"Noble nest" (p. A

Turgenev conceived the novel "Noble Nest" back in 1855. However, the writer felt 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 his arrival from Paris. The novel appeared in the January book "Contemporary" for 1859. The author himself later noted that "The Noble Nest" had the greatest success that ever fell to his lot.

Turgenev, who was distinguished by his ability to notice and depict the new, emerging, and in this novel reflected modernity, the main moments of the life of the noble intelligentsia of that time. Lavretsky, Panshin, Liza are not abstract images created by the head way, but living people - representatives of generations of the 40s of the XIX century. In Turgenev's novel, not only poetry, but also a critical orientation. This work of the writer is a denunciation of the autocratic-serf-owning Russia, a waste song to the "noble nests".

The favorite place of action in Turgenev's works is the "noble nests" with the atmosphere of sublime experiences reigning in them. Their fate worries Turgenev and one of his novels, which is called "The Noble's Nest", is imbued with a sense of anxiety for their fate.

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

Let's consider the ideological content and the system of images of the "Noble Nest". 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 anxiety for the fate of their own and their people. Turgenev interestingly decided the plot and compositional plan of his work. He shows his characters at the most intense turning points in their lives.

After an eight-year stay abroad, Fyodor Lavretsky returns to his family estate. They experienced a great shock - the betrayal of his wife Varvara Pavlovna. Tired, but not broken by suffering, Fyodor Ivanovich came to the village to improve the life of his peasants. In a neighboring town, in the house of his cousin Marya Dmitrievna Kalitina, he meets her daughter, Liza.

Lavretsky fell in love with her with pure love, Liza reciprocated.

In the novel "A Noble Nest" the author pays a lot of attention to the theme of love, because this feeling helps to highlight all the best qualities of the heroes, to see the main thing in their characters, to understand their soul. Love is portrayed by Turgenev as the most beautiful, bright and pure feeling that awakens all the best in people. In this novel, like in no other novel by Turgenev, the most touching, romantic, sublime pages are devoted to the love of the heroes.

The love of Lavretsky and Liza Kalitina does not manifest itself immediately, she approaches them gradually, through many reflections and doubts, and then suddenly falls upon them with her irresistible force. Lavretsky, who experienced a lot in his lifetime: hobbies, disappointments, and the loss of all life goals, at first simply admires Liza, her innocence, purity, spontaneity, sincerity - all those qualities that Varvara Pavlovna, hypocritical, depraved Lavretsky's wife, who abandoned him. Liza 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 draw close within a few moments, - and the consciousness of this closeness is immediately expressed in their looks, in their friendly and quiet smiles, in themselves their movements. This is exactly what happened to Lavretsky and Liza. " They talk a lot and understand that they have a lot in common. Lavretsky takes life seriously, to other people, to Russia, Liza is also a deep and strong girl with her own ideals and beliefs. According to Lemma, Lisa's music teacher, she is "a fair, serious girl with high feelings." Liza is looked after by a young man, a capital official with a wonderful future. Lisa's mother would be happy to give her in marriage to him, she considers it a wonderful party for Lisa. But Liza cannot love him, she feels false in his attitude towards her, Panshin is a superficial person, he appreciates external brilliance in people, and not the depth of feelings. Further events in 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 Lisa a French magazine in which the death of his wife Varvara Pavlovna was reported.

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 "got dressed, went out into the garden and walked up and down the same alley until morning." After a while, Lavretsky becomes convinced that he loves Lisa. He is not happy with this feeling, since he already experienced it, and it only brought him disappointment. He is trying to find confirmation of the news of his wife's death, he is tormented by uncertainty. And love for Liza is growing: "He did not love like a boy, it was not for him to sigh and languish, and Liza herself did not arouse this kind of feeling; but love for every age has its sufferings - and he experienced them 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 missing for them: a nightingale sang for them, and the stars burned, and the trees whispered quietly, lulled by sleep, and the bliss of summer, and warmth. " The scene of the declaration of love between Lavretsky and Lisa was written by Turgenev in an amazingly poetic and touching way, the author finds the simplest and at the same time the most tender words to express the feelings of the heroes. Lavretsky wanders around Liza's house at night, looks at her window, in which a candle is burning: "Lavretsky thought nothing, did not expect anything; he was pleased to feel close to Liza, to sit in her garden on a bench where she had sat more than once ... . "At this time Liza goes out into the garden, as if sensing that Lavretsky was there:" In a white dress, with braids loose over her shoulders, she quietly walked to the table, bent over it, put down a candle and looked for something; then, turning round facing the garden, she approached the open door and, all white, light, slender, stopped at the threshold. "

A declaration of love takes place, after which Lavretsky is overwhelmed with happiness: "Suddenly it seemed to him that some wonderful, triumphant sounds spilled in the air over his head; he stopped: the sounds thundered even more magnificent; they flowed in a melodious, strong stream, - and in them, all his happiness seemed to speak and sing. " This was the music composed by Lemm, and it fully corresponded to Lavretsky's mood: “It has been a long time since Lavretsky had heard anything like it: a sweet, passionate melody from the first sound enveloped the heart; she touched everything that is dear, secret, holy on earth; she breathed immortal sadness and went to die in heaven. " Music foreshadows tragic events in the lives of the heroes: when happiness was already so close, the news of the death of Lavretsky's wife turns out to be false, from France Varvara Pavlovna returns to Lavretsky, since she was left without money.

Lavretsky endures this event stoically, he is submissive to fate, but he worries about what will happen to Liza, because he understands how it feels for her, who fell in love for the first time, to experience such a thing. She is saved from terrible despair by a deep, selfless faith in God. Liza leaves for the monastery, wanting only one thing - that Lavretsky would forgive his wife. Lavretsky forgave, but his life was over, he loved Liza 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 himself to be a man who has outlived his time. But the love of the heroes did not end there. This is the feeling that they will carry throughout their lives. The last meeting between Lavretsky and Liza testifies to this. "They say that Lavretsky visited that distant 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 a nun - and did not look at him; only the eyelashes of the eye turned to him they trembled a little, only she bent her emaciated face even lower - and the fingers of her clenched hands, intertwined with rosary beads, pressed even closer to each other. " She did not forget her love, did not stop loving Lavretsky, and her departure to the monastery confirms this. And Panshin, who so demonstrated his love for Liza, completely fell under the spell of Varvara Pavlovna and became her slave.

A love story in the novel by I.S. Turgenev's "Noble Nest" is very tragic and at the same time beautiful, beautiful because this feeling is not subject to either the time or the circumstances of life, it helps a person to rise above the vulgarity and routine that surrounds him, this feeling ennobles and makes a person a person.

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

The commonality of the first Lavretskys was in ignorance.

Turgenev very accurately shows the change of generations in the Lavretsk family, their connection with - different periods of historical development. A cruel and savage tyrant landowner, Lavretsky's great-grandfather ("what the master wanted, so he did, he hung the peasants by the ribs ... he did not know the elder over himself"); his grandfather, who once "ruined 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 of "Frenchness", now Anglomancy, who have joined the culture, which we see in the images of the frivolous old princess Kubenskaya, who at a very old age married a young Frenchman, and the hero's father Ivan Petrovich. Beginning with a passion for the Declaration of Human Rights and Diderot, he ended with prayer services and a bathhouse. "A free-thinker - began to go to church and order prayers; a European - began to steam and dine at two o'clock, go to bed at nine, fall asleep to the chatter of a butler; a statesman - burned all his plans, all correspondence, trembled in front of the governor and fought in front of the police officer." Such was the history of one of the families of the Russian nobility.

In the papers of Peter 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", then a recipe for chest decohta with a note; "this instruction was given to General Praskovya Fyodorovna Saltykova from Protopresbyter of the Church of the Life-Giving Trinity Fyodor Avksentievich", etc .; except for calendars, a dream book and Abmodik's work, the old man had no books. And on this occasion, Turgenev ironically remarked: "It was not his part to read." 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 "reddened, smothered with ambergris a la Rishelieu, surrounded by arapies, thin-legged dogs and loud parrots, died on a silk crooked sofa from the times of Louis XV, with an enamel snuffbox made by Petito in her hands."

Admiring 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 the noblemen of the Lavretsky type. They only temporarily "felt that Russian blood was flowing in their veins." "Pyotr Andreevich put on a whole regiment of warriors at his own expense." But only. Fyodor Ivanovich's ancestors, especially his father, loved foreign things more than Russian. The European educated Ivan Petrovich, returning from abroad, introduced a new livery to the courtyard, leaving everything as it was, about which Turgenev writes, not without irony: “Everything remains the same, only the quitrent has increased here and there, but the corvee has become heavier, yes the peasants were forbidden to address directly to the master: the patriot really despised his fellow citizens very much. "

And Ivan Petrovich decided to bring up his son according to the foreign method. And this led to a separation from everything Russian, to a departure from the homeland. "An anglomaniac played an unkind joke with his son." Torn away from his native people from childhood, Fedor lost his support, a real cause. It was no accident that the writer led Ivan Petrovich to an inglorious death: the old man became an unbearable egoist, who, with his whims, prevented everyone around him from living, a pitiful blind man, suspicious. His death was a deliverance for Fyodor Ivanovich. Life suddenly opened before him. At 23, he did not hesitate to sit on a student bench with the firm intention of mastering knowledge in order to apply it in life, to benefit at least the peasants of his villages. Where does Fedor get his isolation and unsociability? These qualities were the result of "Spartan upbringing". Instead of introducing the young man into the thick of life, "they kept him in artificial seclusion," they protected him from the upheavals of life.

The genealogy of the Lavretskys is designed 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 someone else's expense leads to the gradual degradation of a person.

An idea of ​​the Kalitin family is also given, where parents do not care about their children, as long as they are fed and dressed.

This whole picture is complemented by the figures of the gossip and jester of the old official Gedeonov, the dashing retired staff captain and the famous player - the father of Panigin, the lover of state money - the retired general Korobyin, the future father-in-law of Lavretsky, etc. a picture very far from the idyllic depiction of "noble nests". He shows a motley Russia, whose people are hitting all the hard from a full course to the west to literally dense vegetation on their estate.

And all the "nests" that 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 lips of the people (in the person of the courtyard man Anton), the author shows that the history of noble nests was washed by the tears of many of their victims.

One of them, Lavretsky's mother, is a simple serf girl who, unfortunately, turned out to be too beautiful, which attracts the attention of the barich, who, having married out of a desire to annoy his father, went to Petersburg, where he was carried away by another. And poor Malasha, unable to bear even the fact that her son was taken away from her for the purpose of education, "without a murmur, died out in a few days."

Fyodor Lavretsky was brought up in conditions of abuse of the human person. He saw how his mother, a 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, they treated her with disdain, especially her sister-in-law Glafira Petrovna. Petr Andreevich called Malanya "raw-hammered noblewoman". Fedya himself in childhood felt his special position, the feeling of humiliation oppressed him. Glafira reigned supreme over him, his mother was not allowed to see him. When Fedya was eight years old, his mother died. “The memory of her,” writes Turgenev, “of her quiet and pale face, of her sad looks and timid caresses, is forever imprinted in his heart.”

The theme of the "irresponsibility" of the serf peasantry accompanies the entire story of Turgenev about the past of the Lavretsky family. The image of Lavretsky's evil and domineering aunt, Glafira Petrovna, is complemented by the images of a decrepit lackey Anton and old woman Aprakseya who have aged in the lordly service. These images are inseparable from the "noble nests".

In childhood, Fedya had to think about the situation of the people, about serfdom. However, his educators did everything possible to distance him from life. His will was suppressed by Glafira, but "... at times a wild stubbornness found him." Fedya was raised by the father himself. He decided to make him a Spartan. "The system of" Ivan Petrovich "confused the boy, settled confusion in his head, squeezed it." Fedya was presented with exact sciences and "heraldry to maintain knightly feelings." The father wanted to shape the young man's soul on a foreign model, to instill in him a love for everything English. It was under the influence of such 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. Fyodor is a passionate admirer of Mochalov's play ("did not miss a single performance"), he deeply feels the music, the beauty of nature, in a word, everything is aesthetically beautiful. Lavretsky cannot be denied diligence either. He studied very diligently at the university. Even after his marriage, which interrupted his studies for almost two years, Fyodor Ivanovich returned to independent studies. "It was strange to see," writes Turgenev, "his mighty, broad-shouldered figure, always bent over the writing table. He spent every morning at work." And after his wife's betrayal, Fyodor pulled himself together and "could study, work," although skepticism, prepared by the experiences of life and upbringing, finally got into his soul. He became very indifferent to everything. This was the result 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 inaction.

Lavretsky is very different from the heroes created by Turgenev before the "Noble Nest". The positive traits of Rudin (his loftiness, romantic aspiration) and Lezhnev (sobriety of views on things, practicality) passed to him. He has a firm view of his role in life - to improve the life of the peasants, he does not confine himself to 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 collision with such concepts and morals, with which the struggle should really frighten even an energetic and courageous person." And then the critic noted that the writer "knew how to put Lavretsky in such a way that it is embarrassing to be ironic over him."

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

And I burned everything that I worshiped;

Bowed down to everything that he burned ...

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

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

The writer condemns Lavretsky for the sad outcome of his life. For all his nice, positive qualities, the protagonist of the "Noble Nest" did not find his vocation, did not benefit his people and did not even achieve personal happiness.

At the age of 45, Lavretsky feels old, incapable of spiritual activity, the "nest" of the Lavretskys has virtually ceased to exist.

In the epilogue of the novel, the hero appears older. 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 the family, where the link between generations is not interrupted. In the novel Noble Nest "this connection is broken, which symbolizes the destruction, withering away of family estates under the influence of serfdom. We can see the result of this, for example, in the poem by N. Nekrasov" Forgotten Village ". Turgenev serf publication of the novel

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

The work "Noble Nest" was written in 1858. Turgenev set himself the task of depicting a typical image of a Russian landlord estate, in which the life of all the provincial nobility of that time proceeded. What was this society like? Glitter and wretchedness merged here into a single canvas of secular existence. The life of the nobles consisted of receptions, balls, trips to the theater, the pursuit of Western fashion, the desire to look "worthy." In this work, Turgenev revealed the concept of a "noble nest" not only as an estate of a noble family, but also as a social, cultural and psychological phenomenon.

It happened in 1842. On a fine spring day in the Kalitins' house it becomes known that a certain Lavretsky is coming. This is a significant event for the city. Fyodor Ivanovich Lavretsky arrives abroad. He was in Paris, where he accidentally discovered the betrayal of his own wife, the beautiful Varvara Pavlovna. He broke off relations with her, and as a result, she became famous in Europe.

The news is brought by a certain Gedeonovsky, a state councilor and a great man. The widow of the former provincial prosecutor, Maria Dmitrievna, whose house is considered the most respected in the city, has sympathy for him.

“Marya Dmitrievna in her youth enjoyed the reputation of a pretty blonde; and at fifty her features were not devoid of pleasantness, although they were a little swollen and melted. She was more sensitive than kind, and until her mature years she retained her institute habits; she pampered herself, was easily irritated and even cried when her habits were broken; but she was very affectionate and amiable when all her wishes were fulfilled and no one contradicted her. Her house was one of the nicest in the city. "

Maria Dmitrievna's aunt, seventy-year-old Marfa Timofeevna, does not like Pestova, Gedeonovsky, on the contrary, considering it a talker and a writer. Very few people like Marfa Timofeevna. For example, she does not at all like an official from St. Petersburg on special assignments, chamber junker Vladimir Nikolayevich Panshin, whom everyone loves so much. The first groom in the city, a wonderful gentleman who plays the piano so amazingly, and also composes romances, writes poetry, draws, recites. He has a lot of talents, besides, he carries himself with such dignity!

Panshin arrived in the city with some assignment. Often at the Kalitins. They say he likes Lisa, the nineteen-year-old daughter of Maria Dmitrievna. Surely he would have made an offer long ago, but only Marfa Timofeevna does not give him a descent, considering that he is no match for Lisa. And also the music teacher, the already middle-aged Christopher Fedorovich Lemm, does not like him. “Lemma's outward appearance did not favor him. He was short, stoop-shouldered, with crooked shoulder blades and a drawn-in belly, with large flat feet, with pale blue nails on the firm, unbending fingers of sinewy red hands; his face was wrinkled, with sunken cheeks and compressed lips, which he incessantly moved and chewed, which, with his usual silence, gave an almost ominous impression; his gray hair hung in tufts over his low forehead; like freshly poured coals, his tiny, motionless eyes smoldered dully; he walked heavily, throwing his clumsy body at every step. " This unattractive German was very fond of his pupil Lisa.

In the city, everyone is discussing Lavretsky's personal life and come to the conclusion that he does not look too pathetic, as expected. He keeps up vigorously, looks good, and is full of health. Sadness lurks only in the eyes.

Lavretsky is a man of such a nature who is unusually limp. His great-grandfather Andrei was a tough, intelligent, cunning man, he knew how to stand up for himself and achieve what he needed. His wife was a gypsy at all, her temper was quick-tempered, it was fraught with offending her - she would always find how to take revenge on the offender. “Andrey's son, Peter, Fedorov's grandfather, did not resemble his father; he was a simple steppe gentleman, rather eccentric, a screamer and gopher, rude, but not evil, hospitable and hound hunter. He was over thirty years old when he inherited two thousand souls from his father in excellent order, but he soon dismissed them, partially sold his estate, spoiled the courtyard ... Peter Andreevich's wife was a humble woman; he took her from a neighboring family, by his father's choice and order; her name was Anna Pavlovna ... She lived with him two children: son Ivan, father Fedorov, and daughter Glafira.

Ivan was brought up by a rich old aunt, Princess Kubenskaya: she appointed him her heir, dressed him like a doll, hired all kinds of teachers for him. After her death, Ivan did not want to stay in his aunt's house, where he suddenly turned from a wealthy heir into a host. Against his will, he returned to the village, to his father. His birthplace seemed to him dirty, poor and trashy, and everyone in the house, except for his mother, looked unfriendly. His father criticized him, “everything here is not according to him,” he used to say, “he is picky at the table, he doesn’t eat, he cannot stand the human smell, he cannot bear the stuffiness, the sight of drunkards upsets him, don’t dare to fight in front of him, he doesn’t want to serve: weak, you see , health; phew, you sissy kinda! "

The hardening for the troubles of life, obviously, passed from the ancestors to Fyodor Lavretsky. Even in infancy, Fedor had to take a sip of trials. His father became friends with the maid Malanya, fell in love and wanted to connect fate with her. His father became furious and deprived him of his inheritance, ordering Malanya to be sent away. On the way, Ivan intercepted her, and got married. He left her with his distant relatives, went to Petersburg, then abroad. Malanya has a son. For a long time, the elders of the Lavretskys did not accept her, and only when Ivan's mother was dying did she ask her husband to accept her son and wife. Malanya Sergeevna appeared with little Fedor in the house of her husband's parents. The latter came to Russia twelve years later, when Malanya had already died.

Fedor was brought up by his aunt Glafira Andreevna. She was a terrible woman: angry and ugly, loving power and obedience. She kept Fyodor at bay. She was given him for upbringing while her mother was still alive.

Upon his return, the father himself took up the upbringing of his son. The boy's life has changed, but it has not become easier. Now he wore a Scottish costume, he was taught mathematics, international law, heraldry ^ natural sciences, forced to do gymnastics, get up at four in the morning, pour himself cold water, and then run around a pole on a rope. They fed him once a day. In addition, he was taught to ride a horse, shoot a crossbow, and when Fedor was seventeen, his father began to instill in him contempt for women.

Fyodor's father died a few years later. Young Lavretsky went to Moscow, where he entered the university. Here the traits that had been raised in him first by an evil wayward aunt, then by his father began to appear. Fedor did not find a common language with anyone. As for women, they did not seem to exist at all in his life. He avoided them and was afraid.

The only person Fyodor got in touch with was a certain Mi-kalevich. He wrote poetry and looked at life with enthusiasm. With Fedor, they became seriously friends. When Fyodor was twenty-six, Mikhalevich introduced him to the beautiful Varvara Pavlovna Korobyina, and Lavretsky lost his head. Varvara was really good, charming, educated, possessed many talents and could captivate anyone, not just Fedor. Because of this, he had to suffer in the future. Well, in the meantime, there was a wedding, and six months later, the young arrived in Lavriky.

Fedor did not graduate from the university. Together with his young wife, he began a family life. Glafira's aunt was no longer in charge of his house. General Korobyin, the father of Varvara Pavlovna, was appointed manager. The young family went to St. Petersburg.

Soon they had a son, but he did not live long. Doctors advised the family to move to Paris to improve their health. And so they did.

Varvara Pavlovna liked Paris immediately and forever. She conquers the French world, gets herself an army of admirers. In society, she is accepted as the first beauty of the world.

Lavretsky did not even in his thoughts keep doubting his wife, but he got hold of a love note addressed to Varvara. The character of the ancestors woke up in Fedor. In a rage, he first decided to destroy both his wife and her lover, but then ordered a letter about the annual allowance for his wife and the departure of General Korobyin from the estate, and he himself went to Italy.

Abroad, Fyodor continued to hear rumors about his wife's affairs. He learned that she had a daughter, possibly his daughter. However, by this time Fedor did not care anymore. For four years he lived in a voluntary distance from everything that was in his former life. Then, however, he decided to return home to Russia, to his Vasilievskoye estate.

In his hometown, he liked Lisa from the first days. However, he himself assumed her to be Panshin's lover, who did not leave her a single step. Liza's mother openly said that Panshin could become Elizabeth's chosen one. Marfa Timofeevna desperately opposed this.

Lavretsky settled in his estate and began to live in solitude. He did the housework, rode horseback, read a lot. After a while, he decided to go to the Kalitins. So he met Lemma, with whom he became friends. In the conversation, old Lemm, who was rarely taken respectfully by anyone, spoke of Panshin. He was sure that Lisa did not need this person, that she did not love him, her mother would urge her on. Lemme spoke badly of Panshin as a person and believed that Lisa simply could not fall in love with such a nonentity.

Liza lost her father early, however, he did little to do with her. “Overwhelmed with business, constantly preoccupied with the growth of his fortune, bilious, harsh, impatient, he generously gave money for teachers, tutors, for clothes and other needs of children; but he could not endure, as he put it, nursing squeaks - and he had no time to nurse them: he worked, fiddled with business, slept little, occasionally played cards, worked again; he compared himself to a horse harnessed to a threshing machine ...

Marya Dmitrievna, in fact, was not much more concerned with Liza than her husband, although she boasted to Lavretsky that she had brought up her children alone; she dressed her like a doll, stroked her on the head with guests and called her a clever girl and a sweetheart - and nothing more: the lazy lady was tired of all constant care. " During her father's life, Liza was in the arms of a gu-vfnante, a Moreau girl from Paris; and after his death, Marfa Timofeevna took over her upbringing. Turgenev shows the typical attitude of parents towards children in the so-called "noble nests".

Liza and Lavretsky are getting closer. They communicate a lot, and it is obvious that there is mutual trust in their relationship. Once, in great embarrassment, Liza asked Lavretsky why he broke up with his wife. In her opinion, it is impossible to tear apart what God has connected, and Lavretsky had to forgive his wife, no matter what she did. Lisa herself lives by the principle of forgiveness. She is submissive because she was taught this as a child. When Liza was very young, her nanny named Agafya took her to church, told her about the life of the Most Pure Virgin, saints and hermits. She herself was an example of humility, meekness, and a sense of duty was for her the main life principle.

Suddenly, Mikhalevich comes to Vasilievskoye, who has grown old, clearly living poorly, but still burning with life. He “did not lose heart and lived for himself as a cynic, idealist, poet, sincerely rejoicing and lamenting about the fate of mankind, about his own vocation - and very little caring about how not to starve to death. Mikhalevich was not married, but he fell in love without counting and wrote poems to all his beloved; he especially fervently sang one mysterious black-haired \<панну»... Ходили, правда, слухи, будто эта панна была простая жидовка, хорошо известная многим кавалерийским офицерам... но, как подумаешь -чразве и это не все равно?»

Lavretsky and Mikhalevich argue for a long time on the topic of happiness in life. What can give a person joy, bring him out of an apathetic existence? - this is the subject of their dispute. Lemme follows their train of thought without interfering with the discussion.

Kalitins come to Vasilievskoye. Liza and Lavretsky communicate a lot, it is clear that both are pleased. They become friends, which is confirmed by parting in a short dialogue.

The next day, Lavretsky, in order to keep himself busy, looks through French magazines and newspapers. One of them contains a message that the queen of fashionable Parisian salons, Madame Lavretskaya, died suddenly. Fyodor Ivanovich thus turns out to be free.

In the morning he goes to the Kalitins to meet with Lisa and tell her the news. However, Lisa received him rather coolly, saying that it is worth thinking not about your new position, but about how to get forgiveness. In turn, Liza says that Panshin made her an offer. She does not love him, but her mother persistently convinces her to marry him.

Lavretsky begs Liza to think before, not to marry without love. “- I only ask you about one thing ... do not make up your mind right away, wait, think about what I have told you. Even if you didn’t believe me, if you decided to marry according to reason - and in that case you don’t marry Mr. Panshin: he cannot be your husband ... Is it true, you promise me not to rush?

Liza wanted to answer Lavretsky - and did not utter a word, not because she decided to "hurry"; but because her heart was beating too hard and a feeling similar to fear took her breath. "

She immediately tells Panshin that she is not yet ready to give an answer and must reflect. On the same evening she reported her words to Lavretsky, and then seemed to disappear for several days. When he asked what she had decided about Panshin, Liza avoided answering.

Once at a social event, Panshin begins to talk about the new generation. In his opinion, Russia has lagged behind Europe. As arguments, he cites, for example, the fact that even mousetraps were not invented in Russia. His anger and irritation is obvious, regarding the topic of conversation - Russia - Parshin demonstrates contempt. Lavretsky enters into an argument, unexpectedly for everyone.

“Lavretsky defended the youth and independence of Russia; he gave himself, his generation to the sacrifice - but stood up for new people, for their beliefs and desires; Panshin objected irritably and sharply, announced that smart people must change everything, and finally went so far that, forgetting his chamber-cadet rank and bureaucratic career, he called Lavretsky a backward conservative, even hinted - albeit very remotely - at his false position in society ”.

As a result, Panshin with his arguments is defeated. He is annoyed by this fact, especially because Liza clearly sympathizes with Lavretsky. In the argument, she accepted his point of view.

Lavretsky says that while there is bustle and numerous reforms around, he personally intends to plow the land as best and conscientiously as possible.

Liza is offended and insulted that Panshin speaks so about Russia. She finally moves away from him, but for Lavretsky, on the contrary, she feels stable sympathy. She sees that they have a lot in common. The only discrepancy is her attitude to God, but even here Lisa hopes that she will be able to introduce Lavretsky to the faith.

Lavretsky himself also feels the need to see Liza, to be with her. The guests leave the secular party, but Fedor is in no hurry. He goes out into the night garden, sits down on a bench and calls Lisa passing by. When she approached, he confesses his love for her.

After the recognition, joyful and happy for the first time in a long time, Lavretsky returns home. In the asleep city, he suddenly hears the wondrous, alluring sounds of music. They pour from Lemma's dwelling. Lavretsky listens, fascinated, and then, calling the old man, embraces him.

The next day Lavretsky was overtaken by an unexpected blow - his wife returned. Her many things filled the whole living room, and she herself begs him to forgive her.

“- You can live wherever you want; and if your pension is not enough for you ...

Oh, do not say such terrible words, - Varvara Pavlovna interrupted him, - spare me, although ... although for the sake of this angel ... a very elegantly dressed girl in her arms. Large light brown curls fell on her pretty ruddy face, on her large black sleepy eyes; she smiled and squinted at the fire, and rested her plump little hand on her mother's neck. "

Ada's daughter arrived with Varvara, and she makes her also beg her father for forgiveness.

Lavretsky invited Varvara Pavlovna to settle in Lavriki, but never count on the renewal of relations. She meekly agrees, but on the same day she goes to the Kalitins.

Meanwhile, the Kalitins had a final explanation between Liza and Panshin. Varvara Pavlovna disposes of everyone to a Jew person, conducting small talk, achieves the location of Maria Dmitrievna and Panshin. Lisa's mother promises to help her in reconciliation with her husband. Among other things, Varvara hints that he has not yet forgotten "fee. Lisa is very worried about this, but tries to hold on with all her might.

“Liza's heart was beating strongly and painfully: she barely broke herself, barely sat still. It seemed to her that Varvara Pavlovna knew everything and, secretly triumphant, was making fun of her. Fortunately for her, Gedeonovsky spoke to Varvara Pavlovna and distracted her attention. Lisa bent over the embroidery frame and surreptitiously watched her. This woman, she thought, he loved. But she at once banished from her mind the very thought of Lavretsky: she was afraid of losing power over herself; she felt that her head was quietly spinning. "

Lavretsky receives a note from Liza asking for a visit and goes to the Kalitins. There he first of all sees Marfa Timofeevna. Thanks to her assistance, Fedor and Liza are left alone. Liza says that now there is nothing left but to fulfill his duty, Fyodor Ivanovich must make peace with his wife. Now, she says, one cannot help but see that happiness does not depend on people, but on God.

Lavretsky, at the invitation of the servant, goes to Marya Dmitrievna. She tries to persuade him to forgive his wife. She convinces him of her enormous remorse, then leads Varvara Pavlovna herself out from behind the screen, and they both beg him to take pity. Lavretsky gives in to persuasion and promises that he will live with her under the same roof, but only on the condition that she does not leave the estate. The next morning he drove his wife and daughter to Lavriki and a week later left for Moscow.

The next day Panshin came to Varvara Pavlovna and stayed with her for three days.

Liza, in a conversation with Martha Timofeevna, says that she wants to go to a monastery. “I know everything, both my own sins and those of others ... All this must be prayed for, we must. I'm sorry for you, sorry for mama, Lenochka; but there is nothing to do; I feel that I do not live here; I have already said goodbye to everything, I bowed to everything in the house for the last time; recalls me something; I feel sick, I want to lock myself forever. Do not hold me back, do not dissuade me, help me, or I will leave alone ... "

A year has passed. Lavretsky learned that Liza had tonsured her hair as a nun. She was now in a monastery located in one of the most remote regions of Russia. After some time, Lavretsky went there. Liza clearly noticed him, but pretended not to recognize him. They didn't even talk.

Varvara Pavlovna soon moved to St. Petersburg, and then went to Paris again. Fyodor Ivanovich gave her a bill of exchange and bought off the possibility of a second unexpected run over. She has grown old and fat, but still sweet and graceful. She had a new lover, a guardsman, “a certain Zakurdalo-Skubyrnikov, a man of about thirty-eight, of extraordinary build strength. French visitors to Mrs. Lavretskaya's salon call him "1е gros taureau de 1'Ukraine" ("fat bull from Ukraine", French). Varvara Pavlovna never invites him to her fashionable evenings, but he takes full advantage of her benevolence. "

Eight years passed, and Lavretsky again went to his hometown. Many have already died in the Kalitins' house. The house was now run by the young, the younger sister Liza and her fiancé. Through the noise and cheerful voices Fyodor Lavretsky walked around the house, saw the same piano, the same setting that he remembered. He was seized by "a feeling of living sadness about the disappeared youth, about the happiness that he once possessed." In the garden, the same bench and the same alley reminded him of the irretrievably lost. Only he no longer regretted anything, since he stopped wanting his own happiness.

“And the end? - the unsatisfied reader may ask. - And then what happened to Lavretsky? with Lisa? " But what to say about people who are still alive, but have already left the earthly field, why return to them? "

It was not for nothing that this work was called "The Noble Nest". The theme of such "nests" was close to Turgenev. With the greatest talent, he conveyed the atmosphere of such places, described the passions boiling in them, worried about the fate of the heroes - Russian nobles, predicted their prospects. This work confirms that this topic is respected in the writer's work.

However, this novel cannot be called optimistic from the point of view of the fate of a particular "noble nest". Turgenev writes about the degeneration of such places, which is confirmed by many elements: the replicas of the heroes, the description of the serf system and, in contrast, the "wild lordship", idolatry before everything European, the images of the heroes themselves.

Using the example of the Lavretsky family, the author shows how the events of the era influence the formation of individuals living at that time. It becomes clear to readers that a person cannot live in isolation from what is happening on a large scale around him. He describes the characteristic features of the wild nobility, with its permissiveness and stereotypes, then proceeds to denounce idolatry in front of Europe. All this is the history of one kind of Russian nobility, very typical of its time.

Turning to the description of the modern noble family of Kalitins, Turgenev notes that in this seemingly prosperous family, no one cares about Lisa's experiences, parents do not pay attention to children, there is no trust in relationships, at the same time material is highly valued. So, Lisa's mother is trying to marry her off to a man whom she does not love. A woman is guided by considerations of wealth and prestige.

Lavretsky's ancestors, the old gossip Gedeonovsky, the dashing retired staff captain and the famous player of Panigin's father, the retired general Korobyin, a lover of state money - all these images symbolize time. It is obvious that numerous vices flourish in Russian society, and the "noble nests" are deplorable places in which there is no place for the spiritual. Meanwhile, the aristocrats themselves consider themselves the best people. The crisis in Russian society is evident.

Composition

Having just published the novel Rudin in the January and February books of Sovremennik for 1856, Turgenev is thinking of a new novel. On the cover of the first autographed notebook of the "Noble Nest" it is written: "The Noble Nest", a story by Ivan Turgenev, conceived at the beginning of 1856; for a long time he did not take up her for a long time, kept turning her around in his head; began to develop it in the summer of 1858 in Spassky. It ended on Monday, October 27, 1858 in Spasskoye. " The last corrections were made by the author in mid-December 1858, and in the January book of Sovremennik for 1959, The Noble Nest was published. In terms of its general mood, The Noble Nest seems to be 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 knowledge 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. There was a spirit of discussion in Turgenev's first novel. The heroes of "Rudin" solved philosophical questions, the truth was born in their dispute.
The heroes of The Noble Nest are reserved and laconic, Liza 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 on tirelessly in search of truth - only almost without words. They scrutinize, listen attentively, reflect on the life that surrounds them and their own, with a desire to understand it. Lavretsky in Vasilievsky "seemed to listen to the flow of quiet life that surrounded him." And at the decisive moment Lavretsky again and again "began to look into his life." Poetry of contemplation of life emanates from the "Noble nest". Undoubtedly, the tone of this Turgenev novel was influenced by Turgenev's personal moods of 1856-1858. Turgenev's pondering of the novel coincided with the moment of a turning point in his life, with a mental 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 have passed”. He has a sad consciousness that life has not worked out, that it is too late to count on happiness for himself, that the “time of flowering” has passed. Far from his beloved woman - Pauline Viardot - there is no happiness, but existence near her family, in his words, is “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 Noble Nest. Added to this are 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 amateurism in the novel - this was preceded by a period of harsh condemnation of himself by Turgenev. The questions that worried Turgenev in 1856-1858 predetermined the range of problems posed in the novel, but there they manifest themselves, naturally, in a different angle. “I am now busy with another, big 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 EE Lambert on December 22, 1857 from Rome. In general, questions of religion were far from Turgenev. Neither a mental crisis nor moral quest led him to faith, did not make him deeply religious, he comes to portraying a “religious being” in a different way, the urgent need to comprehend this phenomenon of Russian life is associated with solving a wider range of issues.
In the "Noble Nest" Turgenev is interested in topical issues of modern life, here he just upstream of the river reaches its sources. Therefore, the heroes of the novel are shown with their “roots”, with the soil on which they grew up. Chapter thirty-five begins with the upbringing of Lisa. The girl did not have spiritual closeness either with her parents or with the French governess; she was brought up, like Pushkin's Tatyana, under the influence of her nanny, Agafya. The story of Agafya, twice in her life marked by lordly attention, twice endured disgrace and resigned to fate, could make up a whole story. The author introduced Agafya's story on the advice of the critic Annenkov - otherwise, in the latter's opinion, 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, Liza's strict mental world was formed. Agafia's religious humility brought up in Liza the beginning of forgiveness, obedience to fate and self-denial of happiness.
In the image of Liza, freedom of view, the breadth of perception of life, the veracity of her image were manifested. To the author himself, by nature, nothing was more alien than religious self-denial, the rejection of human joys. Turgenev had an inherent ability to enjoy life in its most diverse manifestations. He subtly feels the beauty, feels joy from the natural beauty of nature and from the exquisite creations of art. But most of all he was able to feel and convey the beauty of the human person, albeit not close to him, but whole and perfect. And that is why the image of Liza is fanned with such tenderness. Like Pushkin's Tatyana, Liza is one of those heroines of Russian literature who find it easier to give up happiness than to inflict suffering on another person. Lavretsky is a man with roots dating back to the past. No wonder his genealogy was 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 Timofeevna, Liza's aunt, admired his heroism, and Liza's mother, Marya Dmitrievna, blamed the lack of sophisticated manners in Lavretsky. The hero is close to the people both by origin and personal qualities. But at the same time, the formation of his personality was influenced by Voltaire, his father's Anglomancy, and Russian university education. Even Lavretsky's physical strength is not only natural, but also the fruit of the upbringing of a Swiss tutor.
In this expanded prehistory of Lavretsky, the author is interested not only in the hero's ancestors, the story of several generations of the Lavretskys reflects the complexity of Russian life, the Russian historical process. The dispute between Panshin and Lavretsky is profoundly significant. It appears in the evening, at the hours preceding the explanation of Liza 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 an “equal” basis are merged here.
Lavretsky proved to Panshin the impossibility of leaps and haughty alterations from the heights of bureaucratic self-consciousness - alterations that were not justified either by knowledge of their native land, or indeed by faith in an ideal, even a negative one; cited his own upbringing as an example, demanded, first of all, the recognition of "the 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 is experiencing a moral turning point. For Lavretsky, the meeting with his university friend Mihalevich, who reproached him for selfishness and laziness, did not pass in vain either. Renunciation still occurs, although not religious, - Lavretsky "really stopped thinking about his own happiness, about his own selfish goals." His introduction to the truth of the people is accomplished through the rejection of selfish desires and tireless work, giving the peace of the fulfilled duty.
The novel brought Turgenev popularity in the widest circles of readers. According to Annenkov, “young writers starting their careers, one after another, came to him, brought their works and awaited his verdict ...”. Turgenev himself recalled twenty years after the novel: "The Noble Nest" had the greatest success that ever fell to my lot. Since the appearance of this novel, I have been counted among the writers who deserve the attention of the public. "

Other compositions on this work

The first mention of the novel "Noble Nest" found in a letter from I.S.Turgenev to the publisher I.I.Panaev in October 1856. Ivan Sergeevich planned to finish the work by the end of the year, but did not realize his plan. Throughout the winter, the writer was seriously ill, and then destroyed the first sketches and began to come up with a new plot. Perhaps the final text of the novel differs significantly from the original one. In December 1858, the author made the last edits to the manuscript. The Noble Nest was first published in the January issue of the Sovremennik magazine in 1859.

The novel made a huge impression on Russian society. He immediately became so popular that not reading "The Noble's Nest" was considered almost bad form. Even Turgenev admitted that the work was a very big success.

The novel is based on the writer's reflections on the fate of the best representatives of the Russian nobility. The author himself belonged to this class and understood perfectly well that "Noble nests" with their atmosphere of sublime experiences gradually degenerate. It is no coincidence that Turgenev cites the genealogies of the main characters in the novel. Using their example, the writer shows that in various historical periods there were significant changes in noble psychology: from "Wild nobility" to admiration for all alien. The great-grandfather of Fyodor Ivanovich Lavretsky is a cruel tyrant, his grandfather is a careless and hospitable hater of Voltaire, his father is an Anglomaniac.

Nest like homeland symbol, abandoned by its inhabitants. The writer's contemporaries prefer to spend time abroad, speak French, and thoughtlessly adopt other people's traditions. Lavretsky's aged aunt, obsessed with the style of Louis XV, looks tragic and caricatured. The fate of Fyodor himself is unhappy, whose childhood was mutilated by a foreign "Education system"... The generally accepted practice of entrusting children to nannies, governesses, or even giving them to someone else's family, breaks the link between generations, deprives them of their roots. Those who manage to settle in the old ancestral "Nest", most often lead a sleepy existence filled with gossip, playing music and cards.

Such a different attitude of the mothers of Liza and Lavretsky to their children is not accidental. Marya Dmitrievna is indifferent to raising her daughters. Liza is closer to the nanny Agafya and the music teacher. It is these people who influence the formation of the girl's personality. And here is the peasant Malasha (mother of Fedor) "Quietly fades away" after she is deprived of the opportunity to raise her son.

Compositionally the novel "A Noble Nest" is built in a straightforward manner. Its basis is the story of the unhappy love of Fedor and Lisa. The collapse of their hopes, the impossibility of personal happiness echoes the social collapse of the nobility as a whole.

The main character novel Fyodor Ivanovich Lavretsky has many similarities with Turgenev himself. He is honest, sincerely loves his homeland, looking for a rational use of his abilities. Raised by a power-hungry and cruel aunt, and then by a peculiar "Spartan system" father, he acquired good health and a stern look, but a kind and shy character. It is difficult for Lavretsky to communicate. He himself feels the gaps in his upbringing and education, therefore he seeks to correct them.

The calculating Varvara sees in Lavretsky only a stupid bumpkin, whose wealth is easy to take possession of. The sincerity and purity of the hero's first real feelings are broken against the betrayal of his wife. As a result, Fedor ceases to trust people, despises women, considers himself unworthy of true love. Having met Lisa Kalitina, he does not immediately dare to believe in the purity and nobility of the girl. But, having recognized her soul, he believed and fell in love for life.

Lisa's character was formed under the influence of a nanny from the Old Believers. A girl from childhood was anxious about religion, "The image of the omnipresent, all-knowing God with some sweet power was pressed into her soul"... However, Lisa behaves too independently and openly for her time. In the nineteenth century, girls who sought to successfully marry were much more agreeable than Turgenev's heroine.

Before meeting Lavretsky, Liza did not often think about her fate. The official groom Panshin did not cause much rejection from the girl. After all, the main thing, in her opinion, is to honestly fulfill her duty to her family and society. This is the happiness of every person.

The culmination of the novel is the dispute between Lavretsky and Panshin about the people and the subsequent scene of Liza's explanation with Fyodor. In the male conflict, Panshin expresses the opinion of an official with pro-Western views, and Lavretsky speaks from positions close to Slavophilism. It is during this dispute that Lisa realizes how consonant her thoughts and judgments are with Lavretsky's views, realizes her love for him.

Among the "Turgenev girls" the image of Lisa Kalitina- one of the brightest and most poetic. Her decision to become a nun is based not only on religiosity. Lisa cannot live contrary to her moral principles. In this situation, for a woman of her circle and spiritual development, there was simply no other way out. Lisa sacrifices personal happiness and the happiness of a loved one, because she cannot act "not right".

In addition to the main characters, Turgenev created in the novel a gallery of vivid images that reflect the noble environment in all its diversity. There is a lover of state money, a retired general Korobyin, an old gossip Gedeonovsky, a clever dandy Panshin and many other heroes of provincial society.

There are also representatives of the people in the novel. Unlike masters, serfs and poor people are portrayed by Turgenev with sympathy and sympathy. The ruined fates of Malasha and Agafya, Lemma's talent, which was never revealed due to poverty, and many other victims of the lordly tyranny prove that history "Noble nests" far from perfect. And the main reason for the ongoing social decay, the writer considers serfdom, which corrupts some and reduces others to the level of a wordless creature, but cripples everyone.

The state of the heroes is very subtly conveyed through pictures of nature, speech intonations, glances, pauses in conversations. By these means, Turgenev achieves amazing grace in describing emotional experiences, soft and exciting lyricism. "I was shocked ... by the light poetry, poured out in every sound of this novel," Saltykov-Shchedrin spoke of The Noble Nest.

Artistic skill and philosophical depth provided Turgenev's first major work with outstanding success for all time.

"Noble nest" - "story" by I.S. Turgenev. This work had, according to the author, "the greatest success that ever fell to his lot."

History of creation

The idea of ​​the "Noble Nest" arose at the beginning of 1856, but the real work on the work began in mid-June 1858 in Spassky, the writer's family estate, and continued until the end of October of the same year. In mid-December, Turgenev made the last amendments to the text of the "story" before its publication. For the first time "A noble nest" was published in the "Contemporary" magazine for 1859 (No. 1). The last lifetime (authorized) edition, considered as a canonical text, was published in 1880 in St. Petersburg by the heirs of the Salaev brothers.

The creation of the "Noble Nest" was preceded by a difficult stage in Turgenev's personal life, and in public - a period of preparation for profound social changes in Russia. In August 1856, the writer left his homeland and lived abroad for almost two years. Then there was an actual rupture of his long-term relationship with Pauline Viardot. The writer tragically experienced loneliness and restlessness; I was acutely aware of my inability to start a family and firmly gain a foothold in life. To this painful state were added physical ailments, and then a feeling of creative impotence, exhausting spiritual emptiness. In the life of Turgenev, a sharp age change was taking place, which he experienced as the onset of old age; such a dear past was crumbling, and there seemed to be no hope ahead.

Russian social life was also in a crisis stage. The death of Nicholas I, defeat in the Crimean War shocked Russia. It became clear that it was no longer possible to live in the old way. The government of Alexander II faced the need to reform many aspects of life and, first of all, the need to abolish serfdom. Inevitably, the question of the role of the noble intelligentsia in the life of the country came to the fore with all the acuteness. This and other topical problems were discussed by Turgenev in his overseas stay in conversations with V. Botkin, P. Annenkov, A.I. Herzen - contemporaries who personified the thought and spirit of the century. A double crisis: personal and social, was expressed in the problems and collisions of The Noble Nest, although formally the action of the work is attributed to another era - the spring and summer of 1842, and the prehistory of the protagonist Fyodor Lavretsky - even to the 1830s. The work on the work was for Turgenev the process of eliminating personal drama, saying goodbye to the past and finding new values.

Genre "Nest of Nobility"

On the title page of the autograph of the work, Turgenev designated the genre of the work: a story. In fact, the "Noble Nest" is one of the first socio-philosophical novels in the writer's work, in which the fate of an individual is closely intertwined with national and social life. However, the formation of a large epic form took place in Turgenev's artistic system precisely through the story. The "Noble Nest" is surrounded by such stories as "Correspondence" (1854), "Faust" (1856), "Trains in Polesie" (1857), "Asya" (1858), in which defined the type of hero characteristic of the writer: an intellectual nobleman who values ​​the rights of his personality and, at the same time, is not alien to the consciousness of duty to society. Such kind of heroes, writes V.A. Nedzvetsky, - are obsessed with a longing for absolute values, a thirst for life in unity with the universal and universal. They are not so much in relationships with real contemporaries as face to face to face such eternal and endless elements of life, such as nature, beauty, art, youth, death, and above all, love. They strive to find in their concrete life the fullness of endless love, which predetermines their tragic fate. Passing through the test of life and love, the hero of the stories comprehends the law of the tragic consequences of high human aspirations and is convinced that for a person there is only one way out - a sacrificial renunciation of his best hopes.

This philosophical and psychological level of conflict, developed in the genre of the story, is an essential component in the structure of Turgenev's novel, complemented by a conflict of a socio-historical nature. In the genre of the novel, the writer eliminates the direct lyrical way of narration (most of his stories are written in the first person), sets the task of creating a generalized picture of objective existence in many of its components, and places the hero with a traditional complex of individual and personal problems in the wide world of social and national life.

The meaning of the name "Noble nest"

The title of the novel uses one of the symbolic leitmotifs of Turgenev's work. The image of the nest is deeply connected with the problems of the work, the main character of which is focused on personal happiness, love, family. In Lavretsky, the "instinct of happiness" is so strong that even having experienced the first blow of fate, he finds strength for a second attempt. But happiness is not given to the hero, the prophetic words of his aunt come true: "... You can't build nests anywhere, you wander forever." Liza Kalitina seems to know in advance that happiness is impossible. In her decision to leave the world, the "secret sacrifice for all", love for God, repentance for her "illegal" heart drives and a kind of search for such a "nest" in which she will not be a toy of the dark forces of being are difficult to intertwine. The motive of the "nest", being the starting point in the development of the plot, expands its content to a universal generalization of the noble culture as a whole, merging in its best possibilities with the national culture. For Turgenev, the personality of a person is as artistically comprehensible as it can be inscribed in the image of a particular culture (this is the basis for the distribution of the heroes of the novel into different groups and clans). The work contains the living world of a noble estate with its characteristic everyday and natural way of life, habitual activities and established traditions. However, Turgenev sensitively senses the discontinuity of Russian history, the absence in it of an organic "connection of times" as a feature of the national spirit. The meaning, once acquired, is not retained and is not transmitted from generation to generation. At each stage, you need to look for your goal anew, as if for the first time. The energy of this eternal spiritual anxiety is realized primarily in the musicality of the novel's language. The elegy novel, "The Noble Nest" is perceived as Turgenev's farewell to the old noble Russia on the eve of the impending new historical stage - the 60s.