, to experience this. She is saved from terrible despair by a deep, selfless faith in God. Liza leaves for the monastery, wishing only one thing - that Lavretsky would forgive his wife. Lavretsky forgave him, but his life was over, he loved Lisa too much to start all over again with his wife. At the end of the novel, Lavretsky, far from being an old man, looks like an old man, and he feels like a man who has outlived his age. But the love of the characters did not end there. This is the feeling that they will carry through their lives. The last meeting between Lavretsky and Lisa testifies to this. “They say that Lavretsky visited that remote monastery where Lisa had hidden - he saw her. Moving from choir to choir, she walked close past him, walked with the even, hastily humble gait of a nun - and did not look at him; only the eyelashes of her eyes turned to him they trembled a little, only she bent her emaciated face even lower - and the fingers of her clenched hands, intertwined with a rosary, pressed against each other even more tightly. She did not forget her love, did not stop loving Lavretsky, and her departure to the monastery confirms this. And Panshin, who so demonstrated his love for Lisa, completely fell under the spell of Varvara Pavlovna and became her slave.
The love story in the novel by I.S. Turgenev's "The Nest of Nobles" is very tragic and at the same time beautiful, beautiful because this feeling is not subject to either time or the circumstances of life, it helps a person to rise above the vulgarity and everyday life around him, this feeling ennobles and makes a person human.
Fyodor Lavretsky himself was a descendant of the gradually degenerated Lavretsky family, once strong, outstanding representatives of this family - Andrei (Fyodor's great-grandfather), Peter, then Ivan.
The commonality of the first Lavretskys is in ignorance.
Turgenev very accurately shows the change of generations in the Lavretsky family, their connection with various periods of historical development. A cruel and wild tyrant-landowner, Lavretsky's great-grandfather ("whatever the master wanted, he did, he hung men by the ribs ... he did not know the elder above him"); his grandfather, who once "ripped through the whole village", a careless and hospitable "steppe master"; full of hatred for Voltaire and the "fanatic" Diderot, these are typical representatives of the Russian "wild nobility." They are replaced by claims to "Frenchness", then Anglomanism, who have become accustomed to culture, which we see in the images of the frivolous old princess of Kubenskaya, who at a very advanced age married a young Frenchman, and the father of the hero Ivan Petrovich. Starting with a passion for the "Declaration of the Rights of Man" and Diderot, he ended with prayers and a bath. "A freethinker - began to go to church and order prayers; a European - began to bathe and dine at two o'clock, go to bed at nine, fall asleep to the butler's chatter; a statesman - burned all his plans, all correspondence, trembled before the governor and fussed over the police officer." Such was the history of one of the families of the Russian nobility.
In the papers of Pyotr Andreevich, the grandson found the only dilapidated book in which he entered either “Celebration in the city of St. Petersburg of the reconciliation concluded with the Turkish Empire by His Excellency Prince Alexander Andreevich Prozorovsky”, or a recipe for chest dekocht with a note; "this instruction was given to General Praskovya Feodorovna Saltykova from the protopresbyter of the Church of the Life-Giving Trinity Fyodor Avksentievich," etc.; besides calendars, a dream book and the work of Abmodik, the old man had no books. And on this occasion, Turgenev ironically remarked: "Reading was not in his line." As if in passing, Turgenev points to the luxury of the eminent nobility. So, the death of Princess Kubenskaya is conveyed in the following colors: the princess "flushed, perfumed with ambergris a la Rishelieu, surrounded by black-legged little dogs and noisy parrots, died on a crooked silk sofa from the time of Louis XV, with an enamel snuffbox made by Petitot in her hands."
Bowing before everything French, Kubenskaya instilled in Ivan Petrovich the same tastes, gave a French upbringing. The writer does not exaggerate the significance of the war of 1812 for noblemen like the Lavretskys. They only temporarily "felt that Russian blood flows in their veins." "Peter Andreevich dressed a whole regiment of warriors at his own expense." But only. Fyodor Ivanovich's ancestors, especially his father, were more fond of foreign than Russian. The European-educated Ivan Petrovich, returning from abroad, introduced a new livery to the household, leaving everything as before, about which Turgenev writes, not without irony: peasants were forbidden to address directly to the master: the patriot really despised his fellow citizens.
And Ivan Petrovich decided to raise his son according to the foreign method. And this led to a separation from everything Russian, to a departure from the homeland. "An unkind joke was played by an Angloman with his son." Torn from childhood from his native people, Fedor lost his support, the real thing. It is no coincidence that the writer led Ivan Petrovich to an inglorious death: the old man became an unbearable egoist, who with his whims did not allow everyone around him to live, a pitiful blind man, suspicious. His death was a deliverance for Fyodor Ivanovich. Life suddenly opened up before him. At the age of 23, he did not hesitate to sit on the student bench with the firm intention of acquiring knowledge in order to apply it in life, to benefit at least the peasants of his villages. Where did Fedor's isolation and unsociableness come from? These qualities were the result of "Spartan education". Instead of introducing the young man into the midst of life, "he was kept in artificial seclusion", they protected him from life's upheavals.
The genealogy of the Lavretskys is intended to help the reader trace the gradual departure of the landowners from the people, to explain how Fyodor Ivanovich “dislocated” from life; it is designed to prove that the social death of the nobility is inevitable. The ability to live at the expense of others leads to the gradual degradation of a person.
Also given is an idea of the Kalitin family, where parents do not care about children, as long as they are fed and clothed.
This whole picture is complemented by the figures of the gossip and jester of the old official Gedeonov, a dashing retired captain and famous player - Father Panigin, a lover of government money - retired General Korobin, future father-in-law Lavretsky, etc. Telling the story of the families of the characters in the novel, Turgenev creates a picture very far from the idyllic image of "noble nests". He shows a motley Russia, whose people hit hard from a full course to the west to literally dense vegetation in their estate.
And all the "nests", which for Turgenev were the stronghold of the country, the place where its power was concentrated and developed, are undergoing a process of decay and destruction. Describing the ancestors of Lavretsky through the mouths of the people (in the person of Anton, the courtyard man), the author shows that the history of noble nests is washed by the tears of many of their victims.
One of them - Lavretsky's mother - a simple serf girl, who, unfortunately, turned out to be too beautiful, which attracts the attention of the nobleman, who, having married out of a desire to annoy his father, went to Petersburg, where he became interested in another. And poor Malasha, unable to bear the fact that her son was taken from her for the purpose of education, "resignedly, in a few days faded away."
Fyodor Lavretsky was brought up in conditions of abuse of the human person. He saw how his mother, the former serf Malanya, was in an ambiguous position: on the one hand, she was officially considered the wife of Ivan Petrovich, transferred to half of the owners, on the other hand, she was treated with disdain, especially her sister-in-law Glafira Petrovna. Pyotr Andreevich called Malanya "a raw-hammered noblewoman." Fedya himself in childhood felt his special position, a feeling of humiliation oppressed him. Glafira reigned supreme over him, his mother was not allowed to see him. When Fedya was in his eighth year, his mother died. “The memory of her,” writes Turgenev, “of her quiet and pale face, her dull looks and timid caresses, was forever imprinted in his heart.”
The theme of the "irresponsibility" of the serfs accompanies Turgenev's entire narrative about the past of the Lavretsky family. The image of Lavretsky's evil and domineering aunt Glafira Petrovna is complemented by the images of the decrepit footman Anton, who has grown old in the lord's service, and the old woman Apraksey. These images are inseparable from the "noble nests".
In childhood, Fedya had to think about the situation of the people, about serfdom. However, his caregivers did everything possible to distance him from life. His will was suppressed by Glafira, but "... at times a wild stubbornness came over him." Fedya was raised by his father himself. He decided to make him a Spartan. The "system" of Ivan Petrovich "confused the boy, planted confusion in his head, squeezed it." Fedya was presented with exact sciences and "heraldry to maintain chivalrous feelings." The father wanted to mold the soul of the young man to a foreign model, to instill in him a love for everything English. It was under the influence of such an upbringing that Fedor turned out to be a man cut off from life, from the people. The writer emphasizes the richness of the spiritual interests of his hero. Fedor is a passionate admirer of Mochalov's performance ("he never missed a single performance"), he deeply feels the music, the beauties of nature, in a word, everything is aesthetically beautiful. Lavretsky cannot be denied industriousness either. He studied very hard at the university. Even after his marriage, which interrupted his studies for almost two years, Fedor Ivanovich returned to independent studies. “It was strange to see,” writes Turgenev, “his powerful, broad-shouldered figure, forever bent over a desk. Every morning he spent at work.” And after the betrayal of his wife, Fedor pulled himself together and “could study, work,” although skepticism, prepared by life experiences and upbringing, finally climbed into his soul. He became very indifferent to everything. This was a consequence of his isolation from the people, from his native soil. After all, Varvara Pavlovna tore him not only from his studies, his work, but also from his homeland, forcing him to wander around Western countries and forget about his duty to his peasants, to the people. True, from childhood he was not accustomed to systematic work, so at times he was in a state of inactivity.
Lavretsky is very different from the heroes created by Turgenev before The Noble Nest. The positive features of Rudin (his loftiness, romantic aspiration) and Lezhnev (soberness of views on things, practicality) passed to him. He has a firm view of his role in life - to improve the life of the peasants, he does not lock himself into the framework of personal interests. Dobrolyubov wrote about Lavretsky: "... the drama of his position is no longer in the struggle with his own impotence, but in the clash with such concepts and morals, with which the struggle, indeed, should frighten even an energetic and courageous person." And then the critic noted that the writer "knew how to put Lavretsky in such a way that it is embarrassing to be ironic over him."
With great poetic feeling, Turgenev described the emergence of love in Lavretsky. Realizing that he loved deeply, Fyodor Ivanovich repeated the meaningful words of Mikhalevich:
And I burned everything that I worshiped;
He bowed to everything that he burned ...
Love for Liza is the moment of his spiritual rebirth, which came upon his return to Russia. Lisa is the opposite of Varvara Pavlovna. She would be able to help develop Lavretsky's abilities, would not prevent him from being a hard worker. Fedor Ivanovich himself thought about this: "... she would not distract me from my studies; she herself would inspire me to honest, rigorous work, and we would both go forward, towards a wonderful goal." In the dispute between Lavretsky and Panshin, his boundless patriotism and faith in the bright future of his people are revealed. Fedor Ivanovich "stands up for new people, for their beliefs and desires."
Having lost personal happiness for the second time, Lavretsky decides to fulfill his public duty (as he understands it) - he improves the life of his peasants. “Lavretsky had the right to be satisfied,” writes Turgenev, “he became a really good farmer, really learned to plow the land and worked not for himself alone.” However, it was half-hearted, it did not fill his entire life. Arriving at the Kalitins' house, he thinks about the "work" of his life and admits that it was useless.
The writer condemns Lavretsky for the sad outcome of his life. For all his sympathetic, positive qualities, the protagonist of the "Noble Nest" did not find his calling, did not benefit his people, and did not even achieve personal happiness.
At the age of 45, Lavretsky feels aged, incapable of spiritual activity; the "nest" of the Lavretskys has virtually ceased to exist.
In the epilogue of the novel, the hero appears aged. Lavretsky is not ashamed of the past, he does not expect anything from the future. "Hello, lonely old age! Burn out, useless life!" he says.
"Nest" is a house, a symbol of a family, where the connection of generations is not interrupted. In the novel The Noble Nest, this connection is broken, which symbolizes the destruction, the withering away of family estates under the influence of serfdom. We can see the result of this, for example, in N.A. Nekrasov’s poem “The Forgotten Village”.
But Turgenev hopes that not everything is lost yet, and in the novel, saying goodbye to the past, he turns to the new generation, in which he sees the future of Russia.
Conclusion
When considering the "extra people" in Turgenev's works, one pattern can be noticed: the later the work is written, the more respect the hero enjoys - the "extra person" of the author, the smarter, richer spiritually and materially he is. Over time, these terminally ill people become better and even more useful to society.
The problem of "superfluous people" is still relevant today. "Inflaming the audience, but incapable of an act" superfluous person ", in vain dreaming of happiness and coming to humble self-sacrifice" - this type of people exists in our time, and will always exist, both in literature and in reality, and it will remind Turgenev's Lavretskys, Rudins, Nezhdanovs and other "superfluous people" in Turgenev's works.
WITHlist of used literature
1. complete collection essays and letters. M.; L., 1960-68. T. 1-28.
2. Clement M.K. Chronicle of the life and work of I.S. Turgenev. M.; L., 1934.
3. Life of Turgenev // Zaitsev B. Far. M., 1991.
4. Chronicle of the life and work of I.S. Turgenev (1818-1858) / Comp. N.S. Nikitin. SPb., 1995.
5. I.S. Turgenev, volume 2, Goslitizdat, Sobr. Soch., M. 1961
6. Batyuto A. Turgenev - novelist. - L.: Nauka, 1972. - 390 p.
7. Byaly G. Turgenev's first novel // Turgenev I.S. Rudin. - M.: Children's literature, 1990. - 160 p.
8. Byaly G.A. Turgenev and Russian realism. - M.-L.: Soviet writer, 1962.
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Reflections of I.S. Turgenev about the fate of the best among the Russian nobility underlie the novel "The Nest of Nobles" (1858).
In this novel, the noble environment is presented in almost all of its states - from a provincial small estate to the ruling elite. Everything in noble morality Turgenev condemns at the very core. How unanimously in the house of Marya Dmitrievna Kalitina and in the whole "society" they condemn Varvara Pavlovna Lavretskaya for her adventures abroad, how they pity Lavretsky and, it seems, are about to help him. But as soon as Varvara Pavlovna appeared and put into play the charms of her stereotyped Cocotte charm, everyone - both Maria Dmitrievna and the entire provincial beau monde - were delighted with her. This depraved creature, pernicious and distorted by the same noble morality, is quite to the taste of the highest noble environment.
Panshin, who embodies "exemplary" noble morality, is presented by the author without sarcastic pressure. One can understand Liza, who for a long time could not properly determine her attitude towards Panshin and, in essence, did not resist Marya Dmitrievna's intention to marry her to Panshin. He is courteous, tactful, moderately educated, knows how to keep up a conversation, he is even interested in art: he paints - but he always paints the same landscape, composes music and poetry. True, his giftedness is superficial; strong and deep experiences are simply inaccessible to him. The true artist Lemm saw this, but Lisa, perhaps, only vaguely guessed about it. And who knows how Lisa's fate would have turned out if it weren't for the dispute. In the composition of Turgenev's novels, ideological disputes always play a huge role. Usually in a dispute, either the plot of the novel is formed, or the struggle of the parties reaches a culminating intensity. In The Nest of Nobles, the dispute between Panshin and Lavretsky about the people is of great importance. Turgenev later remarked that this was a dispute between a Westerner and a Slavophile. This characterization cannot be taken literally. The fact is that Panshin is a Westerner of a special, official kind, and Lavretsky is not an orthodox Slavophile. In his attitude towards the people, Lavretsky is most similar to Turgenev: he does not try to give the character of the Russian people some simple, conveniently memorable definition. Like Turgenev, he believes that before inventing and imposing recipes for organizing people's life, it is necessary to understand the character of the people, their morality, their true ideals. And at that moment, when Lavretsky develops these thoughts, Lisa's love for Lavretsky is born.
Turgenev did not get tired of developing the idea that love, by its very deepest nature, is a spontaneous feeling and any attempts to rationally interpret it are most often simply tactless. But the love of most of his heroines almost always merges with altruistic aspirations. They give their hearts to people who are selfless, generous and kind. Selfishness for them, as well as for Turgenev, is the most unacceptable human quality.
Perhaps, in no other novel did Turgenev so insistently pursue the idea that in the best people from the nobility all their good qualities are somehow, directly or indirectly, connected with folk morality. Lavretsky went through the school of his father's pedagogical whims, endured the burden of love of a wayward, selfish and vain woman, and yet did not lose his humanity. Turgenev directly informs the reader that Lavretsky owes his mental fortitude to the fact that peasant blood flows in his veins, that in childhood he experienced the influence of a peasant mother.
In the character of Lisa, in all her attitude, the beginning folk morality even more clearly expressed. With all her behavior, her calm grace, she, perhaps, most of all Turgenev's heroines resembles Tatyana Larina. But in her personality there is one property that is only outlined in Tatiana, but which will become the main distinguishing feature of that type of Russian women, which is usually called "Turgenev's". This property is selflessness, readiness for self-sacrifice.
In the fate of Lisa lies Turgenev's verdict on society, which kills everything pure that is born in it.
Goncharov. Ordinary History 1848
This summer morning in the village of Grachi began unusually: at dawn, all the inhabitants of the house of the poor landowner Anna Pavlovna Adueva were already on their feet. Only the culprit of this fuss, the son of Adueva, Alexander, slept, "as a twenty-year-old youth should sleep, with a heroic dream." The turmoil reigned in Grachi because Alexander was going to St. Petersburg to serve: the knowledge he received at the university, according to the young man, must be applied in practice serving the Fatherland.
The grief of Anna Pavlovna, parting with her only son, is akin to the sadness of the "first minister in the economy" of the landowner Agrafena - together with Alexander, his valet Yevsey, Agrafena's cordial friend, is sent to St. Petersburg - how many pleasant evenings this gentle couple spent playing cards! .. Suffering and Alexander's beloved, Sonechka, - the first impulses of his exalted soul were dedicated to her. Best friend Adueva, Pospelov, bursts into Grachi at the last minute to finally embrace the one with whom the best hours of university life were spent in conversations about honor and dignity, about serving the Fatherland and the delights of love ...
Yes, and Alexander himself is sorry to part with his usual way of life. If lofty goals and a sense of his destination had not pushed him on a long journey, he would, of course, have remained in Grachi, with his mother and sister, who loved him infinitely, the old maid Maria Gorbatova, among hospitable and hospitable neighbors, next to his first love. But ambitious dreams drive the young man to the capital, closer to glory.
In St. Petersburg, Alexander immediately goes to his relative, Peter Ivanovich Aduev, who at one time, like Alexander, "was sent to St. Petersburg for twenty years by his elder brother, Alexander's father, and lived there without a break for seventeen years." Not maintaining contact with his widow and son, who remained after the death of his brother in Grachi, Pyotr Ivanovich is greatly surprised and annoyed by the appearance of an enthusiastic young man who expects care, attention and, most importantly, the separation of his increased sensitivity from his uncle. From the very first minutes of their acquaintance, Pyotr Ivanovich has to almost forcefully restrain Alexander from outpourings of feelings with an attempt to embrace a relative. Together with Alexander, a letter arrives from Anna Pavlovna, from which Pyotr Ivanovich learns that great hopes are placed on him: not only by an almost forgotten daughter-in-law, who hopes that Pyotr Ivanovich will sleep with Alexander in the same room and cover the young man's mouth from flies. The letter contains many requests from neighbors, which Pyotr Ivanovich has forgotten to think about for almost two decades now. One of these letters was written by Marya Gorbatova, Anna Pavlovna's sister, who remembered for the rest of her life the day when the young Pyotr Ivanovich, walking with her around the countryside, climbed knee-deep into the lake and plucked a yellow flower for her memory ...
From the very first meeting, Pyotr Ivanovich, a rather dry and businesslike man, begins to educate his enthusiastic nephew: he rents Alexander an apartment in the same house where he lives, advises where and how to eat, with whom to communicate. Later, he finds a very specific case for him: service and - for the soul! - translations of articles devoted to the problems of agriculture. Ridiculing, sometimes quite cruelly, Alexander's addiction to everything "unearthly", sublime, Pyotr Ivanovich is gradually trying to destroy the fictional world in which his romantic nephew lives. So two years pass.
After this time, we meet Alexander already partly accustomed to the complexities of St. Petersburg life. And - without memory in love with Nadenka Lyubetskaya. During this time, Alexander managed to advance in the service, and achieved some success in translations. Now he has become quite an important person in the journal: "he was engaged in the selection, and translation, and correction of other people's articles, he himself wrote various theoretical views on agriculture." He continued to write both poetry and prose. But falling in love with Nadenka Lyubetskaya seems to close the whole world in front of Alexander Aduev - now he lives from meeting to meeting, drugged by that "sweet bliss that Pyotr Ivanovich was angry with."
She is in love with Alexander and Nadenka, but, perhaps, only with that “little love in anticipation of a big one,” which Alexander himself experienced for Sophia, who is now forgotten by him. Alexander's happiness is fragile - on the way to eternal bliss, Count Novinsky, the neighbor of the Lyubetskys in the country, gets up.
Pyotr Ivanovich is unable to heal Alexander from raging passions: Aduev Jr. is ready to challenge the count to a duel, to take revenge on an ungrateful girl who is not able to appreciate his high feelings, he sobs and burns with anger ... Pyotr Ivanovich’s wife comes to the aid of the young man distraught with grief, Lizaveta Alexandrovna; she comes to Alexander when Pyotr Ivanovich turns out to be powerless, and we don’t know exactly what, with what words, with what participation, the young woman succeeds in what her smart, reasonable husband did not succeed. “An hour later he (Alexander) came out thoughtful, but with a smile, and fell asleep for the first time calmly after many sleepless nights.”
Another year has passed since that memorable night. From the gloomy despair that Lizaveta Alexandrovna managed to melt, Aduev Jr. moved on to despondency and indifference. “He somehow liked to play the role of the sufferer. He was quiet, important, vague, like a man who, in his words, withstood the blow of fate ... ”And the blow was not slow to repeat: an unexpected meeting with an old friend Pospelov on Nevsky Prospekt, a meeting, all the more accidental that Alexander did not even know about the moving of his soulmate to the capital, - brings confusion into the already disturbed heart of Aduev Jr. The friend turns out to be completely different from what he remembers from the years spent at the university: he is strikingly similar to Pyotr Ivanovich Aduev - he does not appreciate the wounds of the heart experienced by Alexander, talks about a career, about money, welcomes an old friend in his house, but special signs of attention does not show to him.
It turns out to be almost impossible to heal the sensitive Alexander from this blow - and who knows what our hero would have come to this time if uncle had not applied the “extreme measure” to him! .. Arguing with Alexander about the bonds of love and friendship, Pyotr Ivanovich cruelly reproaches Alexander in the fact that he closed himself only in his own feelings, not knowing how to appreciate the one who is faithful to him. He does not consider his uncle and aunt his friends, he has not written to his mother for a long time, living only thoughts about her only son. This "medicine" turns out to be effective - Alexander again turns to literary creativity. This time he writes a story and reads it to Pyotr Ivanovich and Lizaveta Alexandrovna. Aduev Sr. invites Alexander to send the story to the magazine in order to find out the true value of his nephew's work. Pyotr Ivanovich does this under his own name, believing that this will be a fairer trial and better for the fate of the work. The answer did not take long to appear - it puts the last point in the hopes of the ambitious Aduev Jr. ...
And just at that time, Pyotr Ivanovich needed the service of a nephew: his factory companion Surkov suddenly falls in love with the young widow of a former friend of Pyotr Ivanovich, Yulia Pavlovna Tafaeva, and completely abandons things. Above all else, appreciating the cause, Pyotr Ivanovich asks Alexander to “fall in love with himself” Tafaeva, ousting Surkov from her home and heart. As a reward, Peter Ivanovich offers Alexander two vases that Aduev Jr. liked so much.
The case, however, takes an unexpected turn: Alexander falls in love with a young widow and evokes a reciprocal feeling in her. Moreover, the feeling is so strong, so romantic and sublime that the “culprit” himself is unable to withstand the outbursts of passion and jealousy that Tafaeva brings down on him. Brought up on romance novels, who married a rich and unloved man too early, Yulia Pavlovna, having met Alexander, seems to be throwing herself into a pool: everything that was read and dreamed of is now falling on her chosen one. And Alexander does not stand the test ...
After Pyotr Ivanovich managed to bring Tafaev to his senses with arguments unknown to us, another three months passed, in which Alexander's life after the shock he experienced is unknown to us. We meet him again when he, disappointed in everything that he lived before, "plays checkers with some eccentrics or fishes." His apathy is deep and inescapable, nothing seems to be able to bring Aduev Jr. out of dull indifference. Alexander no longer believes in love or friendship. He begins to go to Kostikov, about whom Zaezzhalov, a neighbor in Grachi, once wrote in a letter to Pyotr Ivanovich, wanting to introduce Aduev Sr. to his old friend. This man turned out to be most welcome for Alexander: he “could not awaken spiritual unrest” in a young man.
And one day on the shore, where they were fishing, unexpected spectators appeared - an old man and a pretty young girl. They appeared more and more often. Lisa (that was the name of the girl) began to try to captivate the yearning Alexander with various female tricks. In part, the girl succeeds, but the offended father comes to the meeting in the gazebo instead of her. After explaining with him, Alexander has no choice but to change the place of fishing. However, he does not remember Lisa for long ...
Still wanting to awaken Alexander from the sleep of the soul, the aunt asks him one day to accompany her to a concert: "some artist, a European celebrity, has arrived." The shock experienced by Alexander from meeting with beautiful music strengthens the decision that had ripened even earlier to give up everything and return to his mother, in Grachi. Alexander Fedorovich Aduev leaves the capital along the same road that he entered St. Petersburg several years ago, intending to conquer it with his talents and high appointment ...
And in the village, life seemed to have stopped its run: the same hospitable neighbors, only older, the same infinitely loving mother, Anna Pavlovna; she just got married, without waiting for her Sashenka, Sofya, but her aunt, Marya Gorbatova, still remembers the yellow flower. Shocked by the changes that have taken place with her son, Anna Pavlovna asks Yevsey for a long time how Alexander lived in St. Petersburg, and comes to the conclusion that life itself in the capital is so unhealthy that it aged her son and dulled his feelings. Days pass after days, Anna Pavlovna still hopes that Alexander's hair will grow again and his eyes will shine, and he thinks about how to return to St. Petersburg, where so much has been experienced and irretrievably lost.
The death of his mother relieves Alexander of the torment of conscience, which does not allow Anna Pavlovna to admit that he again planned to escape from the village, and, having written to Pyotr Ivanovich, Alexander Aduev again goes to Petersburg ...
Four years pass after Alexander's re-arrival in the capital. Many changes have taken place with the main characters of the novel. Lizaveta Alexandrovna was tired of fighting the coldness of her husband and turned into a calm, reasonable woman, devoid of any aspirations and desires. Pyotr Ivanovich, upset by the change in his wife's character and suspecting her of a dangerous disease, is ready to give up his career as a court adviser and resign in order to take Lizaveta Alexandrovna away from St. Petersburg at least for a while. But Alexander Fedorovich reached the heights that his uncle once dreamed of for him: “a collegiate adviser, good state content, extraneous labors” earns a lot of money and is also preparing to marry, taking three hundred thousand and five hundred souls for the bride ...
On this we part with the heroes of the novel. What an ordinary story indeed!
Analysis of the novel ORDINARY STORY
The plot of the novel. Portrait of Anna Pavlovna: "An Ordinary Story" is a short work, consisting of two parts with an epilogue. The reader, having opened the first page, finds himself in the century before last, “in the village of Grachi<…>poor landowner<…>Adueva". From the opening lines, in addition to "Anna Petrovna and Alexander Fedorych" by the Aduevs, their friends and yard servants, another person declares himself - the author. Read more...
Characteristics of Alexander Aduev.: V.G. Belinsky, in his article about the novel, called Alexander "three times a romantic - by nature, upbringing and life circumstances." In Goncharov's understanding, the last two theses (upbringing and circumstances) are inextricably linked. Alexander can be called a darling of fate. But a person with claims to his own exclusivity is not born by a higher power, it is not formed by bitter collisions with life (as interpreted by romantic literature). His personality is created by the whole atmosphere of a noble estate, in which he is a king and a god, and dozens of people are ready to fulfill his every desire. Read more...
Contrasts in the novel: country town and Petersburg, dreamer-nephew and practical uncle: Village and Petersburg. Two worlds, two worldviews. The development of the action is built on the principles of contrast. The contrast extends to the characters as well. Not only by age, but as personalities of different views on life, two main characters are opposed - Alexander and his St. Petersburg uncle Pyotr Ivanovich. Read more...
Analysis of disputes between Alexander and Peter Aduev: The meaning of the polemical scenes of the novel was first understood by L.N. Tolstoy. Not the same Tolstoy as we are accustomed to imagine him - a respectable old man writer with a gray beard. Then there lived an unknown young man of nineteen years old, and there was a girl who really liked him, Valeria Arsenyeva. He advised her in a letter: “Read this charm ( "Ordinary story"). This is where you learn to live. You see different views on life, on love, with which you cannot agree with any one, but your own becomes smarter, clearer. Read more...
Peter Aduev's wife: Lizaveta Aleksandrovna: By the beginning of the second part, the arrangement of characters and our attitude towards them are gradually changing. The reason is the emergence of a new heroine - the young wife of Peter Aduev, Lizaveta Alexandrovna. Combining worldly experience and spiritual subtlety in her nature, she becomes the personification of a kind of “golden mean”. The heroine softens the contradictions between her nephew and uncle. “She was a witness to two terrible extremes - in her nephew and husband. One is enthusiastic to the point of folly, the other is icy to the point of bitterness. Read more...
Heroines of Goncharov. Nadia: Even Belinsky noticed that “the peculiarities of his (Goncharov's) talent include an extraordinary skill in drawing female characters. He never repeats himself, not one of his women resembles another, and all, like portraits, are excellent. Russian writers valued not external beauty in their heroines. In the epilogue of the novel, the writer exclaims: “No, plastic beauty is not to be found in northern beauties: they are not statues. Read more...
The psychological content of the novel: The richness of the psychological content of the novel also manifests itself in the everyday conversation of characters in love. At the same time, explanatory remarks are almost completely absent; the author is limited to a short "said", "said", "spoke", "spoke". Meanwhile, he talks in detail about external actions - not excluding some insect that got on these pages, no one knows how. Let's try to conduct an independent psychological analysis and imagine what feelings and motivations are behind each of the spoken phrases and movements made. Read more...
Alexander's second love. Yulia Tafaeva.: Meeting with his second lover, Alexander is entirely obliged to his uncle. After his wife despaired of getting the young man out of a gloomy state of mind (as they would say now - depression), Pyotr Ivanovich takes up the matter. In the interests of the "factory" it is necessary to distract the too amorous companion from spending common capital on Julia. Therefore, the elder Aduev introduces his nephew to a beautiful young widow. Read more...
Alexander and Julia: Alexander's meeting with Tafaeva gives a unique chance in practice to confirm everything that is written about love in romantic books loved by both. “They live inseparably in one thought, in one feeling: they have one spiritual eye, one hearing, one mind, one soul...” Reality makes adjustments to seemingly beautiful words. "Life for each other" in fact turns out to be a manifestation of selfishness, a kind of domestic despotism Read more...
Alexander and Lisa: By chance, the companions meet a charming summer resident and her father. The circumstances of acquaintance and walks resurrect Alexander Nadenka's dacha hobby in his memory. With her romantic exaltation, the stranger reminds us of Yulia Tafaeva. Her name - Lisa - makes us remember not only Lizaveta Alexandrovna. This name goes back to the heroine of the sentimental story N.M. Karamzin, fellow countryman Goncharov. Read more...
Alexander with his aunt at a concert. The influence of music.: Aunt asks Alexander to accompany her to the concert famous musician, "European celebrity". His current comrade, the narrow-minded vulgar Kostyakov, is indignant at the price of the ticket and, as an alternative, offers a visit to the bathhouse, "we'll have a nice evening." However, Alexander cannot resist the request of his aunt, which ultimately benefits him, incomparable with visiting a bathhouse.Read more...
Analysis of Alexander's return to the village: The ring composition leads to the moment from which the story began. Once again, the action unfolds on a “beautiful morning”, again we have before us “a lake familiar to the reader in the village of Grachi”. Again we see Anna Pavlovna, who "has been sitting on the balcony since five o'clock", waiting for her son with the same excitement with which she let go eight years ago. Read more...
epilogue analysis. Final scene of the novel: The final scene of the novel can therefore be called the final one, because in it the disputes of the Aduevs come to a logical conclusion, symbolically represented by the images of “embraces”, “ yellow flowers and, finally, banknotes. Alexander, who by that time had made a brilliant career, is going to marry by calculation. And the overjoyed uncle finally opens his arms to him. Read more...
Analysis literary reminiscences in the novel. Lines of Pushkin and Krylov.: The literary and creative theme occupies so important place in the plot of the novel. It requires a separate independent consideration. First of all, you need to pay attention to writers' names directly mentioned in the text, quotations, their place, meaning. We have already talked about one. List of favorites French authors helps to understand the upbringing of Julia, who "probably still reads" Eugene Sue, Gustave Drouino, Jules Janin. And yet, the central of the creative names that sound on the pages of the novel are the names of two great Russian writers - the fabulist I.A. Krylov and A.S. Pushkin. Read more...
Belinsky about the novel: In the review article "A Look at Russian Literature of 1847", summing up the literary results, Belinsky noted with satisfaction: "The past 1847 was especially rich in wonderful novels, novels and stories. First of all, the insightful critic noted the works of novice writers - in addition to "An Ordinary Story", the first story of the famous "Notes of a Hunter" ("Khor and Kalinich") and the novel "Who is to blame?" Iskander.
