Composition “The role of the portrait in revealing the characters of the heroes of Turgenev’s novel“ The Noble Nest. Roman "Noble Nest" I.S.

The main images in Turgenev's novel "The Nest of Nobles"

The Nest of Nobles (1858) was enthusiastically received by readers. The general success is explained by the dramatic nature of the plot, the acuteness of moral issues, and the poetic nature of the new work of the writer. The nest of nobles was perceived as a certain socio-cultural phenomenon that predetermined the character, psychology, actions of the heroes of the novel, and ultimately their fate. Turgenev was close and understandable to the heroes who emerged from noble nests; he relates to them and depicts them with touching participation. This was reflected in the emphasized psychologism of the images of the main characters (Lavretsky and Lisa Kalitina), in the deep disclosure of the richness of their spiritual life. Favorite heroes writers are able to subtly feel nature and music. They are characterized by an organic fusion of aesthetic and moral principles.

For the first time, Turgenev devotes a lot of space to the background of the characters. So, for the formation of Lavretsky's personality, it was of no small importance that his mother was a serf peasant woman, and his father was a landowner. He managed to develop firm life principles. Not all of them stand the test of life, but he still has these principles. He has a sense of responsibility to his homeland, a desire to bring practical benefits to it.

An important place is occupied in the "Nest of Nobles" by the lyrical theme of Russia, the consciousness of the peculiarities of its historical path. This issue is most clearly expressed in the ideological dispute between Lavretsky and the "Westernizer" Panshin. It is significant that Liza Kalitina is completely on the side of Lavretsky: "The Russian mindset pleased her." L. M. Lotman remarked that “spiritual values were born and matured in the houses of the Lavretskys and Kalitins, which will forever remain the property of Russian society, no matter how it changes.”

The moral problematics of The Nest of Nobles is closely connected with two stories written earlier by Turgenev: Faust and Asya. The clash of such concepts as duty and personal happiness determines the essence of the novel's conflict. These concepts themselves are filled with high moral and, ultimately, social meaning, and become one of the most important criteria for evaluating a person. Lisa Kalitina, like Pushkin's Tatyana, completely accepts the popular idea of duty and morality, brought up by her nanny Agafya. In the research literature, this is sometimes seen as the weakness of the Turgenev heroine, leading her to humility, humility, religion ...

There is another opinion, according to which, behind the traditional forms of Lisa Kalitina's asceticism, there are elements of a new ethical ideal. The sacrificial impulse of the heroine, her desire to join the universal grief portends a new era, carrying the ideals of selflessness, readiness to die for the majestic idea, for the happiness of the people, which will become characteristic of Russian life and literature of the late 60s and 70s.

The theme of "superfluous people" for Turgenev essentially ended in "The Nest of Nobles". Lavretsky comes to the firm realization that the strength of his generation has been exhausted. But he also has a glimpse into the future. In the epilogue, he, lonely and disappointed, thinks, looking at the playing youth: “Play, have fun, grow up, young forces ... your life is ahead of you, and it will be easier for you to live ...” Thus, the transition to Turgenev’s next novels, in which the main role the “young forces” of the new, democratic Russia were already playing.

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. Critical coverage of Turgenev's 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.

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" that have become accustomed to culture, then Anglomanism, which we see in the images of the frivolous old Princess Kubenskaya, who at a very advanced age married a young Frenchman, and the father of the hero Ivan Petrovich. , 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

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, the dashing retired captain and famous player - Father Panigin, the lover of government money - the retired General Korobin, the future father-in-law of Lavretsky, etc. Telling the story of the families of the characters in the novel, Turgenev creates a picture that is very far from the idyllic image of "noble nests". He shows aero-hairy Russia, whose people hit hard from full heading 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 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."

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 addition to the peasant and noble lines, the author is also developing a love line. In the struggle between duty and personal happiness, the advantage is on the side of duty, which love cannot resist. The collapse of the hero's illusions, the impossibility for him of personal happiness are, as it were, a reflection of the social collapse that the nobility experienced during these years.

"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.

Lisa Kalitina - the most poetic and graceful of all female personalities ever created by Turgenev. Lisa, at the first meeting, appears before the readers as a slender, tall, black-haired girl of about nineteen. “Her natural qualities: sincerity, naturalness, natural common sense, feminine softness and grace of actions and spiritual movements. But in Lisa, femininity is expressed in timidity, in the desire to subordinate one's thought and will to someone else's authority, in unwillingness and inability to use innate insight and critical ability.<…> She still considers humility to be the highest dignity of a woman. She silently submits so as not to see the imperfections of the world around her. Standing immeasurably higher than the people around her, she tries to convince herself that she is the same as they are, that the disgust that evil or untruth arouses in her is a grave sin, a lack of humility. She is religious in the spirit of folk beliefs: she is attracted to religion not by the ritual side, but by high morality, conscientiousness, patience and readiness to unconditionally submit to the requirements of severe moral duty. 2 “This girl is richly gifted by nature; it has a lot of fresh, unspoiled life; everything in it is sincere and genuine. She has a natural mind and a lot of pure feeling. According to all these properties, she is separated from the masses and adjoins the best people of our time. According to Pustovoit, Liza has an integral character, she tends to bear moral responsibility for her actions, she is friendly to people and demanding of herself. “By nature, she has a lively mind, cordiality, love for beauty and - most importantly - love for the simple Russian people and a sense of her blood connection with them. She loves the common people, she wants to help them, to get close to them.” Lisa knew how unfair her ancestors-nobles were towards him, how much disaster and suffering people caused, for example, her father. And, having been brought up in a religious spirit from childhood, she strove to “pray it all out” 2 . “It never occurred to Lisa,” writes Turgenev, “that she is a patriot; but she liked the Russian people; the Russian mindset pleased her; she, without respect, talked for hours with the headman of her mother's estate when he came to the city, and talked with him, as with an equal, without any lordly indulgence. This healthy beginning manifested itself in her under the influence of a nanny - a simple Russian woman Agafya Vlasyevna, who raised Liza. Telling the girl poetic religious legends, Agafya interpreted them as a rebellion against the injustice reigning in the world. Under the influence of these stories, from a young age, Liza was sensitive to human suffering, sought out the truth, and strove to do good. In her relations with Lavretsky, she also seeks moral purity and sincerity. From childhood, Lisa was immersed in the world of religious ideas and traditions. Everything in the novel somehow imperceptibly, invisibly leads to the fact that she will leave the house and go to the monastery. Lisa's mother, Marya Dmitrievna, reads Panshin to her as her husband. “...Panshin is just crazy about my Lisa. Well? He has a good surname, serves excellently, is smart, well, a chamber junker, and if it is the will of God ... for my part, as a mother, I will be very glad. But Lisa does not have deep feelings for this man, and the reader from the very beginning feels that the heroine will not have a close relationship with him. She does not like his excessive straightforwardness in relations with people, lack of sensitivity, sincerity, some superficiality. For example, in the episode with the music teacher Lemm, who wrote a cantata for Lisa, Panshin behaves tactlessly. He unceremoniously talks about a piece of music that Lisa showed him in secret. “Liza's eyes, fixed directly on him, expressed displeasure; her lips did not smile, her whole face was stern, almost sad: "You are distracted and forgetful, like all secular people, that's all." She was unhappy that Lemm was upset because of Panshin's indiscretion. She feels guilty before the teacher for what Panshin did and to which she herself has only an indirect relationship. Lemm believes that “Lizaveta Mikhailovna is a fair, serious girl with lofty feelings, and he<Паншин>- amateur.<…>She does not love him, that is, she is very pure in heart and does not know herself what it means to love.<…>She can love only beautiful things, but he is not beautiful, that is, his soul is not beautiful. The heroine's aunt Marfa Timofeevna also feels that "... Lisa cannot be behind Panshin, she is not such a husband." The protagonist of the novel is Lavretsky. After breaking up with his wife, he lost faith in the purity of human relationships, in women's love, in the possibility of personal happiness. However, communication with Lisa gradually resurrects his former faith in everything pure and beautiful. He wishes the girl happiness and therefore inspires her that personal happiness is above all, that life without happiness becomes dull and unbearable. “Here is a new being just coming into life. Nice girl, what will come of her? She is good as well. A pale fresh face, eyes and lips so serious, and the look is pure and innocent. Too bad, she seems a little enthusiastic. Growth is glorious, and he walks so easily, and his voice is quiet. I love it very much when she suddenly stops, listens with attention without a smile, then thinks and throws her hair back. Panshin is not worth it.<…> But what am I dreaming about? She will also run along the same path that everyone runs along ... ”- 35-year-old Lavretsky, who has experience of undeveloped family relationships, talks about Lisa. Lisa sympathizes with the ideas of Lavretsky, who harmoniously combined romantic daydreaming and sober positivity. She supports in his soul his desire for useful activities for Russia, for rapprochement with the people. “Very soon both he and she realized that they love and dislike the same thing” 1 . Turgenev does not trace in detail the emergence of spiritual closeness between Liza and Lavretsky, but he finds other means of conveying the rapidly growing and strengthening feeling. The history of the relationship between the characters is revealed in their dialogues, with the help of subtle psychological observations and hints of the author. The writer remains true to his method of “secret psychology”: he gives an idea of the feelings of Lavretsky and Lisa mainly with the help of hints, subtle gestures, pauses saturated with deep meaning, stingy but capacious dialogues. Lemm's music accompanies the best movements of Lavretsky's soul and the poetic explanations of the characters. Turgenev minimizes the verbal expression of the characters' feelings, but makes the reader guess by external signs about their experiences: Lisa's "pale face", "covered her face with her hands", Lavretsky "bent down at her feet". The writer focuses not on what the characters say, but on how they say it. Almost behind each of their actions or gestures, a hidden inner content is captured 1 . Later, realizing his love for Liza, the hero begins to dream of the possibility of personal happiness for himself. The arrival of his wife, mistakenly recognized as dead, put Lavretsky in front of a dilemma: personal happiness with Lisa or duty towards his wife and child. Liza does not doubt one iota that he needs to forgive his wife and that no one has the right to destroy a family created by the will of God. And Lavretsky is forced to submit to sad, but inexorable circumstances. Continuing to consider personal happiness the highest good in a person's life, Lavretsky sacrifices it and bows before duty 2 . Dobrolyubov saw the drama of Lavretsky's situation "not in the struggle with his own impotence, but in the clash with such concepts and morals, with which the struggle should really frighten even an energetic and courageous person" 3 . Lisa is a living illustration of these concepts. Her image contributes to the disclosure of the ideological line of the novel. The world is imperfect. To accept it means to come to terms with the evil that is going on around. You can close your eyes to evil, you can close yourself in your own little world, but you cannot remain a person at the same time. There is a feeling that well-being was bought at the cost of someone else's suffering. To be happy when there is someone suffering on earth is a shame. What an unreasonable and characteristic thought for the Russian consciousness! And a person is doomed to an uncompromising choice: selfishness or self-sacrifice? Having chosen correctly, the heroes of Russian literature renounce happiness and peace. The most complete version of renunciation is going to a monastery. It is the voluntariness of such self-punishment that is emphasized - not someone, but something makes a Russian woman forget about youth and beauty, sacrifice her body and soul to the spiritual. The irrationality here is obvious: what is the use of self-sacrifice if it is not appreciated? Why give up pleasure if it doesn't hurt anyone? But maybe going to a monastery is not violence against oneself, but a revelation of a higher human purpose? 1 Lavretsky and Liza fully deserve happiness - the author does not hide his sympathy for his heroes. But throughout the novel, the reader does not leave the feeling of a sad ending. The unbelieving Lavretsky lives according to the classicist system of values, which establishes a distance between feeling and duty. Duty for him is not an internal need, but a sad necessity. Liza Kalitina discovers another "dimension" in the novel - vertical. If Lavretsky's collision lies in the plane of "I" - "others", then Lisa's soul conducts a tense dialogue with the One on Whom the earthly life of a person depends. In a conversation about happiness and renunciation, an abyss between them is suddenly revealed, and we understand that mutual feeling is a very unreliable bridge over this abyss. They seem to speak different languages. According to Lisa, happiness on earth does not depend on people, but on God. She is sure that marriage is something eternal and unshakable, sanctified by religion, God. Therefore, she unquestioningly reconciles with what happened, because she believes that it is impossible to achieve true happiness at the cost of violating existing norms. And the "resurrection" of Lavretsky's wife becomes a decisive argument in favor of this conviction. The hero sees in this retribution for the neglect of public duty, for the life of his father, grandfathers and great-grandfathers, for his own past. "Turgenev, for the first time in Russian literature, raised very subtly and imperceptibly the important and acute question of the ecclesiastical bonds of marriage" 2 . Love, according to Lavretsky, justifies and sanctifies the pursuit of pleasure. He is sure that sincere love, not selfish, can help to work and achieve the goal. Comparing Lisa with his ex-wife, as he believed, Lavretsky thinks: “Lisa<…>she herself would inspire me to honest, rigorous work, and we would both go forward towards a wonderful goal. It is important that in these words there is no renunciation of personal happiness in the name of fulfilling one's duty. Moreover, Turgenev in this novel shows that the hero's refusal from personal happiness did not help him, but prevented him from fulfilling his duty. His lover has a different point of view. She is ashamed of that joy, that fullness of life that love promises her. “In every movement, in every innocent joy, Lisa foresees sin, suffers for other people's misdeeds and is often ready to sacrifice her needs and inclinations to the sacrifice of someone else's whim. She is an eternal and voluntary martyr. Considering misfortune as a punishment, she bears it with submissive reverence. In practical life it retreats from all struggle. Her heart keenly feels the undeservedness, and therefore the illegality of future happiness, its catastrophe. Lisa does not have a struggle between feeling and duty, but call of Duty , which withdraws her from worldly life, full of injustice and suffering: “I know everything, both my own sins and those of others.<…> It is necessary to pray for all this, it is necessary to pray ... something calls me back; I feel sick, I want to lock myself up forever. Not a sad necessity, but an inescapable need attracts the heroine to the monastery. There is not only a heightened sense of social injustice, but also a sense of personal responsibility for all the evil that has happened and is happening in the world. Lisa does not have thoughts about the injustice of fate. She is ready to suffer. Turgenev himself appreciates not so much the content and direction of Lisa's thought as the height and greatness of the spirit, that height that gives her the strength to break away from her usual surroundings and familiar environment at once. “Lisa went to the monastery not only to atone for her sin of love for a married man; she wanted to offer herself a cleansing sacrifice for the sins of her relatives, for the sins of her class. But her sacrifice cannot change anything in a society where such vulgar people as Panshin and Lavretsky's wife Varvara Pavlovna are quietly enjoying life. The fate of Liza contains Turgenev's sentence to a society that destroys everything pure and sublime that is born in it. No matter how much Turgenev admired the complete lack of egoism in Liza, her moral purity and firmness of spirit, he, according to Vinnikova, condemned his heroine and in her face - all those who, having the strength for the feat, failed, however, to accomplish it. Using the example of Liza, who in vain ruined her life, which was so necessary for the Motherland, he convincingly showed that neither the purifying sacrifice, nor the feat of humility and self-sacrifice performed by a person who misunderstood his duty, can benefit anyone. After all, the girl could inspire Lavretsky to the feat, but she did not. Moreover, it was precisely in front of her false ideas about duty and happiness, supposedly depending only on God, that the hero was forced to retreat. Turgenev believed that "Russia now needs sons and daughters who are not only capable of a feat, but also aware of what kind of feat the Motherland expects from them" 1 . So, going to the monastery “ends the life of a young, fresh being, in whom there was the ability to love, enjoy happiness, bring happiness to another and bring reasonable benefits in the family circle. What broke Lisa? A fanatical infatuation with a misunderstood moral duty. In the monastery, she thought to bring a cleansing sacrifice with herself, she thought to perform the feat of self-sacrifice. Liza's spiritual world is entirely based on the principles of duty, on the complete renunciation of personal happiness, on the desire to reach the limit in the implementation of her moral dogmas, and the monastery turns out to be such a limit for her. The love that arose in Lisa's soul is, in the eyes of Turgenev, the eternal and fundamental secret of life, which is impossible and does not need to be unraveled: such unraveling would be sacrilege 2. Love in the novel is given a solemn and pathetic sound. The end of the novel is tragic due to the fact that happiness in the understanding of Lisa and happiness in the understanding of Lavretsky are initially different 3 . Turgenev's attempt to portray in the novel an equal, full-fledged love ended in failure, separation - voluntary on both sides, a personal catastrophe, accepted as something inevitable, coming from God and therefore requiring self-denial and humility 4 . The personality of Lisa is shaded in the novel by two female figures: Marya Dmitrievna and Marfa Timofeevna. Marya Dmitrievna, Lisa's mother, according to Pisarev's description, is a woman without convictions, not accustomed to reflection; she lives only in secular pleasures, sympathizes with empty people, has no influence on her children; loves sensitive scenes and flaunts frustrated nerves and sentimentality. This is an adult developmental child 5 . Marfa Timofeevna, the heroine's aunt, is smart, kind, endowed with common sense, insightful. She is energetic, active, tells the truth in the eye, does not tolerate lies and immorality. “Practical meaning, softness of feelings with harsh external appeal, merciless frankness and lack of fanaticism - these are the predominant features in Marfa Timofeevna's personality ...” 1 . Her spiritual warehouse, her character, truthful and rebellious, much in her appearance is rooted in the past. Her cold religious enthusiasm is perceived not as a feature of contemporary Russian life, but as something deeply archaic, traditional, coming from some depths of folk life. Between these female types, Liza appears to us most fully and in the best light. Her modesty, indecision and bashfulness are set off by the harshness of the sentences, the courage and captiousness of her aunt. And the insincerity and affectation of the mother contrast sharply with the seriousness and concentration of the daughter. There could not be a happy ending in the novel, because the freedom of two loving people was fettered by insurmountable conventions and age-old prejudices of the then society. Unable to renounce the religious and moral prejudices of her milieu, Lisa, in the name of a misunderstood moral duty, renounced happiness. Thus, the negative attitude of Turgenev the atheist towards religion, which brought up passivity and resignation to fate in a person, lulled critical thought and led into the world of illusory dreams and unrealizable hopes 2, also affected the “Nest of Nobles”. Summing up all of the above, we can draw conclusions about the main ways in which the author creates the image of Lisa Kalitina. Of great importance here is the author's narration about the origins of the heroine's religiosity, about the ways of the formation of her character. A significant place is occupied by portrait sketches, reflecting the softness and femininity of the girl. But the main role belongs to Lisa's small but meaningful dialogues with Lavretsky, in which the image of the heroine is revealed to the maximum. The conversations of the characters take place against the background of music that poeticizes their relationship, their feelings. The landscape also plays an equally aesthetic role in the novel: it seems to connect the souls of Lavretsky and Liza: “the nightingale sang for them, and the stars burned, and the trees whispered softly, lulled by sleep, and the bliss of summer, and warmth.” Subtle psychological observations of the author, subtle hints, gestures, significant pauses - all this serves to create and reveal the image of a girl. I doubt that Lisa can be called a typical Turgenev girl - active, capable of self-sacrifice for the sake of love, possessing a sense of dignity, a strong will and a strong character. One can admit that the heroine of the novel has determination - leaving for a monastery, a break with everything that was dear and close - evidence of this. The image of Lisa Kalitina in the novel serves as a clear example of the fact that the rejection of personal happiness does not always contribute to universal happiness. It is difficult to disagree with the opinion of Vinnikova, who believes that the sacrifice of Liza, who went to the monastery, was in vain. Indeed, she could become Lavretsky's muse, his inspiration, move him to many good deeds. It was, to a certain extent, her duty to society. But Liza preferred the abstract to this real duty - having retired from practical affairs to the monastery, "to repent" of her sins and the sins of those around her. Her image is revealed to readers in faith, in religious fanaticism. She is not a really active person, in my opinion, her activity is imaginary. Perhaps, from the point of view of religion, the decision of the girl to go to the monastery and her prayers have some meaning. But real life requires real action. But Lisa is not capable of them. In relations with Lavretsky, everything depended on her, but she preferred to submit to the demands of moral duty, which she misunderstood. Lizaveta is sure that true happiness cannot be achieved at the cost of violating existing norms. She is afraid that her possible happiness with Lavretsky will cause someone's suffering. And, according to the girl, to be happy when there is someone suffering on earth is a shame. She makes her sacrifice not in the name of love, as she thinks, but in the name of her views, faith. It is this circumstance that is of decisive importance for determining the place of Lisa Kalitina in the system of female images created by Turgenev.

The plot of the novel In the center of the novel is the story of Lavretsky, which takes place in 1842 in the provincial town of O., the epilogue tells what happened to the characters eight years later. But in general, the coverage of time in the novel is much wider - the background of the characters is taken to the last century and to different cities: the action takes place in the estates of Lavriki and Vasilyevskoye, in St. Petersburg and Paris. So same "jumps" and time. At the beginning, the narrator indicates the year when "the thing happened", then, telling the story of Marya Dmitrievna, he notes that her husband "died about ten years ago", and fifteen years ago "he managed to win her heart in a few days." A few days and a decade turn out to be equivalent in the retrospective of a character's fate. Thus, "the space where the hero lives and acts is almost never closed - Rus' is seen, heard, lives behind it ...", the novel shows "only a part of his native land, and this feeling pervades both the author and his heroes ". The fates of the main characters of the novel are included in the historical and cultural situation of Russian life at the end of the 18th - the first half of the 19th centuries. The backgrounds of the characters reflect the connection of times with the features of everyday life, national way of life, and customs characteristic of different periods. The relationship between the whole and the part is created. The novel shows a stream of life events, where everyday life is naturally combined with tirades and secular disputes on socio-philosophical topics (for example, in Chapter 33). Personalenes represent different groups of society and different currents of social life, the characters appear not in one, but in several detailed situations and are included by the author in a period longer than one human life. This is required by the scale of the author's conclusions, generalizing ideas about the history of Russia. In the novel, Russian life is presented more widely than in the story, and a wider range of social issues is touched upon. In the dialogues in the Nest of Nobles, the characters' lines have a double meaning: the word literally sounds like a metaphor, and the metaphor suddenly turns out to be a prophecy. This applies not only to the lengthy dialogues between Lavretsky and Lisa, who talk about serious worldview issues: life and death, forgiveness and sin, etc. before and after the appearance of Varvara Pavlovna, but also to the conversations of other characters. Seemingly simple, insignificant remarks have deep subtext. For example, Lisa's explanation to Marfa Timofeevna: "And you, I see, were cleaning up your cell again. - What a word you uttered! - whispered Liza ..." These words precede the main announcement of the heroine: "I want to go to the monastery."

The main character of the novel is Fyodor Ivanovich Lavretsky, a nobleman who has many of the features of Turgenev himself. Brought up remotely from his father's home, the son of an Anglophile father and a mother who died in his early childhood, Lavretsky is brought up in a family country estate by a cruel aunt. Often critics looked for the basis for this part of the plot in the childhood of Ivan Sergeevich Turgenev himself, who was raised by his mother, known for her cruelty.

Lavretsky continues his education in Moscow, and while visiting the opera, he notices a beautiful girl in one of the boxes. Her name is Varvara Pavlovna, and now Fyodor Lavretsky declares his love for her and asks for her hand in marriage. The couple marries and the newlyweds move to Paris. There, Varvara Pavlovna becomes a very popular salon owner and starts an affair with one of her regular guests. Lavretsky learns about his wife's affair with another only at the moment when he accidentally reads a note written from a lover to Varvara Pavlovna. Shocked by the betrayal of a loved one, he breaks all contact with her and returns to his family estate, where he was raised.

Upon returning home to Russia, Lavretsky visits his cousin, Maria Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky immediately becomes interested in Lisa, whose serious nature and sincere devotion to the Orthodox faith give her great moral superiority, strikingly different from the coquettish behavior of Varvara Pavlovna, to which Lavretsky was so accustomed. Gradually, Lavretsky realizes that he is deeply in love with Lisa and, having read a message in a foreign magazine that Varvara Pavlovna has died, declares his love to Lisa. He learns that his feelings are not unrequited - Lisa also loves him.

Upon learning of the sudden appearance of the living Varvara Pavlovna, Lisa decides to leave for a remote monastery and lives out the rest of her days as a monk. The novel ends with an epilogue, which takes place eight years later, from which it also becomes known that Lavretsky returns to Lisa's house, where her grown-up sister Elena has settled. There he, after the past years, despite many changes in the house, sees the living room, where he often met with his girlfriend, sees the piano and the garden in front of the house, which he remembered so much because of his communication with Lisa. Lavretsky lives by his memories and sees some meaning and even beauty in his personal tragedy. After his thoughts, the hero leaves back to his home.

Later, Lavretsky visits Liza in the monastery, seeing her in those brief moments when she appears for moments between services.

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".

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, Liza.

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 surprisingly poetic and touching, 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 Liza hid - he saw her. Moving from choir to choir, she walked close past him, walked with the even, hastily humble gait of a nun - and did not look at him; only the eyelashes of her eyes turned to him 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 breast 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, scented 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.

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.”

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 game ("he never missed a single performance"), he deeply feels the music, the beauty 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 stage Lavretsky in such a way that it is embarrassing to be ironic over him."

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

And I burned everything that I worshiped;

He bowed to everything that he burned ...

Love for Liza is the moment of his spiritual rebirth, which came upon his return to Russia. Lisa is the opposite of Varvara Pavlovna. She would be able to help develop Lavretsky's abilities, would not prevent him from being a hard worker. Fedor Ivanovich himself thought about this: "... she would not distract me from my studies; she herself would inspire me to honest, rigorous work, and we would both go forward, towards a wonderful goal." In the dispute between Lavretsky and Panshin, his boundless patriotism and faith in the bright future of his people are revealed. Fedor Ivanovich "stands up for new people, for their beliefs and desires."

Having lost personal happiness for the second time, Lavretsky decides to fulfill his public duty (as he understands it) - he improves the life of his peasants. “Lavretsky had the right to be satisfied,” writes Turgenev, “he became a really good farmer, really learned to plow the land and worked not for himself alone.” However, it was half-hearted, it did not fill his whole life. Arriving at the Kalitins' house, he thinks about the "work" of his life and admits that it was useless.

The writer condemns Lavretsky for the sad outcome of his life. 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.

The plot of the novel

Lavretsky continues his education in Moscow, and while visiting the opera, he notices a beautiful girl in one of the boxes. Her name is Varvara Pavlovna, and now Fyodor Lavretsky declares his love for her and asks for her hand in marriage. The couple marries and the newlyweds move to Paris. There, Varvara Pavlovna becomes a very popular salon owner, and starts an affair with one of her regular guests. Lavretsky learns about his wife's affair with another only at the moment when he accidentally reads a note written from a lover to Varvara Pavlovna. Shocked by the betrayal of a loved one, he breaks all contact with her and returns to his family estate, where he was raised.

Upon returning home to Russia, Lavretsky visits his cousin, Maria Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky immediately becomes interested in Lisa, whose serious nature and sincere devotion to the Orthodox faith give her great moral superiority, strikingly different from the coquettish behavior of Varvara Pavlovna, to which Lavretsky was so accustomed. Gradually, Lavretsky realizes that he is deeply in love with Lisa, and when he reads a message in a foreign magazine that Varvara Pavlovna has died, he declares his love to Lisa and learns that his feelings are not unrequited - Lisa also loves him.

Unfortunately, the cruel irony of fate prevents Lavretsky and Lisa from being together. After a declaration of love, the happy Lavretsky returns home ... to find Varvara Pavlovna, alive and unharmed, waiting for him in the lobby. As it turns out, the advertisement in the magazine was given erroneously, and Varvara Pavlovna's salon is going out of fashion, and now Varvara needs the money that Lavretsky demands.

Upon learning of the sudden appearance of the living Varvara Pavlovna, Lisa decides to leave for a remote monastery and lives out the rest of her days as a monk. Lavretsky visits her in the monastery, seeing her in those brief moments when she appears for moments between services. The novel ends with an epilogue set eight years later, from which it also becomes known that Lavretsky is returning to Liza's house. There, after the past years, despite many changes in the house, he sees the piano and the garden in front of the house, which he remembers so much because of his communication with Lisa. Lavretsky lives by his memories, and sees some meaning and even beauty in his personal tragedy.

Accusation of plagiarism

This novel was the reason for a serious quarrel between Turgenev and Goncharov. D. V. Grigorovich, among other contemporaries, recalls:

Once - I think at the Maikovs - he [Goncharov] told the contents of a new alleged novel, in which the heroine was supposed to retire to a monastery; many years later, Turgenev's novel "The Nest of Nobles" was published; the main female face in it was also removed to the monastery. Goncharov raised a whole storm and directly accused Turgenev of plagiarism, of appropriating someone else's thought, probably assuming that this thought, precious in its novelty, could only come to him, and Turgenev would lack such talent and imagination to reach it. The case took such a turn that it was necessary to appoint an arbitration court, composed of Nikitenko, Annenkov and a third person - I don’t remember whom. Nothing came of it, of course, except laughter; but since then Goncharov ceased not only to see, but also to bow to Turgenev.

Screen adaptations

The novel was filmed in 1914 by V. R. Gardin and in 1969 by Andrei Konchalovsky. In the Soviet tape, the main roles were played by Leonid Kulagin and Irina Kupchenko. See Nest of Nobles (film).

Notes

Ivan Sergeevich Turgenev
Novels
Tales and stories
Dramaturgy	Lack of money Where it is thin, there it breaks Freeloader Breakfast at the leader Bachelor A month in the village
Other	Poems in prose Literary and everyday memories
Characters
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Having just published the novel Rudin in the January and February volumes of Sovremennik for 1856, Turgenev conceives a new novel. On the cover of the first notebook with the autograph of "The Noble Nest" it is written: "The Noble Nest", a story by Ivan Turgenev, was conceived at the beginning of 1856; for a long time he did not take her for a very long time, kept turning her over in his head; began to develop it in the summer of 1858 in Spasskoye. Finished on Monday, October 27, 1858 at Spasskoye. The last corrections were made by the author in mid-December 1858, and in the January issue of Sovremennik for 1959, The Noble Nest was published. The "Nest of Nobles" in general mood seems very far from Turgenev's first novel. In the center of the work is a deeply personal and tragic story, the love story of Liza and Lavretsky. The heroes meet, they develop sympathy for each other, then love, they are afraid to admit this to themselves, because Lavretsky is bound by marriage. In a short time, Liza and Lavretsky experience both hope for happiness and despair - with the realization of its impossibility. The heroes of the novel are looking for answers, first of all, to the questions that their fate puts before them - about personal happiness, about duty to loved ones, about self-denial, about their place in life. The spirit of discussion was present in Turgenev's first novel. The heroes of "Rudin" solved philosophical questions, the truth was born in them in a dispute.

The heroes of "The Noble Nest" are restrained and laconic, Lisa is one of the most silent Turgenev heroines. But the inner life of the heroes is no less intense, and the work of thought is carried out tirelessly in search of truth - only almost without words. They peer, listen, ponder the life around them and their own, with a desire to understand it. Lavretsky in Vasilyevsky "as if listening to the flow of the quiet life that surrounded him." And at the decisive moment, Lavretsky again and again "began to look into his own life." The poetry of contemplation of life emanates from the "Noble Nest". Of course, the personal mood of Turgenev in 1856-1858 affected the tone of this Turgenev novel. Turgenev's contemplation of the novel coincided with a turning point in his life, with a spiritual crisis. Turgenev was then about forty years old. But it is known that the feeling of aging came to him very early, and now he is already saying that “not only the first and second - the third youth has passed.” He has a sad consciousness that life did not work out, that it is too late to count on happiness for himself, that the “time of flowering” has passed. Far from the beloved woman - Pauline Viardot - there is no happiness, but existence near her family, in his words, - "on the edge of someone else's nest", in a foreign land - is painful. Turgenev's own tragic perception of love was also reflected in The Nest of Nobles. This is accompanied by reflections on the writer's fate. Turgenev reproaches himself for the unreasonable waste of time, lack of professionalism. Hence the author's irony in relation to Panshin's dilettantism in the novel - this was preceded by a streak of severe condemnation by Turgenev of himself. The questions that worried Turgenev in 1856-1858 predetermined the range of problems posed in the novel, but there they naturally appear in a different light. “I am now busy with another, great story, the main face of which is a girl, a religious being, I was brought to this face by observations of Russian life,” he wrote to E. E. Lambert on December 22, 1857 from Rome. In general, questions of religion were far from Turgenev. Neither a spiritual crisis nor moral quests led him to faith, did not make him deeply religious, he comes to the image of a “religious being” in a different way, the urgent need to comprehend this phenomenon of Russian life is connected with the solution of a wider range of issues.

In the "Nest of the Nobles" Turgenev is interested in the topical issues of modern life, here he reaches its sources exactly upstream of the river. Therefore, the heroes of the novel are shown with their “roots”, with the soil on which they grew up. Chapter thirty-five begins with Lisa's upbringing. The girl did not have spiritual intimacy either with her parents or with a French governess, she was brought up, like Pushkin's Tatyana, under the influence of her nanny, Agafya. The story of Agafya, who twice in her life was marked by lordly attention, who twice suffered disgrace and resigned herself to fate, could make up a whole story. The author introduced the story of Agafya on the advice of the critic Annenkov - otherwise, according to the latter, the end of the novel, Liza's departure to the monastery, was incomprehensible. Turgenev showed how, under the influence of Agafya's severe asceticism and the peculiar poetry of her speeches, Lisa's strict spiritual world was formed. The religious humility of Agafya brought up in Liza the beginning of forgiveness, resignation to fate and self-denial of happiness.

In the image of Liza, the freedom of view, the breadth of perception of life, the veracity of her image affected. By nature, nothing was more alien to the author himself than religious self-denial, the rejection of human joys. Turgenev was inherent in the ability to enjoy life in its most diverse manifestations. He subtly feels beauty, feels joy both from the natural beauty of nature and from exquisite creations of art. But most of all he knew how to feel and convey the beauty of the human person, if not close to him, but whole and perfect. And therefore, the image of Lisa is fanned with such tenderness. Like Pushkin's Tatyana, Lisa is one of those heroines of Russian literature who find it easier to give up happiness than to cause suffering to another person. Lavretsky is a man with "roots" going back to the past. No wonder his genealogy is told from the beginning - from the 15th century. But Lavretsky is not only a hereditary nobleman, he is also the son of a peasant woman. He never forgets this, he feels “peasant” features in himself, and those around him are surprised at his extraordinary physical strength. Marfa Timofeyevna, Liza's aunt, admired his heroism, and Liza's mother, Marya Dmitrievna, censured Lavretsky's lack of refined manners. The hero, both by origin and personal qualities, is close to the people. But at the same time, the formation of his personality was influenced by Voltairianism, his father's Anglomania, and Russian university education. Even the physical strength of Lavretsky is not only natural, but also the fruit of the upbringing of the Swiss tutor.

In this detailed prehistory of Lavretsky, the author is interested not only in the ancestors of the hero, in the story of several generations of Lavretsky, the complexity of Russian life, the Russian historical process, is also reflected. The dispute between Panshin and Lavretsky is deeply significant. It arises in the evening, in the hours preceding the explanation of Lisa and Lavretsky. And it is not for nothing that this dispute is woven into the most lyrical pages of the novel. For Turgenev, personal destinies, the moral quest of his heroes and their organic closeness to the people, their attitude towards them on “equals” are merged here.

Lavretsky proved to Panshin the impossibility of leaps and arrogant alterations from the height of bureaucratic self-consciousness - alterations that are not justified either by knowledge of their native land, or really by faith in an ideal, even a negative one; cited his own upbringing as an example, demanded, first of all, the recognition of “people's truth and humility before it ...”. And he is looking for this popular truth. He does not accept Liza's religious self-denial with his soul, does not turn to faith as a consolation, but experiences a moral crisis. For Lavretsky, a meeting with a comrade from the university, Mikhalevich, who reproached him for selfishness and laziness, does not pass in vain. Renunciation still takes place, although not religious, - Lavretsky "really stopped thinking about his own happiness, about selfish goals." His communion with the people's truth is accomplished through the rejection of selfish desires and tireless work, which gives peace of mind to a fulfilled duty.

The novel brought Turgenev popularity in the widest circles of readers. According to Annenkov, “young writers starting their careers came to him one after another, brought their works and waited for his verdict...”. Turgenev himself recalled twenty years after the novel: "The Nest of Nobles" was the biggest success that ever fell to my lot. Since the appearance of this novel, I have been considered among the writers who deserve the attention of the public.

In the past estate. The bourgeois and tradesman turned out to be stronger in Chichikov himself than his noble title. The closer to 1861, the more negatively the nobleman is depicted in Russian literature. The word Oblomovism became a sentence to the estate, noble nests barely live, the most ugly features of noble life will open in a hurry ... I.A. Goncharov's novel "Oblomov" appears in 1859. Pedantic writer...

Nests", "War and Peace", "The Cherry Orchard". It is also important that the protagonist of the novel, as it were, opens a whole gallery of "superfluous people" in Russian literature: Pechorin, Rudin, Oblomov. Analyzing the novel "Eugene Onegin", Belinsky pointed out that at the beginning of the 19th century the educated nobility was the class "in which the progress of Russian society was almost exclusively expressed", and that in "Onegin" Pushkin "decided ...

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