What prevented the love of Lavretsky and Lisa Kalitina? (Based on the novel by I. S

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* Turgenev and Flaubert

Turgenev is one of the most European Russian writers. His work is closely related to the literary processes taking place in Europe. The European reader recognized Turgenev as "his", his novels were actively translated into European languages, primarily into French, and had great success. This is not only due to inner closeness. artistic world Turgenev and French writers but also biographical circumstances.

Turgenev spent the last twenty years of his life abroad, in Baden-Baden, Paris, in a villa bought with Pauline Viardot. He visited Russia on short visits. In France, Turgenev communicated with famous writers - Georges Sand, Prosper Mérimée and writers younger generation- Emile Zola, Alphonse Daudet, Guy de Maupassant. Turgenev found himself a real friend. It became famous writer Gustave Flaubert. Turgenev in every possible way contributed to the publication of Flaubert's famous drama The Temptation of St. Anthony, and also took the trouble to translate two of his works for Russian readers - The Legend of St. Julian the Stranger and Herodias (1875-1877). However, Flaubert's literary fame was not brought by colorful legends in the oriental style, but by a novel executed in a strictly realistic spirit.

Flaubert was born in 1821 in the small French town of Rouen in the family of a surgeon. He began to study literature from adolescence; he edited a magazine published by the students of the Rouen Lyceum, read a lot, wrote poetry. Flaubert began with stories in an "ultra-romantic" spirit and did not immediately find his intonation in French literature. The final turning point occurred only after the creation of the novel Madame Bovary, which was published in 1856.

The subtitle of the novel Provincial Manners clearly indicates the author's intention: to depict the smoldering, boring, monotonous life of the French province. The center of gravity, the ultimate dreams of the main characters of the novel - Paris. Statement: "In Paris, everyone does it!" becomes for the main character, Madame Bovary, ample reason for adultery.

Emma Bovary, a pupil of the monastery and the daughter of a simple farmer, marries the physician Charles Bovary. For her, marriage turns out to be the beginning of a gray, joyless existence, full of disappointments and melancholy. Charles cannot become her interlocutor and friend, he loves slavishly, but does not understand his wife at all. The love that Emma imagined "as a bird of paradise soaring in the radiance of an indescribably beautiful sky" never visited her. It seems to Emma that the whole thing is in the place that is on the land of the edge, "where happiness will be well born." And therefore all of Emma's aspirations are directed away from that and those who and who surrounds her.

Neither the birth of a daughter nor the devoted love of her husband relieves her of longing and boredom. To a loving husband there is no place for a daughter in Emma's imagination life picture... This picture is based on completely different ideals and values. Even in her youth, she reads novels: “there were only lovers, mistresses, persecuted ladies who fell unconscious in secluded pavilions, coachmen who are killed at every station, horses who are driven on every page, dense forests, heartfelt worries, oaths, sobs, tears and kisses, boats illuminated by the moonlight, nightingale singing in the groves, heroes, brave as lions, meek like lambs, utterly virtuous, always immaculately dressed, teary like urns. " It is clear that against the background of such scenes and heroes, the husband “with disheveled hair, white with fluff that has crawled out of the pillow,” always wearing the same boots, looks like nothing.

Therefore, as soon as an experienced seducer and conqueror appears in Emma's life female hearts Rodolphe Boulanger, she immediately takes him for the same hero from the book. Emma does not hear that Rodolphe says vulgarity, that his declarations of love are a collection of sweet, stamped romantic phrases. On the contrary, she recognizes them as words from her favorite novels. After the first love date with Rodolphe, Emma is experiencing triumph - now she has a lover! "A jubilant choir of unfaithful wives sang in her memory in her native, bewitching voices." Emma sees forbidden love as an admission ticket to Magic world with gazebos and caresses, about which she had dreamed so much before.

Naturally, now Rodolphe must at all costs correspond to her ideas about the true hero of the novel - the heroine writes him enthusiastic letters, cuts off strands of his hair, demands to give her a ring as a sign of "love until the grave", asks to remember her exactly at midnight and finally invites him to run. Rodolphe runs, but only one. From the shock, Emma falls seriously ill and almost dies. Her new romance with the young assistant notary Leon develops in a completely different way, now Emma acts much more courageously, she no longer needs to be seduced, she herself goes to meet Leon. The date that decided the outcome of their relationship takes place in the cathedral, the doorkeeper, who introduced Leon and Emma to the sights of the cathedral, shouts after them: “Leave at least through north doors! You will see Resurrection from the dead The last judgment, Paradise, King David and Sinners in fiery hell. " But they do not hear him, much more real than heaven and fiery hell for the heroes - their passion, their freedom, their romantic ideas about love. Christian images and the laws are dead to them.

However, Emma dies not from experiences, not from the insatiability of her desires, but because of a much lower, deliberately vulgar, rude one - because of money. Emma leads a life beyond her means and ruins her husband. To save the property, she tries to get money, goes to friends, humiliates herself, asks, even visits Rodolphe - everyone refuses her. Desperate, Emma swallows arsenic. Ladies in the novels of other writers also often took poison, but it was just poison without a name, bringing instant, painless death. Emma's poisoning is described with physiological details, reality laughs for the last time at the heroine's lofty notions. After Emma's death, the life of her husband becomes meaningless, even a little daughter cannot completely dispel Charles's grief, and finding love letters from Rodolphe and Leon among his wife's belongings, the hero soon dies. Mademoiselle Bovary is forced to enter a spinning mill.

Why does the novel end so tragically? What is the cause of Madame Bovary's misfortunes? The point here is not only in the uncommonness of her nature, in the rare spiritual endowment, which the heroine did not find a worthy application, not only in the fact that she is trying to squeeze colorful book images into a simple frame of everyday life. Madame Bovary is a human new era... She can no longer live by the inspiration and inertia of the tradition that her parents lived, her ancestors, which Charles Bovary and her neighbors continue to live. Emma's mother, for example, would never have thought of forcing herself to love her husband, to love with sublime, romantic love. As the nanny will say in "Eugene Onegin": "Have mercy, Tanya, in our years / We have not heard about love!" The desire to see in her husband not only the father of the children and the housekeeper, but also a heartfelt friend, like-minded person, confidant in all matters is a trace of a book culture unfamiliar to Emma's closest circle.

The portrayal of this imperceptible shift, the awakening of individual consciousness in a provincial environment, that is, deliberately lagging behind, lagging behind the capital, united Flaubert with Turgenev. Such changes in society, as we have already said, are the main subject of the image of the Russian classic. In many ways similar problems - the separation of a person from the soil that nourishes him before, the environment, from the energy of the clan that supports his existence - Turgenev described in his second novel “ Noble Nest».

Remember who it was said about - "She liked novels early, / They replaced everything for her, / She fell in love with deceptions / And Richardson, and Russo ...". Compare Tatiana Larina and Madame Bovary. Why did Tatyana not obey the novel plot and remain faithful to her husband? What cultural tradition, besides the Western European one, nurtured it?

Analysis of works

The idea and meaning of the novel

While working on The Noble Nest, Turgenev wrote to his close acquaintance about the main character (although at first Turgenev thought he would write a novel): “I am now busy ... with a big story, the main face of which is a girl, a religious being. I was brought to that person by my observations of Russian life. " These words are quite applicable to the novel as a whole. The "Noble Nest" is "observation of Russian life", of its faces, of secret and obvious changes in it.

The plot and composition of the novel

The novel opens with a lengthy exposure. Turgenev introduces the reader to the main characters and describes in detail the inhabitants and guests of the house of Marya Dmitrievna Kalitina, the widow of the provincial prosecutor, living in the city of O ... with two daughters, the eldest of whom, Liza, is nineteen years old. More often than others, Marya Dmitrievna has a St. Petersburg official, Vladimir Nikolaevich Panshin, who ended up in a provincial city out of state necessity. Panshin is young, agile, and is moving up the career ladder with incredible speed, while he sings, draws and looks after Liza Kalitina well.

The appearance of the protagonist of the novel, Fyodor Ivanovich Lavretsky, who is distantly related to Marya Dmitrievna, is preceded by a brief background. Lavretsky is a deceived husband, he is forced to leave his wife because of her immoral behavior. His wife remains in Paris, Lavretsky returns to Russia, ends up in the Kalitins' house and imperceptibly falls in love with Lisa. From a French newspaper, he learns about the death of his wife, this gives him hope for happiness. Coming first climax- Lavretsky in the night garden confesses his love to Lisa and finds out that he is loved. However, the next day after the confession, his wife Varvara Pavlovna returned from Paris to Lavretsky (the news of her death turned out to be false). This second climax the novel, as it were, opposes the first; the first gives the heroes hope, the second takes it away. Coming denouement- Varvara Pavlovna settles in the family estate of Lavretsky, Liza leaves for a monastery, Lavretsky is left with nothing.

The plot in "Noble Nest", as in "Rudin", is meager in external events and active action. The very simplicity of it seems to indicate to us: the clue to the novel should be sought not so much in the plot, as in the elements that inhibit and slow it down - in the description of the states, feelings of the heroes, in their prehistories and genealogies.

The idea of ​​a "noble nest". Lavretsk

Fyodor Ivanovich Lavretsky comes "from an old noble tribe." Turgenev mentions the ancestor of the Lavretskys, a native of Prussia, who came to Russia under Vasily the Dark, and then cites the biographies of Lavretsky's great-grandfather, grandfather and father.

"Richer and more wonderful than all the Lavretskys" are the great-grandfather of Fyodor Ivanovich, Andrei. All the qualities of Andrei Lavretsky seem to be deliberately stuck out, exaggerated. "To this day, the rumor about his arbitrariness, his furious disposition, insane generosity and insatiable greed has not ceased." His appearance is also quite consistent with his character: “He was very fat and tall, his face was dark and beardless, bursting and seemed drowsy; but the more quietly he spoke, the more everyone around him trembled. " Every detail counts here. It is not by chance that Turgenev gives us the exact date time of action and informs about the age of their heroes - in the end, we can easily calculate when they lived.

Try to do this work yourself and calculate the years of birth of Lavretsky and his family.

The heyday of the life of Andrei Lavretsky fell on Catherine's time, in the 1760-1770s. As a result, he would definitely have absorbed the air of the brilliant and contradictory Catherine's era, the era of megalomania, fantastic projects, the era of giants. In many ways, Andrei Lavretsky can be blamed, but not for the lack of scale. No wonder his favorite saying: "You swim fine." The personality of the great-grandfather, in any case, is large, it bears the stamp of undoubted greatness. Even his weaknesses ("frenzied disposition", "insane generosity", "unquenchable greed") are elevated to a superlative degree and testify to the enormous inner strength hero. Such were the brightest people of his time: let us recall at least those close to Catherine - the Most Serene Prince Grigory Alexandrovich Potemkin, the Orlov brothers.

Andrei's son, Peter Andreevich, also finds the time of Catherine, but at least half of his life is associated with another era. And Pyotr Andreevich does not look like his father: "he was a simple steppe gentleman, rather eccentric, a screamer and soot, rude, but not evil, hospitable and hound hunter." And again, this is not only a characteristic of an individual person, but in many respects also a characteristic of an era that has greatly changed with the coming to power of the "eccentric," but not the evil Emperor Paul. Pyotr Andreevich - "steppe master", "hospitable owner", is gradually lowering his father's estate. He is wild in his own way, dark, new trends touched him only with the appearance in his house of his son Ivan Petrovich, father of Fyodor Lavretsky.

Ivan Petrovich was given to be raised in Petersburg in the house of his aunt, a rich princess, his teacher is a retired abbot and encyclopedist, and in his youth Ivan Petrovich can afford the luxury of acting in the spirit of the French enlighteners - Rousseau, Diderot and Voltaire. Partly out of youthful enthusiasm, partly out of a desire to defend his independence and annoy his father, he first seduces, and then marries his mother's maid, Malanya's girlfriend. But having fulfilled his duty, "putting in motion" the idea of ​​equality, Ivan Petrovich with a light heart leaves his wife, goes to Petersburg, and then abroad, where he learns about the birth of his son Fedya. He returns to his homeland only when his wife has been in the grave for a long time, and his son turns twelve years old.

Despite the "modern" upbringing, on the French "Declaration of Human Rights", traces of lordship in Ivan Petrovich, as in his father and grandfather, are ineradicable. “It is known what the times were: what the master wanted, so he did,” notes the same old servant of the Lavretskys, Anton. Ivan Petrovich does not care about his wife, who has died out like a tree “snatched from its native soil and immediately abandoned”. He does not understand that he did not make her happy, but made her unhappy. In the same way, he is mentally blind in relation to his son, dreaming of bringing up in him “un homme”, a man according to the system of Jean-Jacques Rousseau, that is, abstract perfection. He does not want to see Fedya alive, crushed by the imperious aunt of the boy.

Father teaches Fedya natural sciences and carpentry, horse riding and crossbow shooting - that is, he gives his son an education in the spirit of the ideas of the 18th century. Education bears very meager fruits, only Fedya's health improves markedly. Ivan Petrovich himself begins to get sick, with the arrival of weakness, he completely forgets his freethinking, Anglomancy, withers, goes blind and soon turns into a whiny, scolding master, torment for his family. He dies when his son turns twenty-three.

Fyodor Ivanovich is the last of the Lavretsky family. But how little he resembles his own father! Is that weakness of character inherits from his parent. This weakness throws him at the feet of Varvara Pavlovna, who rules her husband at her discretion until chance reveals her true face to Lavretsky. The same weakness largely explains Lavretsky's love for Lisa. Liza, despite her youth, is a solid and strong-willed person. And Lavretsky subconsciously feels this, realizes that here he will have the opportunity to lean on, lean on his elbows, and go with the flow. The history of the "noble nest" of the Lavretskys ends, and his fate bears the stamp of this absolute exhaustion and end.

Reread the history of the family of Varvara Pavlovna Lavretskaya and Vladimir Nikolaevich Panshin. Why is Varvara Pavlovna's father, like Panshin's father, a man with a somewhat "tainted" reputation, how did the reputations of these fathers affect the fate of their children?

The character system of the novel. The role of music in the novel

The heroes of The Nest of Nobility gravitate towards two opposite poles. One pole attracts everything that is genuine, deep, and sincere. On this side are Fyodor Ivanovich Lavretsky, Liza Kalitina, the old man Lemm music teacher, Liza's aunt and Lavretsky's distant relative, the independent and open old woman Marfa Timofeevna. On the other side, the side of falsehood, posture, amateurism - Lavretsky's wife Varvara Pavlovna, Panshin, partly Liza's mother, Marya Dmitrievna, and Sergei Petrovich Gedeonovsky, a local gossip and liar. On different poles, the heroes breed a different attitude towards love, children, family. But music plays a very special role in the arrangement of the characters in the novel.

The perception of music in the "Noble Nest" is a kind of equivalent to the perception of life. The attitude to music not only divides the heroes, as already mentioned, into two main groups, but also divides them into pairs. The first pair is Lavretsky and Lemm.

Old man Lemm is not without reason German by nationality, this is a reference to German romantic culture. Lemme is an aged romantic, his fate reproduces the milestones of the path romantic hero, however, the frame in which it is placed - the gloomy Russian reality - seems to turn everything inside out. A lonely wanderer, an involuntary exile, dreaming all his life of returning to his homeland, having fallen into the non-romantic space of "hated" Russia, turns into a loser and a miserable person. The only thread connecting him with the world of the sublime is music. It also becomes the basis for a rapprochement between Lemma and Lavretsky.

Lavretsky shows interest in Lemma, his work, and Lemme reveals himself before him, as if orchestrating mental life Lavretsky, translating it into the language of music. Everything that happens to Lavretsky is clear to Lemma: he himself is secretly in love with Liza. Lemm composes a cantata for Lisa, writes a romance about "love and stars" and, finally, creates an inspired composition, which Lavretsky plays on the night of his meeting with Lisa. “For a long time Lavretsky had not heard anything like it: a sweet, passionate melody from the first sound enveloped the heart; she was all beaming, all languishing with inspiration, happiness, beauty, she grew and melted; it touched everything that is dear, secret, holy on earth ... ”Sounds new music Lemma breathe love - Lemma to Liza, Lavretsky to Lisa, Liza to Lavretsky, everyone to everyone.

The magic melody is cut short by the arrival of Lavretsky's wife. Varvara Pavlovna also perfectly plays the piano, but completely different music and for different purposes. “Our voices must go to each other,” she turns to Panshin with a symbolic phrase, and the heroes sing several songs in a duet. The second " musical couple"- Varvara Pavlovna - Panshin is also quite unanimous in her attitude to music. For them, it is a pleasant entertainment, a way to spend time, a good trump card in a love game.

At the beginning of the novel, at the time of Panshin's courtship of Liza, they try to play out the sonata together, but Panshin always gets confused, they never succeed in finishing the sonata. This failure predicts the course of further relations between Liza and Panshin. Lisa rejects his offer to marry him. Their discord is clearly opposed by the surprisingly harmonious singing of Panshin and Varvara Pavlovna. These heroes find each other immediately and forever; as you remember, Panshin quickly turns into a slave to Varvara Pavlovna.

Some distance from music theme Lisa is in the novel. Turgenev speaks extremely sparingly about the manner of her playing, noting only that she does it well and “clearly”. We don't know anything about her own reaction to music either. Even playing the piano and participating in public musical entertainment, internally Liza stays away from them. And this is a sign of her future departure from everything earthly and passionate, everything that music expresses in the novel. Lisa will look for another dimension in life, infinitely far from the raptures and sufferings of earthly love.

Fyodor Ivanovich Lavretsky and Liza Kalitina. The disintegration of the circle, the ruin of the "nest"

A special type of Russian religiosity, brought up in the heroine by a nanny, a simple peasant woman, is manifested in Lisa's appearance. This is a "penitential" version of Christianity, its supporters are convinced that the path to Christ lies through repentance, through crying about their own sins, through a harsh rejection of earthly joys. The harsh spirit of the Old Believers invisibly blows here. It was not without reason that Agafya, Liza's mentor, was said to have retired to a schismatic hermitage. Lisa follows in her footsteps and goes to a monastery.

Falling in love with Lavretsky, she is afraid to believe in her own happiness. "I love you," says Lavretsky to Lisa, "I am ready to give you my whole life." How does Lisa react?

“She shuddered again, as if something had stung her, and raised her eyes to the sky.

“It's all in God's power,” she said.

- But do you love me, Lisa? We'll be happy?

She dropped her eyes; he quietly drew her to him, and her head fell on his shoulder ... "

Downcast eyes, head on shoulder - this is both the answer and the doubt. The conversation ends with a question. Liza cannot promise Lavretsky this happiness, because she herself does not fully believe in its possibility.

The arrival of Lavretsky's wife is a disaster, but also a relief for her. Life again enters into the limits Lisa understands, is placed within the framework of religious axioms. And Liza perceives the return of Varvara Pavlovna as a well-deserved punishment for her own frivolity, for the fact that her former self great love, love for God (she loved Him "enthusiastically, timidly, tenderly") began to be supplanted by love for Lavretsky. Liza returns to her "cell", a "clean, light" room "with a white bed", returns to where she left for a while. The last time in the novel we see Lisa right here, in this closed, albeit bright space. The next appearance of the heroine is taken out of the scope of the novel action. In the epilogue, Turgenev reports that Lavretsky visited her in the monastery, but this is no longer Liza, but only her shadow.

A similar turning point is taking place in the life of Lavretsky. After parting with Lisa, he stops thinking about his own happiness, becomes a good owner and devotes his efforts to improving the life of the peasants. He is the last of the Lavretsky family, and his "nest" is emptying.

The Kalitins' nest of nobility, on the other hand, has not been ruined thanks to the other two children of Marya Dmitrievna, her eldest son and Lenochka. But neither one nor the other is of fundamental importance, the world is still becoming different, and in this changed world the “noble nest” no longer possesses exceptional value, its former, almost sacred status.

Both Liza and Lavretsky act differently from the people of their "nest", their circle. The circle fell apart. Liza went to a monastery, Lavretsky learned to plow the land. Girls of noble rank went to the monastery in exceptional cases, the monasteries were usually replenished at the expense of the lower classes, just as the master did not have to plow the land and work "not for himself." It is impossible to imagine Lavretsky's father, grandfather, or great-grandfather behind the plow, but Fyodor Ivanovich lives in a different era.

There comes a time of personal responsibility, responsibility for oneself, a time of life that is not rooted in the tradition and history of one's own kind, a time when it is necessary to "do business." At the age of 45, the Lavretsky feels like a deep old man, not only because in the 19th century there were different ideas about age, but also because the Lavretsky had to leave the historical stage forever.

What unites the fates of Lavretsky and Liza? As you understand last words novel? Why did Lisa go to the monastery? Why is Lavretsky's university friend Mikhalevich introduced into the novel? What words of Mikhalevich Lavretsky implements in his own life?

Liza Kalitina is one of the most famous Turgenev heroines. For more than 150 years, the readers of the novel by I.S. Turgenev is worried about the question: why did Liza Kalitina go to the monastery? This article will present two points of view on this issue: the point of view of the famous literary critic of the 19th century Dmitry Pisarev and the point of view of the Russian writer of the 20th century Daniil Andreev.

Liza Kalitina. Artist D. Borovsky

At first summary the novel "Noble's Nest":

From abroad, Fyodor Ivanovich Lavretsky arrives in one of the Russian cities, whom his wife cheated on in Paris. Having decided to part with his wife, he decides to heal his mental wounds on native land... Here he meets Lisa Kalitina, a devout girl. With her purity and grace, she again awakens in him the desire to live and love.

Lavretsky. Artist Konstantin Rudakov

However, Lisa asks him to reconcile with his wife. From Paris comes the news of the death of Lavretsky's wife, then Lavretsky decides to confess his love to Lisa:

"A familiar look flashed, and Liza appeared in the living room. In a white dress, with loose braids over her shoulders, she quietly walked to the table, bent over it, put a candle and looked for something; then, turning her face to the garden, she approached the open doors and, all white, light, slender, stopped at the threshold, a thrill ran through Lavretsky's members.
-- Lisa! - escaped barely audibly from his lips.
She shuddered and began to peer into the darkness.
-- Lisa! Lavretsky repeated louder, and left the shadow of the alley.
Liza stretched out her head in fright and staggered back: she recognized him. He called her a third time and held out his hands to her. She parted from the door and entered the garden.
-- You? she said. -- Are you here?
"I ... I ... listen to me," Lavretsky whispered, and, seizing her hand, led her to the bench.
She followed him without resistance; her pale face, fixed eyes, all her movements expressed indescribable amazement. Lavretsky sat her down on a bench and stood in front of her himself.
“I didn’t think to come here,” he began, “it brought me ... I ... I ... I love you,” he said with involuntary horror.
Liza glanced slowly at him; it seemed that only at that instant she realized where she was and what was wrong with her. She wanted to get up, could not, and covered her face with her hands.
"Liza," said Lavretsky, "Liza," he repeated, and bent down at her feet ...
Her shoulders began to shake slightly, the fingers of her pale hands pressed closer to her face.
-- What's wrong with you? said Lavretsky, and heard a quiet sobbing. His heart sank ... He understood what those tears meant. - Do you really love me? he whispered and touched her knees.
“Get up,” her voice was heard, “get up, Fyodor Ivanitch. What are we doing this to you?
He got up and sat down beside her on the bench. She no longer cried and looked at him attentively with her wet eyes.
-- I'm scared; what are we doing? she repeated.
“I love you,” he said again, “I’m ready to give you my whole life.
She shuddered again, as if something had stung her, and raised her eyes to the sky.
“It's all in God's power,” she said.
- But do you love me, Lisa? We'll be happy?
She dropped her eyes; he quietly drew her to him, and her head fell on his shoulder ... He turned his head slightly and touched her pale lips. "

Turgenev describes Liza's feelings after the meeting with Lavretsky in this way: "She hesitated until she understood herself; but after that meeting, after that kiss, she could no longer hesitate; she knew that she was in love, and she fell in love honestly, not joking. , she became attached tightly, for life - and was not afraid of threats: she felt that violence could not break this connection. "

Liza and Lavretsky by the pond. Artist Konstantin Rudakov

Lavretsky and Liza leave the church. Artist Konstantin Rudakov

The next day, his wife unexpectedly came to Lavretsky (the news of her death turned out to be false) and began to ask for forgiveness. Liza told Lavretsky that he should be reconciled with his wife, and she herself went to the monastery.

Liza with Martha Timofeevna before leaving for the monastery. Artist Konstantin Rudakov

Reconciliation between Lavretsky and his wife. Artist Konstantin Rudakov

Dmitry Pisarev in his article "Noble Nest" sets out his vision of the image of Liza Kalitina:

"Lisa is a girl richly gifted by nature; there is a lot of fresh, unspoiled life in it; everything in her is sincere and genuine. She has both a natural mind and a lot pure feeling... For all these properties, it separates from the mass and adjoins the best people our time. But richly gifted natures will be born at any time; smart, sincere and deeply feeling girls, not capable of petty calculations, are in every society. Not in the natural qualities of the soul and mind, but in looking at things, in the development of these qualities and in their practical application, one should look for the influence of the era on an individual. In this respect, Lisa has not surpassed her age; her personality was formed under the influence of those elements that we meet every day in various modifications in our modern life. (...) She still considers obedience to be the highest virtue of a woman; she silently obeys, forcibly closes her eyes so as not to see the imperfections of the sphere around her. She cannot make peace with this sphere: there is too much unspoiled sense of truth in it; she does not dare to discuss or even notice her shortcomings, because she considers it reprehensible or immoral insolence. Therefore, standing immeasurably higher than the people around her, she tries to assure herself that she is the same as they are, even, perhaps, worse, that the disgust that arouses in her evil or untruth is a grave sin, intolerance, a lack of humility. (...) Imagination, tuned from childhood by the stories of a devout, but undeveloped nanny, and the feeling inherent in any feminine, impressionable nature, gained complete predominance over the critical ability of the mind. Considering it a sin to analyze others, Lisa does not know how to analyze her own personality. When she has to decide on something, she rarely thinks: in such a case, she either follows the first movement of feeling, trusts in her innate instinct for truth, or asks for advice from others and obeys someone else's will, or refers to the authority of the moral law, which she always understands literally and always too strict, with fanatical enthusiasm. In a word, it not only does not achieve mental independence, but does not even strive for it and hammers in itself every living thought, every attempt at criticism, every emerging doubt. In practical life, she retreats from all struggle; she will never do a bad deed, because she is guarded by both an innate moral sense and deep religiosity; she will not yield in this respect to the influence of others, but when it is necessary to defend her rights, her personality, she will not take a step, will not say a word and with humility will accept an accidental misfortune as something due, as a just punishment that struck her for some then imaginary guilt. With this view of things, Lisa has no weapon against misfortune. Considering it a punishment, she carries it with reverence, does not try to console herself, makes no attempt to shake off his oppressive influence: such attempts would seem to her insolent indignation. “We were punished,” she says to Lavretsky. For what? she does not answer to this; but in the meantime, the conviction is so strong that Liza pleads guilty and devotes the rest of her life to mourning and praying for this unknown and non-existent guilt for her. Her enthusiastic imagination, shocked by the unfortunate incident, plays out and takes her so far, shows her such a mystical meaning, such a mysterious connection in all the events that happened with her that she, in a fit of some kind of self-forgetfulness, calls herself a martyr, a victim doomed to suffer and pray for the sins of others. “No, auntie,” she says: “don’t say that. I made up my mind, I prayed, I asked for advice from God. It's all over; my life is over with you. Such a lesson is not in vain; but I’m not the first time about this. I think. Happiness did not come to me; even when I had hopes of happiness, my heart ached. I know everything, both my sins and others, and how papa made our wealth; I know everything. I’m sorry for you, sorry for mother, Lenochka; but there’s nothing to do. I feel that I don’t live here, I have already said goodbye to everything, bowed to everything in the house for the last time. Do not hold me back, do not dissuade me; help me, or I will leave alone ... "And this is how the life of a young, fresh creature ends, in which there was the ability to love, enjoy happiness, bring happiness to another and bring reasonable benefits in the family circle .. . and what significant benefit a woman can bring in our time, what warming, beneficial influence can have her soft, graceful personality, if she wants to use her strength for a reasonable deed, for disinterested service to good. Why did Liza deviate from this path? Why did her life end so sadly and without a trace? What broke her? Circumstances, some will say. No, not circumstances, we answer, but a fanatical fascination with a misunderstood moral duty. She was not looking for consolation in the monastery, she was not expecting oblivion from a solitary and contemplative life: no! she thought to make a cleansing sacrifice, she thought to accomplish the last, highest feat of self-denial. How much she achieved her goal, let others judge".

Daniil Andreev sees the image of Liza Kalitina differently. In his book The Rose of the World, he writes:

"the drama that played out in Liza's life ... struck the most cherished, most tender thing that she carried in herself: her religious conscience. A clash occurred between this conscience and love - and Lisa could love in her life only once (she is an example of monogamous characters), and love for her was as sacred as her concepts of goodness and truth. She understood, and understood quite rightly, that for her, for a man of such conscience and such love, to untie this knot in the conditions of our human world impossible. No sage can think of another way out of the situation if he only wants to see Liza the way she was with Turgenev, and not the way he wants. And if to untie the knot - it is unimaginable how - it will be possible only in another world, then what can fill and comprehend the remaining years of life in Enrof [the earthly world], if not preparation and purification of oneself for the sake of a worthy transition to the world where the most complex knots tied here"?

Following the thought of Daniil Andreev, we understand that Liza did not at all buried herself in the monastery, having lost hope for love, she lived with the hope of uniting with her beloved in the other world.

Those constant doubts about the possibility of happiness, which tormented her even before the news of the return of Lavretsky's wife, are explained not by Liza's weakness, but by her insight: she, like a person close to God and seeing the connections a common person she did not see, she understood in her heart that Lavretsky was still not free, despite the fact that his wife was seemingly dead. Lisa semi-consciously saw this connection between Lavretsky and his wife, but she deliberately closed her eyes to this, trying to believe in the possibility of love and happiness for herself. It is for deliberately closing the eyes in response to the highest truth, led only by her, and Liza later blamed herself when she told Lavretsky that she had been punished. However, she knew that the obstacles that prevented her from uniting with her beloved in this life would disappear in the other world and then nothing would prevent them from uniting in an eternal heavenly marriage. It is no coincidence that Turgenev ends the novel with a meeting between Lisa and Lavretsky:

"But what to say about people who are still alive, but have already left the earthly field, why return to them? They say that Lavretsky visited that remote monastery where Liza had disappeared," he saw her. Moving from kliros to kliros, she walked close by him, walked with the even, hastily-humble gait of the nun - and did not look at him; only the eyelashes of the eye turned to him faintly trembled, only she tilted her emaciated face even lower - and the fingers of her clenched hands, entwined with rosary beads, pressed closer to each other. What did they think, what did both of them feel? Who will know? Who will say? There are such moments in life, such feelings ... You can only point to them - and pass by. "

In these lines of the novel, one senses that the love that bound the souls of Lavretsky and Liza is alive and the connection between their souls will remain forever.

Tags

1. The personality and character of Lavretsky.
2. Liza Kalitina is the best female image the author.
3. What gets in the way of the heroes' feelings?

Ivan Sergeevich Turgenev is the greatest Russian classic, who was called "the singer of noble nests". The writer in the draft manuscript noted that the "Noble Nest", conceived in 1856, "poured out" into a novel in 1858. The new work of the writer did not go unnoticed. The enthusiasm for the novel was unanimous. The "Noble Nest", according to the author, had the greatest success that the writer has ever had. In the work of readers, critics were conquered by "light poetry, poured in every sound of this novel." One of the main themes of the novel is the feelings and experiences of the main characters, their relationship. This is most clearly illustrated by the example of the love of Liza Kalitina and Lavretsky. From the very first appearance of these characters on the pages of the novel, there is a feeling that there is some kind of hindrance, an insurmountable obstacle to the development of their relationship. I would like to understand what is the matter, what prevents two people from loving each other? In order to understand this problem, it is necessary to analyze the features of these characters.

The country was going through new times (Nicholas I died, ended with the defeat of Russia Crimean War). The question arose before society: how to live? "... What do you intend to do?" - asks one of the characters in Turgenev's novel, Pan-shin, from the main character, Lavretsky. "To plow the land," Lavretsky replies, "and try to plow it as best as possible." Pisarev noted that "on the personality of Lavretsky lies a clearly marked stamp of nationality." He is never betrayed by the Russian, unpretentious, but strong common practical sense and Russian good nature, sometimes angular and awkward, but always sincere and unprepared. Lavretsky is simple in expressing joy and sorrow; he has no exclamations and plastic gestures, not because he suppressed them, but because it is not in his nature.

Lavretsky has another purely Russian quality: light, harmless humor permeates almost every word; he jokes good-naturedly with others and, often assessing his position, finds a comic side in him. He never falls into tragedy; on the contrary, his attitude to his own personality here remains humorous. He, good-naturedly, with a tinge of quiet sadness, laughs at himself and at his hopes and hopes. In his views, Lavretsky is close to Slavophilism. (The direction that arose in the 20s of the XIX century, rejecting serfdom, the power over the person of the state bureaucracy. The Slavophiles saw a way out for Russia in the Russian folk soul and, more broadly, in Slavic life.)

"Lavretsky defended the youth and independence of Russia ... demanded above all the recognition of the people's truth and humility before it." Through this conviction of the hero, Turgenev expressed his understanding of the time, although the ideas expressed by Lavretsky in many ways contradicted the views of the author. The image of Lavretsky had (a special meaning for Turgenev: he truly autobiographical character, but this does not lie in the coincidence of any external features and events in the life of the hero and the writer (there are very few of them), but in their internal similarity. "What could tear him away from what he recognized as his duty, the only task of his future." The thirst for happiness is again the thirst for happiness! .. “You wanted to experience happiness in life a second time,” he (Lavretsky) said to himself, “you have forgotten that this is also a luxury, an undeserved mercy, when it visits a person at least once. It was not complete, it was false, you say; so claim your rights to complete, true happiness! Look around, who is blissful around you, who is enjoying? "

Lavretsky, like the author, experienced a severe crisis, became entrenched in misfortune and learned to look without fear into the eyes of the approaching time. It helps him to expel from the soul "grief for the past" "feeling of homeland." In the hero's farewell monologue, the voice of Turgenev is heard: “... he, a lonely, homeless wanderer, under the cheerful cries of the younger generation that had already replaced him, who reached him, looked back at his life. He felt sad in his heart, but not heavy and not regretful: he had something to regret, there was nothing to be ashamed of: “Play, have fun, grow, young forces,” he thought, and there was no bitterness in his thoughts, “you have life ahead of you. , and it will be easier for you to live: you do not have to, like us, find your way, fight, fall and get up in the midst of the darkness; we fussed about how to survive - and how many of us did not survive! - and you need to do business, work, and the blessing of our brother, the old man, will be with you. And it remains for me to give you last bow; and although with sadness, but without envy, without any dark feelings, say, in view of the end, in view of the awaiting God: “Hello, lonely old age! Burn out, useless life! "

Lavretsky's self-restraint was also expressed in comprehending his own life purpose: "To plow the earth", that is, slowly, but thoroughly, without loud phrases and excessive claims to transform reality. Only in this way, according to the writer's conviction, is it possible to achieve a change in the entire social and political life in Russia. Therefore, he connected his main hopes primarily with inconspicuous "plowmen", such as Lezhnev ("Rudin"), in later novels - Litvinov ("Smoke"), Solomin ("Nov"). The most significant figure in this row was Lavretsky, who fettered himself with "iron chains of debt."

But even more than with the image of Lavretsky, the idea of ​​the need to subordinate one's life to duty is associated with the image of Liza Kalitina, one of the most remarkable creations of Turgenev. Pisarev called Lisa Kalitina "one of the most graceful female personalities ever created by Turgenev." He believed that the writer "showed in Lisa's personality the flaws of a woman's character" and "a fantastical fascination with a misunderstood duty." But this is a very narrow interpretation of the heroine's image. Lisa is an unusually solid and harmonious person. She lives in harmony with the world of people and nature, and when she loses this connection, she leaves to serve God, does not want to make any deals with her conscience, this is contrary to her moral principles, and she will never step over them. And this makes Liza Kalitina very similar to Tatyana Larina ("Eugene Onegin"). Liza's inner beauty lies in complete and unconditional self-sacrifice, in an acute sense of the impossibility "to base her happiness on the misfortune of another." “Happiness is not only in the pleasures of love, but in the highest harmony of the spirit” - in these words of FM Dostoevsky is the key to understanding the image of Liza Kalitina. Moral feat consists in self-sacrifice. Fulfilling duty, a person acquires moral freedom.

These ideas were very clearly expressed in the novel "A Noble Nest". Among the "Turgenev girls" Liza Kalitina occupies a special position. She also has integrity of character and strong will, but she does not strive for social and practical activities, but for the improvement of her own personality. However, it does not seek to separate from the "universal world", but tries to find an expression of the relationship between the world and the individual. Liza feels not just the sinfulness of her striving for happiness, she is pierced by a feeling of guilt for the imperfection of the life around her and her class: “Happiness did not come to me; even when I had: hopes for happiness, my heart ached. I know everything: my own sins, and those of others, and like a daddy, I have amassed my wealth; I know everything. All this must be ground, it is necessary to grind! " She does not know how to calm her spirit if she does "a ruthless, inhuman act." For her, there can be no happiness "stolen" from others. Liza's self-sacrifice has a bright religious connotation.

As about Lavretsky, Turgenev could say about Liza: "In this case, this is how, according to my understanding, life has developed." But this life was already out of date. The paths of Lavretsky and Liza, without a doubt, for the progressive literary critics in the second half of the 50s of the XIX century, they were presented as paths leading to a dead end. Lavretsky is very similar to Oblomov ("Oblomov"), the hero of Gon-Charov's novel. Oblomov, like Lavretsky, is endowed with wonderful spiritual qualities: kindness, meekness, nobility. He does not want and cannot participate in the bustle of the unfair life around. But Turgenev, obviously, could not consider these personality traits of his hero sufficient for life. “As a doer, he is zero” —that is what worried the author most of all in Lavretsky.

Now, based on detailed analysis characters, views of Liza and Kalitin, it is safe to say that there are no external obstacles to their feelings. The trouble is that the heroes are only to blame for the death of their love. Exclusively their character, outlook on life and goals in life, only this hinders them. The heroes are unable to change, and they do not consider it necessary, each of them continues his usual life path.

Plot-psychological collision: testing with love and overcoming emotional feelings (In the novel "Noble's Nest" and "Lost Illusions").

The collision of feeling and duty entered the work of Turgenev even before the start of work on the "Noble Nest" and was initially tested within the framework of a different genre structure: epistolary genre, story "Faust". It was preparatory stage, a kind of sketch for the novel "Noble Nest". "The novel was, as it were, a continuation of the story" Faust "and the story" Asya ", written at the turning point ..."

“These works are connected with each other by the common mood and the similarity of some of the motives. Epigraph from Goethe, taken for the story "Faust" ". "Deny yourself, humble your desires" could be prefaced to the novel "The Noble's Nest". And the opening lines of "Faust" partly echoes the novel: "Here I am again in my old nest." The story "Faust" is the closest in its ideas to the "Noble Nest". Turgenev raises the problem of feeling and duty, which he solves in a tragic way of self-denial: “Life is not a joke or fun, life is not even pleasure ... life is hard work. Renunciation is permanent - this is her secret meaning, its solution ... the fulfillment of duty, this is what a person should take care of ... but it is a shame to amuse himself with deception, when the stern face of truth finally looked into your eyes ”(A. Salim, pp. 86-87). In Faust, “one can hear almost despair in the educated Russian intellectual, who, even in love, is unable to show a strong feeling that would tear down the obstacles that lie in his path; even under the most favorable circumstances, he can bring only sadness and despair to a woman who loves him. " In this remarkable review of the revolutionary P.A. Kropotkin, "another aspect is indicated, which becomes the object of close examination in the novel" The Noble Nest ": this is the hero's inability to have a strong feeling and active action." But it should also be noted that in the novel there is a fluctuation in the author's attitude towards the main characters, Liza Kalitina and Fyodor Lavretsky, therefore one-line judgments on this matter should be avoided.

Lavretsky consoles himself with deception, having received news of the false death of his wife. Lucien consoles himself with deception, hoping to become a true aristocrat by giving his mother's surname. But both the heroes of the Russian and French literature come to renounce. But renunciation is different in essence. In the first case, the renunciation of love in the name of duty. In the second case, the renunciation of love, of the family in the name of “the goods of the lowest order”. In this case, Lavretsky achieves moral perfection in this situation, while Lucien achieves moral ugliness. "Prince Charming turns out to be the man with the dirtiest inside out."

It should also be noted that, unlike Faust, in The Noble Nest, the author rises to a new level in the interpretation of the problems of duty, public service, personal happiness, and love. The author is gradually developing this topic. We can say the same about Balzac, who constantly from novel to novel returns to the theme of the collision of personality and society, and most fully and comprehensively illuminated it in the novel Lost Illusions. Just as "Lost Illusions" by Balzac are a continuation of the "Human Comedy", the novel "Noble Nest" by I.S. Turgenev was like a continuation of the story "Faust" and the story "Asya", written at the turning point, when the soul of the writer ... "flashed with the last fire of memories, hopes, youth ..." ". These three works of Turgenev are connected with each other by a common mood, by the similarity of some motives (while in Balzac the heroes themselves move from novel to novel). The epigraph from Goethe, taken for the story "Faust": "Deny yourself, humble your desires", could be prefaced to the novel "The Noble's Nest". And the name of the novel itself partly echoes the opening lines of the story "Faust": "Here I am again in my old nest, in which I was not afraid to utter - for nine whole years."

The fate of Lavretsky and Liza has something in common with the fate of Pavel Alexandrovich and Vera: in Faust, the life drama ends with the death of the heroine, in the novel - her departure to a monastery, that is, a complete renunciation of life. In Balzac's novel, the actress Coralie, whom Lucien fell in love with, also dies. In neither one nor the other, nor in the third case, our heroes could not be happy, constrained by the conventions, prejudices of society. The married Vera fell in love with Pavel Alexandrovich.

He "awakened her soul." But the thought of the lawlessness of this feeling kills her: she falls ill and dies. The mere awareness of the "criminality" of feelings for the married Lavretsky makes Liza Kalitina leave native home, retiring in a monastery cell. Coralie for the sake of Lucien left her rich patron, her love ruins Lucien and herself. Lucien will not be able to be with Coralie if he achieves recognition in high society under the name of Rübampre, Coralie, a fallen woman next to Lucien?

Both Turgenev and Balzac in their literary work they started only from life and when creating images, when describing the characters, they had to constantly "tinker" with people, "take them alive."

“I need not only the face that has passed him, his entire environment, but also the slightest everyday details,” said I.S. Turgenev. - This is how I always wrote, and everything that I have decent is given by life ... ”Honoré de Balzac also observes the manners of people, travels to the places of events about which he wants to write, communicates with people. So when creating the novel "The Last Chuan", Balzac takes as a model his favorite writer V. Scott. He travels to Brittany to see his father's longtime friend to see the places of the unfolding action of the novel, to get to know people.

The image of Lavretsky was a complex communication. The image of the poet Lucien Chardon is also collecting.

So, we found some common ground between the two novels. But can we see in Lost Illusions a problem of feeling and duty?

The love theme of The Noble's Nest has been elevated to a tragic level. We have before us the dual nature of love. Totally different love stories experienced by the hero. Love for Varvara Pavlovna unfolds outside the action, in the hero's story past. It is as if all the dark, spontaneously passionate, catastrophic meaning of love has been given to her. Madame de Bargeton is always invisible in Lucien's life, but at the same time his love for Louise is also in the story past, but everything dark, spontaneously passionate remains with Lucien. Unlike Turgenev's hero (who, in addition to everything, is much older than the hero Balzac), who after a failure is trying to build a "deceased nest" for himself, the hero of Balzac, Lucien the burner of life, who quickly forgot his childhood upbringing, renounced his father and absorbed Louise's upbringing and taste for social life like a sponge.

Feeling attracts Fyodor Lavretsky to Liza Kalitina, duty obliges him to stay with Varvara Pavlovna. Public opinion prevents loved ones from being together Lisa and Lavretsky, Madame de Bargeton and Lucien, public opinion divorces them. Love and happiness turn out to be out of proportion to the demands of duty.

Turgenev takes his hero through the most difficult life tests, and including through the "test of love."

Love for I.S. Turgenev is an unconscious force, before the power of which a person is defenseless. Hence the tragic meaning of this love. In the stories and stories preceding and following The Noble Nest, Turgenev exposes his heroes to the action of extrasocial forces, spontaneous, standing above man, the forces of nature and love. In each work, “one and the same formidable motive sounds, growing - the motive of a primitive, untouched elemental force, in the face of which it deeply and irresistibly penetrates into human heart consciousness of one's own insignificance. " The secret laws of natural life are revealed gradually throughout the story. “Try to forget, if you want peace, get used to the humility of the last parting, to the bitter words:“ forgive ”and“ forever ”(“ A Trip to Polesie ”). “So, humility and patience are what nature and life teach ... Human rights are small, according to Turgenev. Nature tells him all the time about his own insignificance; about the futility and meaninglessness of stormy impulses and passionate movements, about the inevitability of humility and patience, about the need to bow your head all the time before the elemental laws of life hostile to man. " tragic ... ”, tragic in love, as unconscious and spontaneous as nature. “So in“ Lull ”(1854) love as a tragedy of hopeless dependence and voluntary submission, the unlimited power of man over man, the deadly power ... when he was least of all predisposed to this feeling. " Such love is needed by I.S. Turgenev, these are the tests. Love is a disease for him. And she, as you know, comes without demand, against her will. From the "Correspondence" the threads lead to "Faust", where love is an irresistible force that suddenly arises in the person who, it would seem, is the best way possible protected from her, from her power. We learn from Faust that art is a direct accomplice of love. The impossibility of personal happiness in love is one of the main motives of "Faust", "Asi". But what is the reason for the impracticability? "In the characterlessness of the hero, generated by the social conditions of life," - says Chernyshevsky in the article "Russian people on rendez vous."

However, just as nature for Turgenev can be both tragically soulless and seductively beautiful, so love ... has its reverse, joyful and softening sense of tragedy side. [, 100]

In "The Noble Nest" Turgenev is demanding of his hero, he no longer puts up with the weaknesses that he forgave in Rudin, he is higher than him, devoid of all his shortcomings and endowed with many virtues. Lavretsky belongs, according to G. Byaly, to the advanced landowners.

As Dobrolyubov notes, Turgenev "knew how to put Lavretsky in such a way that it is embarrassing to ironic over him." “With such a characterization of the hero, it becomes especially significant that his mental catastrophe is interpreted as a legal punishment for neglecting his public duty,” the concept of which takes on a special meaning here. This is a debt to the peasants. And Lavretsky understands this main goal my life, "my duty and my guilt." What, then, tore him away from fulfilling his life duty? The thirst for happiness, the selfish impulse ... the arrangement of personal happiness. Love for Liza was the test that shook the life principles of Fyodor Lavretsky, but this test brought him back to the same life principles, from which he left, but he rose to a higher level in their understanding.

Lavretsky's plot story is built on two oppositely directed vicissitudes, the first of which means the transition from unhappiness to happiness (chapters XVII-XXIV), the second - the opposite transition (chapters XXXVI-XLV). The denouement is the transition from happiness to unhappiness. The ups and downs are each time combined with recognition and caused by it. The transition from “ignorance to knowledge” each time means for Turgenev a deep worldview and spiritual break. The same can be found in Balzac's novel Lost Illusions, but there are much more transitions. But at the same time, a completely elementary traditional form of such a transition remains: some news arrives (a false report about the death of Lavretsky's wife; Madame de Bargeton confesses her love for Lucien, with which great opportunities open up for him), a certain circumstance is revealed (Varvara Pavlovna turns out to be alive; Madame de Bargeton renounces Lucien, seeing all his provincial ignorance against the background of Paris). And everything changes at once. The basic premise of plot transitions also corresponds to the classical tradition: the vicissitudes are preceded by the hero's mistakes, which again have both a deep (pursuit of false or criminal values) and a completely elementary meaning. The completed cycle of the hero's "suffering" also takes its canonical place - in the final part of the story ... Turgenev's heroes, like the characters in Balzac's heroes, have to choose between duty and feeling, and the need for this choice reveals insurmountable tragic contradictions.

In the movement of the plot, both themes: feelings and duty, words and deeds are now and then intertwined and, in essence, turn out to be indissoluble.

Turgenev's contradictions are reflected in The Noble Nest and in the fact that the novel's “light poetry” breaks through its pessimistic philosophy. While preaching the morality of duty and renunciation, Turgenev shows at the same time what its inevitable logical consequences are.

The contrast between some of the views of Lavretsky and Liza is also important. Lisa, for example, is convinced that "happiness on earth does not depend on us." She sees this in all manifestations of life, sees in everything the highest justice. And the fact that Varvara Pavlovna was alive was a sign from above for Liza. Lavretsky and Liza cannot be together. "It's all in God's power." "It remains for both of us to fulfill our duty ... be reconciled ... happiness does not depend on us, but on God." Lisa's feelings based on religiosity prevail over reason. A sense of duty and a sense of responsibility made it impossible for Liza and Lavretsky to be happy. Purity of moral thoughts, the inability to make any compromises, a sincere striving for happiness are combined in Lisa with firmness, sacrifice, and a sense of guilt. “In Liza’s religiosity, Turgenev appreciates, first of all, the ability for selfless determination in the name of what she sees as her truth and her duty. familiar environment and a familiar environment. " Lavretsky "initially perceives Liza's" truth "as a delusion, but knows that she gives natures like Liza strength of mind, firmness of will and uncompromising action," believing in turn that the happiness and unhappiness of people is their business. own hands... He changes his mind under the influence of the experience, starting to admit the possibility of randomness uncontrollable: “Well, yes: I saw close, in my hands I almost held the possibility of happiness ... - it suddenly disappeared; but in the lottery - turn the wheel a little more, and the poor man, perhaps, would become a rich man. " "What has changed his position? ... the most ordinary, inevitable, although always unexpected accident: death? ..."

In the disconnect between happiness and duty, chance plays a very prominent role. In the novel, everything seems to depend on her. Varvara Pavlovna, who was seriously ill, could have died, and then the whole situation would have turned out differently. Hegel also warns against chance in his "Aesthetics", saying "where simple accidents of immediate individuality disappear," there the tragic manifests itself. Having received the news of his wife's death, it is not without reason that Lavretsky talks about the "most ordinary" and "inevitable" accident.

The fate of a person, his happiness and unhappiness depends on such accidents. This is a kind of world law on which the fate of Liza and Lavretsky depends.

The dissimilarity of the hero and the heroine is obvious. This reveals the development of the plot. Their views, psychology, the logic of spiritual searches are different. But, nevertheless, "completely different paths converge at one point, and this point turns out to be the idea of ​​self-denial." As mentioned above, some of the life ideas of Liza and Lavretsky are different. Hence, questions of being become controversial in the novel, and Lavretsky is placed in such a position that his point of view is most accessible to the reader. Lisa is depicted at some distance. The mystery of her image lies in the understatement of phrases, which suggests that she lives in her own world, understandable only to her. She is a consistent and strict advocate of the morality of duty and renunciation. She cannot be happy in a world where there are unhappy people, while Lavretsky is ready to be happy. As we said above, this is the type of people who are busy with their own life contradictions and are able to pass by the real suffering of other people with “philosophical indifference. In Liza, however, lives initially "the unreasoning faith of the majority." Everyone has their own sense of the truth of the people. In general, it is devoid of the qualities of "conciliarity": "It makes people in some ways the same, but for all that does not unite them."

The strength of the heroes of Turgenev and Balzac lies in the fact that they know how to learn from life. According to the law of life, they rebuild their inner world.

Just like Lavretsky on initial stage life experience Lucien "lives under the yoke of provincial laws", he is hardworking, naive in his thoughts and actions, naive as a child, as he calls himself later.

In the fate of the protagonist of the "Noble Nest", according to the just observation of V. Markovich, shines through biblical story prodigal son, who first left his native "nest" in pursuit of the pleasures of life, and then returned home after suffering trials. The story of the hero is inscribed in the history of the noble family of the Lavretskys for about 150 years of its existence, which significantly extends the time frame of the novel. We are talking about the nobility as an estate, called upon to play a leading role in Russia in many areas of life. However, the actual existence of this class is almost illusory, its connections with the people are shallow and accidental.

The upbringing of Fyodor Lavretsky was entirely determined by the arbitrariness of his Anglomaniac father, from whose hands Fyodor emerged as a man of good health, but without any traditions, without social ideals and moral guidelines, without a penchant for any business. Youth, a vague need for love, passion for the first woman he met on the way, marriage, travel abroad, life without any hassle due to the ancestral inheritance - this is the first part of his life's journey. Then a love catastrophe, a break with his wife, severe suffering and - a return to his homeland. Only now does a genuine recognition of Russia begin, which Lavretsky deeply senses in the unchanging age-old everyday life, in its silence and drowsiness. Lavretsky suddenly realizes that he cannot live outside of Russia. The initial apathy (his inherent "baibakism") is replaced by the need for deed and action. The traditional Russian question "what to do?" he answers. "To plow the earth." He suddenly realizes his role as a landowner and his duty - to lead the practical life of a village owner, taking care of the men entrusted to him.

In the character of the hero, Turgenev reveals deeply national features, it is not for nothing that the son of not only a master, but also a peasant serf. Such qualities as innocence, breadth of mind and gentleness, he owes his folk roots... At the same time, in Lavretskoye there is a lot of the opposite type of culture - the noble one. First of all, these are spiritual requests, impulses to the absolute. In Russia, on the way of Lavretsky, Liza Kalitina appears, in which he feels a person who is not a stranger to the "nest." In Lavretsky's soul, the dream of a family hearth, a premonition of possible happiness flares up with renewed vigor. However, external circumstances develop in such a way that, with all the spiritual closeness, the heroes cannot connect their lives. The chance that determines their fate appears to Lavretsky to be immoral, devoid of logic and meaning; however, Lisa sees in her a manifestation of a deep pattern. "The most Russian" and spiritually rich heroes of the novel not only strive for each other, but also diverge in their life positions... If Lavretsky defends the right to love and personal joy, then Lisa feels the inevitability of retribution for the illicit hope of happiness. In comparison with Lavretsky, Liza possesses integrity of character and willpower, which, however, are directed not towards social activities, but towards the spiritual deepening of her personality. Liza is haunted by a feeling of guilt for the imperfection of her life as a whole. She goes to the monastery "to atone for the sins of the fathers." It is appropriate to quote here the words of F.M. Dostoevsky, said about Liza: "Happiness is not only in the pleasures of love, but also in the highest harmony of the spirit." In her self-sacrifice, Lisa gains inner freedom; and yet its appearance bears the features of asceticism, to a certain extent - of religious exaltation.

Lavretsky is not like that. The suffering of the self-conscious individual is too expressed in it. The hero's mental anguish is here combined with the author's own anguish. The process of Lavretsky's spiritual development (the most important in the novel) leads to the hero gaining inner integrity through the refusal of excellent claims and humility in front of reality. In an effort to overcome "his loneliness, his weakness, his accident" in the face of the element of love beyond his control, Lavretsky turns to the values ​​of national, folk and natural life, accepting them as the highest historical necessity.