Nobles' nest theme and idea. Course work Typological and individual features in I. S. Turgenev’s novel “The Noble Nest”

Let us turn to the “key” moments of the analysis of “The Noble Nest”. It is necessary to begin with the fact that, undoubtedly, this was a public, acutely topical novel, in which Turgenev again addresses the problem of the nobility, its role in a difficult period in the life of Russia. Death of Nicholas I, defeat in the Crimean War, rise peasant movement unusually intensified Russian society. What position can a noble take under such circumstances? How to live further? Panshin directly poses this question to Lavretsky: “...What do you intend to do?” “Plow the land,” Lavretsky replies, “and try to plow it as best as possible.”

“The Noble Nest” is a “personal novel”, the hero of which, with his inner nobility, decency, patriotism and many other worthy qualities, will remind of himself in Pierre Bezukhov, Andrei Bolkonsky, and Chekhov’s intellectual heroes.

In “The Noble Nest,” Turgenev turned not only to the personal fate of the protagonist, but also panoramicly depicted the history of the Lavretsky family in order to be able to present a generalized portrait of the Russian nobility in the aspect of the novel’s problems. The author is especially cruel in assessing the separation of the most advanced class of Russia from its national roots. In this regard, the theme of the homeland becomes one of the central, deeply personal and poetic. The homeland heals Lavretsky, who returned from abroad, just as the people’s feeling for life helps him survive his tragic love for Liza Kalitina, endowing him with wisdom, patience, humility - everything that helps a person live on earth.

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

"The Noble Nest" as a "test novel" involves testing life position hero. Unlike Liza, Mikhalevich, Lem, who are marked by the height of their chosen goal, Lavretsky is ordinary in his earthly aspirations and in his imaginable 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 existence, reflected in the popular worldview, such as the ability to suffer and endure, and at the same time recognize it as a person’s moral duty not to isolate oneself, but to remember those around you , and try to work for their benefit.

Lavretsky, and with him Turgenev, consider this 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 burning candle.

Thus, in “The Noble Nest” two time plans characteristic of Turgenev’s novel organically merged: historical and timeless, resulting in a philosophical and symbolic finale - a feature of all Turgenev’s novels - with his thought about accepting the laws of fast-flowing life with its eternal contradictions, gains and losses. And here comes Turgenev’s reflection on the broken connection between generations in Russian history, which will become the main theme of the novel “Fathers and Sons.”

"Noble Nest"

Compared to Turgenev’s first novel in “The Noble Nest,” everything seems soft, balanced, there are no such sharp contrasts as the contrast between Rudin and Pigasov, Basistov and Pandalevsky. Even Panshin, who embodies exemplary noble morality, is not distinguished by obvious, conspicuous negativity. One can understand Lisa, who for a long time could not determine her attitude towards Panshin and, in essence, did not resist Marya Dmitrievna’s intention to marry her to Panshin. He is courteous, quite tactful in everyday life, moderately educated, knows how to hold a conversation; he draws and paints, composes music and poetry. And who knows what Lisa’s fate would have been like if not for the dispute. In general, it should be noted that in the composition of Turgenev’s novels, ideological disputes always play a huge role. In “The Noble Nest” the “starting” dispute is the dispute between Panshin and Lavretsky about the people. Turgenev once remarked that this was a dispute between a Westerner and a Slavophile. This author's description cannot be taken too literally. The fact is that both Panshin is a Westerner of a special, official type, and Lavretsky a Slavophile is not a true believer. In his attitude towards the people, Lavretsky is most similar to the author of “Notes of a Hunter,” that is, to Turgenev himself. He is not trying to give the Russian people some simple, easy-to-remember definition; like Turgenev, Lavretsky believes that before inventing and imposing recipes for organizing people’s life, it is necessary to understand this life, to study the character of the people. Here he expresses essentially the same idea that Rudin expressed in his dispute with Pigasov.

“The Noble Nest” is a novel about the historical fate of the nobility in Russia. The father of the main character of the novel, Fyodor Ivanovich Lavretsky, spent his entire life abroad, first for work, and then “for his own pleasure.” This man, in all his hobbies, is infinitely far from Russia and its people. A supporter of the constitution, he cannot stand the sight of “fellow citizens” - peasants.

After the death of his father, Fyodor Ivanovich falls into the love networks of the cold and calculating egoist Varvara Pavlovna. He lives with her in France until an incident opens his eyes to his wife’s infidelity. As if freed from obsession, Lavretsky returns home and seems to see anew his native places, where life flows “silently, like water through swamp grasses.” In this silence, where even the clouds seem to “know where and why they are floating,” he meets his true love- Lisa Kalitina. But this love was not destined to be happy, although the amazing music composed by the old eccentric Lemm, Lisa’s teacher, promised happiness for the heroes. Varvara Pavlovna, who was considered dead, turned out to be alive, which means that the marriage of Fyodor Ivanovich and Liz became impossible. In the finale, Lisa goes to a monastery to atone for the sins of her father, who acquired wealth through unrighteous means. Lavretsky is left alone to live out a joyless life.

Lisa and Lavretsky are heirs to the best features of the patriarchal nobility (their bearer in the novel is Marfa Timofeevna, Lisa’s aunt), and at the same time, both the barbarity and ignorance of former times, and blind admiration for the West are alien to them.

They are capable of self-sacrifice and are ready for long, hard work. The characters of the honest, slightly awkward “baybak” Lavretsky (in many traits he resembles Pierre Bezukhov from Tolstoy’s “War and Peace”) and the modest, religious Liza Kalitina are truly national. Turgenev saw in them that healthy beginning of the Russian nobility, without which, from his point of view, the social renewal of the country could not take place.

The beginning of folk morality is still expressed in the character of Lisa, in her entire worldview. With all her behavior, her calm grace, she more than any of Turgenev’s heroines resembles Pushkin’s Tatyana. But in the character of Lisa there is one property that is only outlined in the character of Tatiana, but which will become the main distinguishing property of the type of Russian women who are usually called “Turgenevsky”. This is dedication, readiness for self-sacrifice. Lisa has only one predecessor: Lukerya from Turgenev’s story “Living Relics”.

It is difficult for us to accept the fact that at the end of the novel we see Lisa Kalitina in the monastery. But, in essence, this is an amazingly courageous, true touch of the artist. After all, Lisa had no path to life in the name of good (and Liza dreamed only of such a life). Liza’s fate also contained Turgenev’s verdict on Lavretsky. It is difficult to imagine what would have happened to Lisa if Lavretsky had gone beyond his dreams, if he had been in some great danger. Probably, then Lisa’s fate would have been different. Her monastic lot is an accusation not only against Lavretsky, but also against the whole society, which kills everything pure that is born in it.

Turgenev novel realism creative

In the novel “The Noble Nest,” Turgenev’s thoughts about waywardness and the vagaries of love acquire a philosophical orientation: he affirms the conditionality of human happiness through worthy fulfillment moral duty. And this idea is connected primarily with the images of the main characters of the novel - Lavretsky and Lisa Kalitina.

The image of Liza Kalitina is one of the most poetic images of Russian literature, one of the brightest artistic images Turgenev. This heroine reminds us of Pushkin’s Tatyana. Like Tatyana, she has a kind heart, subtlety of feelings, the ability to self-sacrifice, and spiritual integrity. “Lisa knows how to think, feel and act in all circumstances of life: there are no doubts or hesitations in her...” writes A. I. Nezelenov.

Lisa's behavior is simple and natural. Like Pushkin’s heroine, she was raised by a nanny, a simple peasant woman, Agafya Vasilievna. It was she who instilled in the girl a special religious feeling, that very mystical love in which such qualities of Lisa as modesty, conscientiousness, patience, mercy, and interest in life were revealed ordinary people. “It never occurred to Liza that she was a patriot, but she liked being with Russian people, the Russian mentality pleased her, she, without any pretense, spent hours talking with the headman of her mother’s estate when he came to the city, and talked with him as an equal, without any lordly condescension.”

Turgenev tells us how the heroine spent her childhood and describes her activities. The parents practically did not take care of Liza: the father “couldn’t stand... babysitting squeaky babies,” and he had no time, and the mother, “a lazy lady,” “was tired of all the constant worries.” At first, Lisa was “in the arms of the governess, the Moreau maiden from Paris,” and then, after the death of her father, her aunt, Marfa Timofeevna, was involved in raising her. The girl also loved her nanny, Agafya Vasilievna, who opened up a new, unknown world to her. They were always together. In an even and measured voice, Agafya told the girl “the life of the Most Pure Virgin, the life of hermits, saints of God, holy martyrs,” she told how “the saints lived in the deserts, how they were saved, endured hunger and need.” Lisa listened to her - “and the image of the omnipresent, all-knowing God with some kind of sweet power was forced into her soul, filling her with pure, reverent fear, and Christ became something close, familiar, almost family to her.”

Unlike other children, Lisa did not like noisy children's games and dolls; she grew up quiet, thoughtful, serious, her eyes “shone with quiet attention and kindness.” “God did not reward her with particularly brilliant abilities or great intelligence,” she did not read too much, but she had her own opinions about everything, “she went her own way.” She loved to go to church and prayed “with some kind of restrained and bashful impulse.” Lisa treated everyone around her evenly, “she loved everyone and no one in particular.” “All imbued with a sense of duty, the fear of offending anyone, with a kind and meek heart,” she lived her quiet inner life.

Lisa thought a lot, her judgments about people were deep and accurate. So she instinctively felt what kind of person Panshin was and refused to marry him. Telling the story of Panshin, Turgenev remarks, as if in passing: “...in his soul he was cold and cunning, and during the most violent revelry his smart, brown eye watched and looked out for everything; this brave, free young man could never forget himself and get carried away completely.”

And vice versa, Lisa fell in love with Lavretsky, feeling his pure, ingenuous soul. The fate of Fyodor Lavretsky was not easy. His father was a nobleman, his mother a peasant woman, who was “recognized” in the Lavretsky family after the birth of her son. The boy felt the ambiguous position of his mother in the house, saw how she was humiliated and oppressed by Glafira, his aunt, for whom he felt nothing but fear. The common origin of the mother was the reason many years of enmity between his father and grandfather. The boy's father, Ivan Petrovich, lived separately from his family all the time, first in St. Petersburg, then abroad. And only after the death of his wife, Malanya Sergeevna, did he return to native home to start raising Fedya.

Ivan Petrovich began to raise the boy in a European manner and “placed” confusion in his head. The gloomy, oppressive atmosphere in the house, the supervision of Aunt Glafira, the constant pressure of his father, the chaotic drill - all this led to the fact that Lavretsky turned into an internally repressed, complex person who “is not free in spirit, cannot cope with himself, lead to harmonious unity the richness of your inner world."

Western European skepticism has taken root in the hero’s worldview. And this skepticism then constantly manifests itself in Lavretsky. In his very love for Lisa, doubt constantly creeps in. “Really,” he thought, “at thirty-five years old, I have nothing else to do but again give my soul into the hands of a woman?” He doubts Lisa's feelings. Love coexists in Lavretsky with his skepticism, with a feeling of distrust of women, with a feeling of bitterness remaining after his unhappy marriage.

Lisa brings peace and light into the “moral life of a skeptic”; she tries to eradicate selfishness and mistrust in his soul, and revive in him the original Russian traits - humility, mercy. And under the influence of love, the hero is transformed, everything merges in Lavretsky’s feeling: love for the homeland, and a deep religious feeling, and a thirst for real work, an active, worthy life.

The love of Lisa and Lavretsky is depicted poetically by Turgenev, with special, exciting lyricism. The characters’ explanation takes place against the backdrop of a beautiful May night: “the light of the rising moon fell slantingly through the windows; The sensitive air trembled loudly.” Wonderful music sounds: “a sweet, sweet melody captured the heart from the first sound; she was all shining, all was languishing with inspiration, happiness, beauty, she grew and melted; it touched everything that is on earth...”

The love of Lisa and Lavretsky is based on the inner kinship of souls, it is love for life, it promised real, lasting happiness. Fate itself seems to favor the heroes. From a French magazine, Lavretsky accidentally learns about the death of his wife, Varvara Pavlovna. This inspires him, and his decision to unite with Lisa becomes stronger. Here Turgenev does not reveal the hero’s train of thought or inner monologue. But he describes Lavretsky’s excitement, emphasizing the significance of everything that was happening: “... he could not sleep. He didn't even remember the past tense; he simply looked at his life; his heart beat hard and evenly, the hours flew by, he didn’t even think about sleep.”

However, this news turned out to be false, and Varvara Pavlovna and her little daughter soon returned to Lavretsky. All his hopes collapsed, “his heart was breaking,” and in “his head, empty and as if stunned, all the same thoughts were spinning, dark, absurd, evil.” Lavretsky does not love Varvara Pavlovna, he still admits the possibility of happiness with Liza, but she asks him to return to his wife.

And here in the novel the motive of moral duty sounds. Happiness in Turgenev's understanding is opposed to human duty. “...Life is not a joke or fun, life is not even pleasure... life is hard work. Renunciation, constant renunciation - this is its secret meaning, its solution: not the fulfillment of favorite thoughts and dreams, no matter how lofty they may be, but the fulfillment of duty, this is what a person should care about; Without putting chains on himself, the iron chains of duty, he cannot reach the end of his career without falling,” we read in the story “Faust.”

The same idea is embodied by Turgenev in “The Noble Nest”. The hero is hurt and bitter, and he thinks that he has no right to “complete, true happiness.” He did nothing for Russia: his youth was stupid and vulgar, he spent his “best years” on entertainment, “on a woman’s love.” Lisa thinks the same. “Look around, who is blissful around you, who is enjoying? There's a man going to mowing; maybe he is happy with his fate... Well? Would you like to change with him?” she convinces Lavretsky. And she cannot change her decision: along with kindness and meekness, sacrifice, severity and inflexibility were brought up in Lisa’s character.

Lisa feels guilty for her father’s sins and perceives what happened as retribution. That is why she decides to go to the monastery: “Such a lesson is not in vain,” she says, “and this is not the first time I have thought about it. Happiness did not come to me; even when I had hopes of happiness, my heart still ached. I know everything, both my sins and those of others, and how daddy acquired our wealth; I know everything. All this must be prayed away, it must be prayed away. ...Something calls me back; I feel sick, I want to lock myself away forever.” Since Varvara Pavlovna’s arrival, Liza considers herself not to have the right to separate her from her husband or deprive the child of his father. Lisa perfectly understands all the cynicism and falsity of Lavretsky’s wife, but her decision remains adamant: “God united them, and only he can separate them.”

The motive of duty in the novel is already heard in the description of Agafya’s fate: for her beauty, for her right to happiness, she punishes herself by accepting the cross of patience and self-humiliation. In general, this trait is characteristic of Russian people. “In the character of the Russian person there is a deeply remarkable feature of self-punishment, this voluntary martyrdom to which a person condemns himself for the few joys he has experienced in life... Gifted people who have endured all kinds of oppression of fate always condemn themselves to this repentance,” wrote De Poulet. .

However, this decision is not easy for the heroine. Parting with Lavretsky, Lisa suffers endlessly and feels deeply unhappy. Let us remember how Turgenev describes her state after Varvara Pavlovna’s arrival: “Liza seemed calm... a strange insensibility, the insensibility of a convict, came over her.” Marfa Timofeevna takes her away from the guests, saying that she has a headache. And further: “Liza... sank into a chair in exhaustion,” “... blushed and began to cry.” And then we read: “Marfa Timofeevna sat at Lisa’s head all night.”

Turgenev's style, with its laconicism, often resembles Pushkin's style. Ivan Sergeevich’s statement is known that a writer should be a psychologist, but a secret one. We also encounter this kind of “secret psychology” of Turgenev in the novel “The Noble Nest.” The writer does not give Lisa Kalitina's internal monologue. Her experiences are depicted through the perceptions of other characters or through a portrait that reveals the impressions of others. This is how she appears at the moment of explanation with Lavretsky. “Lisa raised her eyes to him. They expressed neither grief nor anxiety; they seemed smaller and duller. Her face was pale; The slightly parted lips also turned pale.” When she meets Lavretsky in the monastery, she betrays her excitement only by trembling eyelashes and nervous playing of her fingers.

“The apparent conciseness and laconicism of the language, the charm of reticence, the transparency of the drawing, the inevitable surprise of the denouement - all this is a deliberate and mature reaction to the sins of youth, to the excess of eloquence in youthful poems, to the excessive psychological analysis of “superfluous people,” to the sugary rhetoric of romanticism, to the rude the language of “naturalism,” wrote K. K. Istomin about Turgenev’s style.

The epilogue of the novel is sad - eight years have passed, “the shining happiness of spring has wafted from the sky again,” but happiness is impossible for the heroes: Lisa took monastic vows into a monastery, Lavretsky has grown old, he is still lonely and unhappy. Eight years later, he visits the Kalitins’ house and remembers his youth, his lost dreams. Lavretsky “went out into the garden, and the first thing that caught his eye was the very bench on which he had once spent several happy, never-to-be-repeated moments with Liza; it turned black and became distorted; but he recognized her, and his soul was overcome by that feeling that has no equal in both sweetness and sorrow - a feeling of living sadness about the vanished youth, about the happiness that he once possessed.”

Here again the thought of mortality is heard human life, about the finitude of happiness, about the vicissitudes of fate. A person is not born for happiness, but must fulfill his special mission, and this is the deepest tragedy of human existence.

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Ministry of Education and Science of the Russian Federation

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Kaluga State University named after. K.E. Tsiolkovsky

Rabstract

TOcomplex analysis of the novel "The Noble Nest" by I.S. Turgenev

Performed 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 aroused passionate debate in Russian and foreign criticism for almost a century. Already his contemporaries realized the enormous public importance, the works he created, not always agreeing with his assessment of the events and figures of Russian life, often denying in the most extreme form the legitimacy of his literary 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 the 19th century century. In his work, the realistic traditions of Pushkin, Lermontov, and Gogol continue to develop, enriched with new content.

Turgenev had an amazing talent - to combine the so-called topic of the day with generalizations of the broadest, truly universal order and give them an artistically perfect form and aesthetic persuasiveness, but the philosophical basis of Turgenev's work, unfortunately, has not received due attention from researchers to this day.

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 intricacies of relations between by different people influenced by 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: the father, Sergei Nikolaevich, a retired hussar officer, came from an ancient noble family; mother, Varvara Petrovna, is from the wealthy landowner family of the Lutovinovs. Turgenev spent his childhood on the family estate Spassky-Lutovinovo. He grew up in the care of tutors and teachers, Swiss and Germans, home-grown uncles and serf nannies. Here he early learned to have a keen sense of nature and to hate serfdom.

With the family moving to Moscow in 1827 future writer was sent to a boarding school and spent about two and a half years there. He continued his further education under the guidance of private teachers. Since childhood, he knew French, German, and English.

In the fall 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 Faculty of Philosophy. One of the strongest impressions of his early youth (1833) was falling in love with Princess E.L. Shakhovskaya, who was experiencing an affair with Turgenev’s father at that time, was reflected in the story “First Love” (1860).

In May 1838, Turgenev went to Germany (the desire to complete his education was combined with rejection of the Russian way of life, based on serfdom). The disaster of the steamship "Nicholas I", on which Turgenev sailed, will be described by him in the essay "Fire at Sea" (1883; in French). Until August 1839, Turgenev lived in Berlin, attended 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 prepared for his master's exams and attended literary clubs and salons, 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, becomes friends with this family: soon an affair with T.A. begins. Bakunina, which does not interfere with communication with seamstress A.E. Ivanova (in 1842 she would give birth to Turgenev’s daughter Pelageya). In January 1843 Turgenev entered service in the Ministry of Internal Affairs.

In 1842 he successfully passed his master's exams, hoping to get a position as a professor at Moscow University, but since philosophy was taken under suspicion by the Nicholas government, philosophy departments were abolished in Russian universities, and he failed 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 the godfather of his son), rapprochement with his circle (in particular, with N.A. Nekrasov) changed his literary orientation: from romanticism he turned to an ironic-moral 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 ("Andrei Kolosov", 1844; "Three Portraits", 1846; "Breter", 1847). In the same year, he entered the service as an official of the “special office” of the Minister of Internal Affairs, 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, and 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, a love for which will largely determine the external course of his life. In May 1845 Turgenev retired. From the beginning of 1847 to June 1850 he lived abroad (in Germany, France; Turgenev is a witness french revolution 1848): takes care of the sick Belinsky during his journey; communicates closely with P.V. Annenkov, A.I. Herzen, meets J. Sand, P. Merimee, A. de Musset, F. Chopin, C. Gounod; writes the stories "Petushkov" (1848), "Diary of an Extra Man" (1850), the comedy "Bachelor" (1849), "Where it breaks, there it breaks", "Provincial Girl" (both 1851), the psychological drama "A Month in the Country" (1855).

The main work of this period is “Notes of a Hunter,” a cycle of lyrical essays and stories that began with the story “Khor and Kalinich” (1847; the subtitle “From the Notes of a Hunter” 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 Chertopkhanov” (1872), “Living Relics”, “Knocking” (1874) were added.

In 1850 he returned to Russia as an author and critic, collaborating with Sovremennik, which became a kind of center of Russian literary life.

Impressed by the death of N. Gogol in 1852, he published an obituary, prohibited by censorship. For this he is arrested for a month (while under arrest, he writes the story “Mumu”), and then sent to his estate under police supervision without the right to travel outside 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 corresponds with S.T. Aksakov and writers from the Sovremennik circle. In efforts to free Turgenev important role played by A.K. 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 it with a preface. Mutual cooling with the distant Viardot leads to a brief, but almost ending in marriage, affair with a distant relative O.A. Turgeneva. The stories "The Calm" (1854), "Yakov Pasynkov" (1855), "Correspondence" and "Faust" (both 1856) were published.

"Rudin" (1856) opens a series of Turgenev's novels, compact in volume, unfolding around a hero-ideologist, accurately capturing current socio-political issues and, ultimately, placing "modernity" in the face of the unchanging and mysterious forces of love, art, and nature. This line continues: “The Noble Nest”, 1859; "On the Eve", 1860; "Fathers and Sons", 1862; "Smoke" (1867); "Nove", 1877.

Having departed abroad in July 1856, Turgenev finds himself in a painful whirlpool of ambiguous relationships with Viardot and his daughter, who was raised 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 key (article by N.G. Chernyshevsky “Russian man at rendez-vous”, 1858), and autumn and spends the winter in Italy. By the summer of 1858 he was in Spassky; in the future, Turgenev’s year will often 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 “younger 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 the mystical motifs outlined in “Notes of a Hunter” and “Faust”; this line will be developed in “The Dog” (1865), “The Story of Lieutenant Ergunov” (1868), “The Dream”, “The Story of Father Alexei” (both 1877), “Songs of Triumphant Love” (1881), “After Death ( Clara Milic)" (1883).

The theme of the weakness of man, who turns out to be the toy of unknown forces and doomed to non-existence, to a greater or lesser extent colors all of Turgenev’s late prose; it is most directly expressed in the lyrical story “Enough!” (1865), perceived by contemporaries as evidence of Turgenev’s situationally determined crisis.

In 1863, a new rapprochement between Turgenev and Pauline Viardot took place; until 1871 they lived in Baden, then (at the end of the Franco-Prussian War) in Paris. Turgenev is closely associated 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 pan-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 the University of Oxford. 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 the monument to Pushkin in Moscow.

Along with stories about the past ("The Steppe King Lear", 1870; "Punin and Baburin", 1874) and the above-mentioned "mysterious" stories in the last years of his life, Turgenev turned to memoirs ("Literary and Everyday Memoirs", 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 approaching death.

In February 1879, when he arrived in Russia, he was honored at literary evenings and gala dinners, strongly inviting them to stay in their homeland.

In the spring of 1882, the first signs of a serious illness were discovered, which deprived the writer of the ability 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.

Like an outstanding master psychological analysis And landscape painting Turgenev had a significant influence on the development of Russian and world literature.

2. Rtales, Pnews and novels by I.S. Turgenev

The initial period of creativity of I.S. Turgenev, which had the character of a literary apprenticeship for him, can be counted from 1834, when Turgenev wrote his first youthful poem “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 occurred in St. Petersburg, which in itself was extremely insignificant and long ago absorbed into general oblivion. Namely: a small poem by a certain T.L. appeared entitled “ Parasha." This T.L. was me; with this poem I entered the literary field."

Most of the early works of I.S. Turgenev dates back to the 30s and early 40s of the 19th century - to this transitional period in the history of Russian society.

Young Turgenev, in his first poetic experiments of the 30s, paid a certain tribute to the fascination with romantic images and the romantic vocabulary 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. Thus, in poems devoted to the themes of love and nature, there are romantic exaggerations. The love in these poems is “rebellious,” “mad,” “sultry,” the kisses are “burning,” the picture of the morning (in the poem “Confession”) is given with excessive, pretentious pomp:

And, descending from the peaks of the Urals,

Like the palace of Sardanapalus,

A clear day will light up...

But in the overwhelming majority of young Turgenev’s poetic experiments general character his work was realistic. His true literary teachers were Pushkin, Lermontov and Gogol.

What was Turgenev’s work before “Notes of a Hunter”, how to evaluate his numerous poems and poems, which he was ready to abandon in his subsequent, mature time literary activity?

If you approach them with the same standard with which Turgenev approached them, they really do not satisfy necessary requirements neither from the ideological nor from the artistic side. In them one can hear rehashes of 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, tries to give an independent interpretation of “superfluous 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 First stage Turgenev's literary activity was a complete failure for him and, moreover, it did not give anything to the writer himself regarding his artistic growth. Poetry taught Turgenev how to arrange material, developed in him the ability to select the most significant and typical from the mass of impressions and thoughts, 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 Keymaker, was set to music by Rubinstein and still lives in chamber performance.

It should also be noted as a significant creative achievement of the young Turgenev, the poem “On the Road”, distinguished, along with great musicality, sincerity of feeling and sincerity, the lines of which are known to everyone without exception:

Foggy morning, gray morning,

The fields are sad, covered with snow,

Reluctantly you remember the past time,

You will also remember faces long forgotten...

And in the poems of I.S. Turgenev, usually suffering from insufficient clarity in revealing the characters and the main ideological meaning, there are individual bright everyday scenes and landscapes showing that Turgenev already in these years 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 lively sketches of the life of a landowner. Belinsky wrote about this poem: “Finally, Turgenev wrote a poetic story “The Landowner” - not a poem, but a physiological sketch of the life of a landowner, a joke, if you like, but this joke somehow came out far better than all the author’s poems. A lively 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 had attacked the true nature of his talent, took up his own, and that there was no reason to leave him poetry altogether.”

Turgenev was already in the 40s good poet. But only 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 positive hero, actively participating in the implementation of the immediate tasks of socio-political and national economic life, and in connection with this - a revaluation of the advanced noble intelligentsia, which has so far played a leading role in Russian society. This problem faced Chernyshevsky, Goncharov, Pisemsky, and other writers. Turgenev also came close to this problem in the mid-50s.

In the 40s, stories and comedies did not occupy the main place in Turgenev’s work and were not his best works - he won his well-deserved fame in the 40s not with his stories and comedies, but with “Notes of a Hunter.”

After 1852, stories and novels became his predominant genres. Thematically, these works differed significantly from Notes of a Hunter. Only in a few of them does Turgenev still depict the peasantry and paint pictures of serf life; These 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 Relics”. In most of the works of the 50s-70s, the main subject of Turgenev’s depiction is various groups of the noble class and, first of all, the progressive noble intelligentsia, usually compared with the common, revolutionary-democratic intelligentsia. Primarily in these works, new means of Turgenev’s artistic mastery are developed and refined.

Turgenev's stories and novels of the 1850s by the famous literary critic D.N. Ovsyaniko-Kulikovsky linked it with the history of the Russian intelligentsia.

Turgenev's novels combined several of the most important properties for literature: they were smart, exciting and impeccable in terms of style.

The ideological and artistic concept of the works: the story “Asya” and the stories “Calm” and “Spring Waters” determined the originality of the conflicts underlying them and a special system, a special relationship of characters.

The conflict on which all three works are based is a clash young man, not entirely ordinary, not stupid, undoubtedly cultured, but indecisive, weak-willed, and a young girl, deep, strong spirit, holistic and strong-willed.

The important thing is that the conflicts in these works, and the selection of characteristic episodes, and the relationship of characters - all subordinate to 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 of love. It was to this side of the stories that Turgenev, as a writer-psychologist, directed his main attention; in revealing these intimate experiences, his artistic skill was predominantly manifested.

Turgenev's novels are imbued with historicism in all their details, since the vast majority of the characters have one way or another to do with 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 social 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 Nezhdanov and Marianna, but almost all the characters, one way or another, are directly or indirectly connected with the unfolding revolutionary movement.

Turgenev's novels (as well as his stories) cannot be considered an accurate, photographic reflection of real historical reality. It is impossible, as some pre-revolutionary critics (for example, Avdeev) did, to study the history of Russian social life of the 50s-70s of the 19th century from Turgenev’s novels. One can speak about the historicism of these novels only taking into account Turgenev’s socio-political position, his assessment of those social forces that took part in historical process, and first of all his relationship to the dominant noble class 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 the advanced noble intellectuals who took on the role of leaders of the social movement, but due to their impracticality and weak character, they failed to cope with the task and turned out to be superfluous people (Rudin, Nezhdanov). The second group is representatives of the young intelligentsia, common or noble, who have knowledge, willpower, and hard work, but who find themselves in the grip of incorrect, from Turgenev’s point of view, views and therefore take the wrong road (Bazarov, Markelov).

The third group are positive heroes (also in Turgenev’s understanding), who were approaching the right decision the question of truly progressive activity. These are Lavretsky, Litvinov, noble intellectuals who managed to overcome the legacy of noble softness, who, after difficult trials, came to socially useful work; in particular, he is a commoner, a native of the Solomin people, the most perfect image of a positive hero in Turgenev in the last period of his literary creativity. And finally, the fourth group is advanced girls, in whose images Turgenev presents three successive stages of the involvement of Russian women of the 50s-70s in social life: Natalya, who is still striving for social activity, Elena, who has already found a useful job for herself, but is still in a foreign land, and Marianna, a participant in the Russian revolutionary movement, who has finally determined her true life path in joint cultural work with Solomin.

Summarizing all of the above, we can note the key importance early creativity writer to further develop his craft. It was this experience, which seemed so insignificant to Turgenev himself, that later allowed him to write “Notes of a Hunter”, “Fathers and Sons” and other significant works, which, in turn, had a huge influence on the development of Russian and foreign literature.

Turgenev's merit in the more specific area of the novel lies in the creation and development of a special variety of this genre - the social novel, which promptly and quickly reflected new and, moreover, the most important trends of the era. The main characters of Turgenev's novel are the so-called “extra” and “new” people, the noble and democratic intelligentsia, who 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 Noble Nest” back in 1855. However, at that time the writer experienced doubts about the strength of his talent, and the imprint of personal unsettlement in life was also imposed. Turgenev resumed work on the novel only in 1858, upon his arrival from Paris. The novel appeared in the January book of Sovremennik for 1859. The author himself subsequently noted that “The Noble Nest” was the greatest success that had ever befallen him.

Turgenev, who was distinguished by his ability to notice and portray something new and emerging, reflected modernity in this novel, the main moments in the life of the noble intelligentsia of that time. Lavretsky, Panshin, Liza are not abstract images created by the head, but living people - representatives of the generations of the 40s of the 19th century. Turgenev's novel contains not only poetry, but also a critical orientation. This work of the writer is a denunciation of autocratic-serf Russia, a departure song for the “nests of the nobility.”

The favorite setting in Turgenev’s works is “noble nests” with the atmosphere of sublime experiences reigning in them. Turgenev worries about their fate and one of his novels, which is called “The Noble Nest,” is imbued with a feeling of anxiety for their fate.

This novel is imbued with the awareness that the “nests of the nobility” are degenerating. Turgenev critically illuminates the noble genealogies of the Lavretskys and Kalitins, seeing in them a chronicle of feudal tyranny, a bizarre mixture of “wild lordship” and aristocratic admiration for Western Europe.

Let's consider the ideological content and system of images of the "Noble Nest". Turgenev placed representatives of the noble class at the center of the novel. Chronological framework novel - 40s. The action begins in 1842, and the epilogue tells about the events that took place 8 years later.

The writer decided to capture that period in the life of Russia when concern for the fate of themselves and their people grew among the best representatives of the noble intelligentsia. Turgenev interestingly decided the plot and composition plan of your work. He shows his characters at the most intense turning points in 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, Fyodor Ivanovich came to the village to improve the life of his peasants. In a neighboring city, in the house of his cousin Marya Dmitrievna Kalitina, he meets her daughter, Lisa.

Lavretsky fell in love with her pure love, Lisa reciprocated his feelings.

In the novel "The Noble Nest" great place the author pays attention to the theme of love, because this feeling helps to highlight everything best qualities heroes, to see the main thing in their characters, to understand their soul. Love is depicted by Turgenev as the most beautiful, bright and pure feeling, bringing out the best in people. In this novel, like in no other novel by Turgenev, the most touching, romantic, sublime pages are dedicated to the love of the heroes.

The love of Lavretsky and Lisa Kalitina does not manifest itself immediately, it approaches them gradually, through many thoughts and doubts, and then suddenly falls upon them with its irresistible force. Lavretsky, who has experienced a lot in his life: hobbies, disappointments, and the loss of all life goals, - at first he simply admires Liza, her innocence, purity, spontaneity, sincerity - all those qualities that are absent from Varvara Pavlovna, hypocritical, depraved Lavretsky's wife, who abandoned him. Lisa is close to him in spirit: “Sometimes it happens that two people who are already familiar, but not close to each other, suddenly and quickly become close within a few moments - and the consciousness of this closeness is immediately expressed in their glances, in their friendly and quiet smiles, in themselves their movements. This 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, and Russia seriously; Lisa is also a deep and strong girl with her own ideals and beliefs. According to Lemm, Lisa’s music teacher, she is “a fair, serious girl with sublime feelings.” Lisa is being courted by a young man, a metropolitan official with a wonderful future. Lisa's mother would be happy to give her in marriage to him; she considers this a wonderful match for Lisa. But Liza cannot love him, she feels the falseness in his attitude towards her, Panshin is a superficial person, he values \u200b\u200bthe external shine in people, not the depth of feelings. Further events The novels 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 Lisa 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 heroes through movements, gestures, and facial expressions. After Lavretsky read the news of his wife’s death, he “got dressed, went out into the garden and walked back and forth along the same alley until the morning.” After some time, Lavretsky becomes convinced that he loves Lisa. He is not happy about this feeling, since he has already experienced it, and it only brought him disappointment. He is trying to find confirmation of the news of his wife's death, he is tormented by uncertainty. And his love for Liza is growing: “He did not love like a boy, it was not becoming for him to sigh and languish, and Liza herself did not arouse this kind of feeling; but love for every age has its sufferings, and he experienced them fully.” 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 missing for them: for them the nightingale sang, and the stars burned, and the trees whispered quietly, 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 an amazingly 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 Lisa’s house at night, looking at her window, in which a candle is burning: “Lavretsky did not think anything, did not expect anything; he was pleased to feel close to Lisa, to sit in her garden on a bench, where she sat more than once... " At this time, Lisa goes out into the garden, as if sensing that Lavretsky is there: "In a white dress, with unbraided braids on her shoulders, she quietly walked up to the table, bent over it, put a candle and then looked for something, turning around; Facing the garden, she approached the open door and, all white, light, slender, stopped on the threshold."

A declaration of love takes place, after which Lavretsky is overwhelmed with happiness: “Suddenly it seemed to him that some wondrous, triumphant sounds were flowing in the air above his head; he stopped: the sounds thundered even more magnificently; they flowed in a melodious, strong stream - and in them, it seemed that all his happiness spoke and sang." This was the music that Lemm composed, and it completely corresponded to Lavretsky’s mood: “Lavretsky had not heard anything like this for a long time: a sweet, passionate melody embraced the heart from the first sound; it was all shining, all languishing 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 die in heaven." The music foreshadows 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 her deep, selfless faith in God. Lisa goes to the monastery, wanting only one thing - for Lavretsky to forgive his wife. Lavretsky forgave, but his life was over; he loved Lisa too much to start all over again with his wife. At the end of the novel, Lavretsky, far from an old man, looks like an old man, he feels like a man who has outlived his time. But the heroes' love did not end there. This is a feeling that they will carry throughout their lives. Last meeting Lavretsky and Lisa testifies to this. “They say that Lavretsky visited that remote monastery where Lisa had disappeared - he saw her. Moving from choir to choir, she walked close past him, walked with the even, hasty, humble gait of a nun - and did not look at him; only the eyelashes of the eye turned towards him trembled a little, only she tilted her emaciated face even lower - and the fingers of her clenched hands, intertwined with rosaries, pressed even tighter to each other.” 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.

A love story in the novel by I.S. Turgenev's "The Noble Nest" 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 that surrounds him, this feeling ennobles and makes a person human.

Fyodor Lavretsky himself was a descendant of the gradually degenerating Lavretsky family, once strong, outstanding representatives of this family - Andrey (Fyodor's great-grandfather), Peter, then Ivan.

The commonality of the first Lavretskys is ignorance.

Turgenev very accurately shows the change of generations in the Lavretsky family, their connections 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 didn’t know his elders”); his grandfather, who once “flogged the whole village,” a careless and hospitable “steppe gentleman”; full of hatred for Voltaire and the “fanatic” Diderot - these are typical representatives of the Russian “wild nobility”. They are replaced by those who have become acquainted with the culture, either by claims to “Frenchness” or by Anglomanism, which we see in the images of the frivolous old Princess Kubenskaya, who at a very old 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 prayer services and baths. “A freethinker began to go to church and order prayer services; a European began to take a bath and have dinner at two o’clock, go to bed at nine, fall asleep to the chatter of the butler; a statesman - he burned all his plans, all his correspondence, was in awe of the governor and fussed with 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 old book, in which he wrote either “Celebration in the city of St. Petersburg of the peace concluded with the Turkish Empire by His Excellency Prince Alexander Andreevich Prozorovsky,” then a recipe for breast decoction with a note; “this instruction was given to General Praskovya Fedorovna Saltykova from the protopresbyter of the Church of the Life-Giving Trinity Fyodor Avksentievich,” etc.; Apart from calendars, a dream book and the work of Abmodik, the old man had no books. And on this occasion, Turgenev ironically remarked: “Reading was not his thing.” As if in passing, Turgenev points to the luxury of the eminent nobility. Thus, the death of Princess Kubenskaya is conveyed in the following colors: the princess “flushed, scented with ambergris a la Richelieu, surrounded by little black girls, thin-legged dogs and noisy parrots, died on a crooked silk sofa from the time of Louis XV, with an enamel snuffbox by Petitot in her hands.”

Admiring everything French, Kubenskaya instilled the same tastes in Ivan Petrovich and gave him a French upbringing. The writer does not exaggerate the significance of the War of 1812 for nobles like the Lavretskys. They only temporarily “felt that Russian blood was flowing in their veins.” “Peter Andreevich dressed an entire regiment of warriors at his own expense.” But only. Fyodor Ivanovich's ancestors, especially his father, loved foreign things more than Russian ones. The European-educated Ivan Petrovich, returning from abroad, introduced a new livery to the servants, leaving everything as before, about which Turgenev writes, not without irony: “Everything remained the same, only the quitrent was increased in some places, and the corvee became heavier, yes the peasants were forbidden to address the master directly: the patriot really despised his fellow citizens.”

And Ivan Petrovich decided to raise his son using the foreign method. And this led to a separation from everything Russian, to a departure from the homeland. "An Anglomaniac played a bad joke on his son." Separated from childhood native people, Fedor lost his support, his real cause. It is no coincidence that the writer led Ivan Petrovich to an inglorious death: the old man became an unbearable egoist, with his whims he did not allow everyone around him to live, a pathetic 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 mastering knowledge in order to apply it in life and benefit at least the peasants of his villages. Where does Fyodor’s isolation and unsociability come from? These qualities were the result of a “Spartan upbringing.” Instead of introducing the young man into the thick of life, “they kept him in artificial solitude,” protecting him from life’s shocks.

The genealogy of the Lavretskys is intended to help the reader trace the gradual retreat of the landowners from the people, to explain how Fyodor Ivanovich “dislocated” from life; it is intended to prove that the social death of the nobility is inevitable. The opportunity to live at someone else's expense leads to the gradual degradation of a person.

An idea of the Kalitin family is also given, where parents do not care about their 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, the dashing retired captain and famous gambler - Father Panigin, the lover of government money - retired General Korobin, the future father-in-law of Lavretsky, etc. By telling the story of the families of the characters in the novel, Turgenev creates the picture is very far from the idyllic image of “noble nests”. He shows a motley Russia, whose people face all sorts of hardships, from a full course to the West to literally dense vegetation on 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 disintegration and destruction. Describing Lavretsky's ancestors through the mouths of the people (in the person of the courtyard man Anton), the author shows that the history of noble nests is washed by the tears of many of their victims.

One of them is 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 St. Petersburg, where he became interested in another. And poor Malasha, unable to bear the fact that her son was taken away from her for the purpose of raising her, “meekly faded away in a few days.”

Fyodor Lavretsky was brought up in conditions of desecration 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 by her sister-in-law Glafira Petrovna. Pyotr Andreevich called Malanya “a raw noblewoman.” As a child, Fedya himself felt his special position; the feeling of humiliation oppressed him. Glafira reigned supreme over him; his mother was not allowed to see him. When Fedya was eight years old, his mother died. “The memory of her,” writes Turgenev, “of her quiet and pale face, of her dull glances and timid caresses, is forever imprinted in his heart.”

The theme of the “irresponsibility” of the serf peasantry 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 aged in the lord’s service, and the old woman Apraxya. These images are inseparable from the “noble nests”.

In his childhood, Fedya had to think about the situation of the people, about serfdom. However, his teachers did everything possible to distance him from life. His will was suppressed by Glafira, but “... at times wild stubbornness came over him.” Fedya was raised by his father himself. He decided to make him a Spartan. Ivan Petrovich's "system" confused the boy, created confusion in his head, pressed it down. Fedya was taught exact sciences and “heraldry to maintain knightly feelings.” The father wanted to mold the young man’s soul 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 wealth of spiritual interests of his hero. Fedor is a passionate fan of Mochalov’s playing (“he never missed a single performance”), he deeply feels music, the beauty of nature, in a word, everything that is aesthetically beautiful. Lavretsky cannot be denied his hard work. He studied very diligently at the university. Even after his marriage, which interrupted his studies for almost two years, Fyodor Ivanovich returned to independent studies. “It was strange to see,” writes Turgenev, “his powerful, broad-shouldered figure, always bent over desk. He spent every morning at work." And after his wife’s betrayal, Fyodor pulled himself together and “could study, work,” although skepticism, prepared by life experiences and upbringing, finally crept into his soul. He became very indifferent to everything. This was the result 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, he has not been around since childhood. He was accustomed to systematic work, so at times he was in a state of inaction.

Lavretsky is very different from the heroes created by Turgenev before The Noble Nest. The positive traits of Rudin (his loftiness, romantic aspiration) and Lezhnev (sobriety of views on things, practicality) passed on to him. He has a strong view of his role in life - to improve the life of the peasants, he does not limit himself to the framework of personal interests. Dobrolyubov wrote about Lavretsky: “... the drama of his situation no longer lies in the struggle with his own powerlessness, but in the clash with such concepts and morals, with which the struggle, indeed, should frighten even an energetic and courageous person.” And further the critic noted that the writer “knew how to stage Lavretsky in such a way that it would be awkward to ironize him.”

With great poetic feeling, Turgenev described the emergence of love in Lavretsky. Realizing that he loved deeply, Fyodor Ivanovich repeated Mikhalevich’s meaningful words:

And I burned everything that I worshiped;

He bowed to everything he burned...

Love for Lisa is his moment spiritual rebirth which occurred upon returning to Russia. Lisa is the opposite of Varvara Pavlovna. She could have helped Lavretsky’s abilities to develop and would not have prevented him from being a hard worker. Fyodor Ivanovich himself thought about this: “... she would not distract me from my studies; she herself would inspire me to honest, strict work, and we would both go forward, towards a wonderful goal.” Lavretsky's dispute with Panshin reveals his boundless patriotism and faith in the bright future of his people. Fyodor Ivanovich “stood up for new people, for their beliefs and desires.”

Having lost his personal happiness for the second time, Lavretsky decides to fulfill his social duty (as he understands it) - improving the life of his peasants. “Lavretsky had the right to be pleased,” Turgenev writes, “he really became good owner, really learned to plow the land and worked not only for himself." However, this 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 its cute, 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 45 years old, Lavretsky feels old, incapable of spiritual activity; the Lavretsky “nest” 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 between generations is not interrupted. In the novel "The Noble Nest" this connection is broken, which symbolizes the destruction and withering away of family estates under the influence of serfdom. We can see the result of this, for example, in the poem "The Forgotten Village" by N.A. Nekrasov. Turgenev the serf publication novel

But Turgenev hopes that all is not lost, and in the novel he turns, saying goodbye to the past, to a new generation in which he sees the future of Russia.

Conclusion

When considering the “extra people” in Turgenev’s works, one can notice one pattern: the later the work is written, the more respect the hero, the “extra person”, enjoys from the author, the smarter he is, the richer he is spiritually and materially. Over time, these hopelessly ill people become better and even more useful to society.

The problem of “extra people” is still relevant today. “Inflaming the audience, but incapable of action, an “extra person”, vainly 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 he will remind Turgenev's Lavretskys, Rudins, Nezhdanovs and other "superfluous people" in Turgenev's works.

WITHlist of used literature

1. Complete collection of works 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. Distant. M., 1991.

4. Chronicle of the life and work of I.S. Turgenev (1818-1858) / Comp. N.S. Nikitina. St. Petersburg, 1995.

5. I.S. Turgenev, volume 2, Goslitizdat, Collection. 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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