The image of the Russian peasant in the poem. "The image of the Russian peasant in poetry Nekrasov

The writing

The effect of the novel begins in the summer of 1853 in the village of Dacha Kuntseva near Moscow. In Elena, a twenty-year-old daughter of the post nobleman Nikolai Artemyevich Stakhova and Anna Vasilyevnyaya Stahova, a natives of Shubina, two young people are in love - 26-year-old Pavel Yakovlevich Shubin, the artist-sculptor and 23-year-old Andrei Petrovich Bersenev - a beginner of the philosov, the third candidate of Moscow University. Elena with boulen sympathy belongs to Bersenev, which causes annoyance and jealousy from Schubin, but it does not affect his friendship with Bersenev. Friends are completely different: if Shubin, as is likely to the artist, sees everything acutely and brightly, wants to be a "number first" and eager for love-enjoyment, then Bersenev is more restrained, considers the appointment of his life - to put himself with the "number of the second" and love for him First of all - sacrifice.

Similar point of view adheres to Elena. She tries to help everyone and protect, patronizing his oppressive animals, birds, insect, has charity and distributes alms. Bersenev invites his friend to Kuntsevo by University Bulgarian Insarov. Dmitry Nikanovich Insarov - iron in spirit man, patriot of his homeland. He came to form in Russia with one sole purpose - to apply the knowledge gained in the liberation of native Bulgaria from Turkish yoke. Bersenev introduces Insarov with Elena. Between Insar and Elena flashes light, real, mutual, disinterested, sensual love. Bersenev, remaining faithful to its principles, moves away. Passionately loved Insarov, rightly serving his main purpose trying to drown out love with his departure, in order to protect their choices, waiting for her terrible tests. However, Elena at the last minute first reveals Insarov and recognizes that he does not see his further life without him. Insarov is given to the power of feelings, but the goal of his life cannot forget and prepare for departure to Bulgaria. Elena does not know for himself another, how to follow such a beloved man. In search of solving the difficulties of the task of departure from Russia, Insarov is cold and seriously ill. Bersenev and Elena hurt him. Insarov is a little straightened and secretly wrecked with Elena.

Thanks to the "goodwires", this mystery reveals and serves as a frank strike for Elena's parents who see its future in marriage with the college adviser Egor Andreevich Kurkinatsky. However, thanks to the love of Anna Andreevna to his daughter, the marriage of Elena and Insarov is still blessing and financially supported. In November, Elena and Insarov are leaving from Russia. Insarow is not a direct way to Bulgaria. His illness progresses and he is forced to be treated in Vienna for two months. In March, Elena and Insarov come to Italian Venice. From here by the Sea Insarov, rushing to Bulgaria. Elena constantly cares for Insar and even, feeling the approach of something terrible and irreparable, in the actions of his own not repent. Her feelings for Insaro only deepen. Elena blooms from this love. Insarov, exhausted by the disease, fades and holds only for love for Elena and desire to return to their homeland.
On the day of arrival, Insar's ship is rapidly dying. Before death, he says goodbye to his wife and homeland. Elena decides to bury her husband in Bulgaria and goes to the insaroral ship who arrived at the Insarm through the dangerous Adriatic Sea. On the way, the ship falls into the terrible storm and the further fate of Elena is not known. In her last letter, Elena says goodbye to his family and writes that he does not repeal and see his happiness in the loyalty of memory and the cause of the whole life of his chosen one. The main character of the novel is Bulgarian Dmitry Insarov, personifying the new generation of civilian people who do not disperse the word with the case. Insarov speaks exclusively the truth, certainly performs the promised, the decisions of his own does not change and his whole life is subordinated by one higher goal for him - the liberation of Bulgaria from Turkish yoke. The ideological stem of Insarov - Faith in the Union of all anti-quiliation forces, the Union of all parties and political flows in the fight against the ability to enslavement and humiliation. Drawing an image of Insarov, Turgenev gives his hero not only with a rare mind (not everyone, however, as it is now, it is possible to go to Moscow University), but also excellent physical strength and dexterity, brightly describing the protection scene from the Tsaritsyn Pond Insar Zoe - Elena Companions Attachment of the jogging of the German. Love in the novel is constantly opposed to a common cause.

Elena here many is easier than Insaro. She is completely given to the power of love and thinks exclusively with a heart. Love chips her and under the action of this great strength Elena blooms. Insaro is more difficult. He has to be divided between his chosen one and the main goal of his life. Sometimes, love and common cause are not fully compatible, and Insarov is trying more than once from love. However, it does not succeed and even in a minute of the death of Insarov utters two characteristic words: "Reeded" - the thin smell of the spirits of Elena and Randich - a compatriot and like-minded Insarov in the fight against Turkish enslavers. By this opposition, Turgenev is probably trying to convey to the reader that as long as the world there is injustice in pure love will always be a worthy rival. And only people themselves can help to help love for the world, if all of them in a single gun extends each other's hands. The final of the novel is frankly sad and undefined about its main character.

However, tragic paints, if we consider the novel, exclusively, as a very beautiful love story, more brighter the great strength, which is true love. If, reading the novel, feel symbolic withdrawal and see in Elena, the personification of young Russia, standing on the eve of great change, then the sad outcome of the work can be viewed as a warning of the author of the vulnerability and weakness of a single, even if such as human insar and a great power People combined one idea.

The name of the novel "Noble nest" locally. Although this novel, like all the novels of Turgenev, is historically concrete and, although in it, the era problematics is of paramount importance, the "local" painting of its images and situations is no less significant. In the late 40s - early 50s, Turgenev made a kind of updating of the image of the "Gamletist", giving it a characteristic not "temporary" ("Hero of our time"), and the spatial and local definition ("Hamlet Schigrovsky County"). The novel "The noble nest" will penetrate the consciousness of the course of historical time, carrying out the life of people, hopes and thoughts of generations and whole layers of national culture. The image of the "noble nest" is locally and socially noteworthy from a large, generalized image of Russia. In the "noble nest", in an old house in which the generations of the nobles and the peasants lived, the spirit of the Motherland, Russia dwells, is "the smoke of the Fatherland". The lyric theme of Russia, reflections on the peculiarities of Russian historical conditions and characters in the "noble nest" anticipate the problems of the novel "Smoke". In the "noble nests", in houses of Laurets and Kalitins, spiritual values \u200b\u200bwere born and ripened, which will forever remain the property of Russian society, no matter how it changed. "Light poetry, spilled in every sound of this novel", by definition of Saltykov-Shchedrin, should be seen not only in the love of the writer to the past and his humility to the highest law of history, and in his faith in the internal organic development of the country, to the fact that There is, despite the historical and social fractures and antagonism, spiritual continuity. It is impossible to ignore the fact that at the end of the novel, the new life "plays" in the old house and the old garden, and does not leave this house, renounced from him, such as in the play of Chekhov "Cherry Garden".

None of the works of Turgenev to such an extent as in the "noble nest", denial is not associated with the statement, in any opposite they are not woven into such a close node. Noble leaving culture in this novel, as in any other, perceived in unity with folk. In the novel "On the eve of" hopes, which, as if the otloblov, illuminate the melancholic narration of the "noble nest", turn into clear prevails and solutions.

The clarity of the author's thought corresponds to his concept of a new ethical ideal - the ideal of active good - and the presentation of him about the character, which is ready to recognize his hero the younger generation, - the character of whole, strong, heroic. The main issue of Turgenev is the question of the ratio of thought and practical act, the meaning for the human company and theorist's value in this novel is solved in favor of the hero practically performing the idea. In the "Evening", the writer predicts the onset of a new band of historical activity and argues that a person of the case becomes the main figure of social life.

The name of the novel "On the eve" - \u200b\u200b"temporary", unlike the "local" name "noble nest," says that Roman is depicting the moment of life of society, and the title content determines this moment as "Eve", a kind of prologue of historical events . Patriarchal closure of life drawn in the "noble nest", goes into the past. The Russian nobility house, with a century-old way of his life, with hits, neighbors, card losses, it turns out to be at the crossroads of world roads. Already Rudin from the provincial landlord house fell to the Paris barricade and the Russian liberation ideas checked in street fights. The rudine figure on the barricade looked quite exotic. The Russian revolutionary was still little known in Europe, and the French blouses, next to which he died, accepted him for the Pole. Lavretsky did not see the revolutionary workers in France. He was suppressed by the triumphant vulgarity of the bourgeoisie. France, like Russia, touched on political timeless.

In the "On the eve", the idea of \u200b\u200ba global nature of political life with all certainty is expressed through the story about the figure of the Slavic Liberation Movement, which turned out to be sympathy and understanding here. The Russian girl finds the use of its forces and selfless aspirations, participating in the struggle for the independence of the Bulgarian people. The remaining after the death of Insarov is lonely in Italy, Elena Stakhova goes to Bulgaria to continue his work, and writes his relatives: "And return to Russia - why? What to do in Russia? " We have already noticed that Elena is not the first heroine of Turgenev, asking this question, but for Elena "case" means political struggle, active activities in the name of freedom, social justice, the national independence of the oppressed people. There is reason to assume that it is Elena who ends "on the eve", oriented the title of the novel "What to do?" Chernyshevsky, indicating Russian youth, the path of admission to the revolutionary case. The liberation movements of Turgenev, arising in the West, not as random and scattered outbreaks, but as the beginning of the process, which can cause events unexpected at first glance in Russia. The title "On the eve" not only reflects the plot of the Roman (Insarov dies on the eve of the war of independence, in which he was ready to take part), but also emphasizes the crisis state of Russian society on the eve of the reform and hints at the pan-European significance of the liberation fight in Bulgaria. In Italy, covered by the protest against the Austrian domination and representing along with the Balkans the focus of revolutionary and patriotic activity, Turgenev's heroes feel the prejudicous political situation.

Turgenev considered Don Quixote - the image in which he saw the embodiment and the modeling model of the revolutionary, effective human nature, which is no less tragic than the image of Hamlet, is nature, immune to the development of "clean thoughts". Rock, powerfully circumvents the best representatives of the Hamletic tribe for loneliness and misunderstanding, and above the Don Quixote.

The last letter of Elena, the final action of the novel, is imbued with tragic moods. The heroine is obsessed with thirst for self-sacrifice, which, as the historically angry eye of Turgenev, has ever penetrated the young minds. "There is a rebellion is preparing, going to war; I will go to the sisters of mercy; I will go for sick, wounded ... Probably, I just do not suffer - the better. I am shown on the edge of the abyss and should fall. We fate connected for no wonder; Who knows, maybe I killed him; Now his turn will take me away by him. I was looking for happiness - and I will find, perhaps death. It can be seen, so followed; it can be seen, there was fault ... Forgive me all the chagrins that I caused to you; It was not in my will "(VIII, 165; Italics is our. - L. L..).

Helen's mindset is not so far from the ascetic self-denial of Lisa Kalitina. For both, the desire for happiness is inseparably with wine, and wines with retribution. Revolutionary democrats have half alarmed with the hegelian theory of the inevitability of the tragic stroke of history and opposed ethics of renunciation. Chernyshevsky in its dissertation "aesthetic attitudes of art to reality" and in the article "sublime and comic" fell on the concept of tragic guilt, seeing transcendental justification of persecution on the outstanding, creatively the most gifted revolutionary figures, on the one hand, and theoretical substantiation of social inequality, On the other (II, 180-181). However, Chernyshevsky himself stated the ascetic mood of revolutionary youth and recognized the historical conditionality of these sentiments, having endowed his hero - Rakhmetov's revolutionary - the features of the Rigorist who donate from love and happiness.

Dobrolyubov in the article "When will the real day come?" He opposed the idea of \u200b\u200bthe victim, which, as he seemed, was permeated by the image of Bersenev. But in another article - "Light of Light in the Dark Kingdom" - the critic saw in the "self-destruction", suicide of the heroine of the isoi island, ready to die rather than to compromise and live in the house, where, according to her conviction, "not good" , the expression of the spontaneous revolutionary moods of the masses. Dobrolyubov considered the image of Elena by a novel by a novel - the embodiment of young Russia; In her, according to Criticism, "the irresistible need of a new life, new people, which now covers all Russian society, and not even the so-called formed" (VI, 120).

Thus, like the heroine of Ostrovsky, Katerina, embodying the People's Russia, Elena Stakhov - a representative of the young generation of the country - Dobrolyubov considers the spontaneous, instinctively aspiring to justice and good. Elena "It's eager for scientific," wants to consciously comprehend her aspires, finding "idea", which would explain them and gave them a general meaning. In the "strange story" of Turgenev, a story about the tragic fate of the young Sophia Sophie, who, striving for a sense of self-denial, accepts the ideal of such a ministry, the scientific of the "beagle man" - insane tramps, - ends with a brief summary: "She was looking for a mentor and the leader and found him" ( X, 185).

Dobrolyubov sees in the "disciphetic" of "Turgenev women", especially brightly manifested in the heroine "On the eve", a typical feature of a modern young generation in general. "" The desire of active good "is in us, and there are strengths; But fear, uncertainty and, finally, ignorance; what to do? - We constantly stop us ... And we ... We wait for us at least someone explain what to do "(VI, 120-121)," he says, as if responding to the question of Elena, "What to do in Russia? " The critic opposes philanthropic activity that does not require self-sacrifice from a person who does not comply with him into conflict relationships with the carriers of evil, an uncompromising struggle with social injustice. It is the last path, in his opinion, can satisfy the moral demands of young enthusiasts and bring real, socially meaningful benefits. The search for the heroines "Even" "leader, teachers", its attempts to find an ethical and theoretical solution to the issue of which to choose the way to seek what to accept the ideal, Dobrolyubs considers as a typological scheme of those quest, through which Russian society passed for the last Decades: Elena "felt there was a location to Shubin, as our society one time was fond of artistic; But in Shubin, it was not a solid content ... He was fond of a minute seriously Nauchuk in the face of Bersenev; But serious science was modest, doubtful, expecting the first number to go after him. And Elena, it was necessary that a person came to appear ... independently and hemorally striving for his goal and fascinating others to her "(VI, 121).

The idea of \u200b\u200bthe novel and the structural expression, so complex and multivalued in the "noble nest", in the "on the eve" are clear and unequivocal. Dobrolyubov determined the main topic of the novel as a description of the search for a typical, almost symbolically representing the Russian society with a young girl of the ideal in the moral sphere and in a real person and embody her dreams about the unity of life with the ideal of "active good". The heart choices of the heroine turns into the choice of ethical concept, the natural development of its attitude towards the speculative and practical solutions to which analysts and artists have come, comprehended by public events after 1848

Elena chooses out of four applicants for her hand, out of four ideal options, for each of the heroes is the highest expression of its ethical and ideological type. Upon closer examination, we are convinced that these four options in a certain sense can be reduced to two pairs. Shubin and Bersenev represent the artistic and thought type (type of people of dyeing-theoretical or artistic creativity), Insarov and Kurkinovsky belong to the "active" type, that is, to people whose vocation is in practical "life-quality".

Each of the characters is compared with the other and is opposed to another, however, this opposition of the heroes on pairs is given on the general complex of the feature, determined by the main feature: the readiness to act, the final (simplicity) of solutions, the absence of reflection - on the one hand; Distractions from the direct needs of modern society, interest in their activities outside of its utilitarian goals, self-analysis and criticism of their position, the latitude of the view is on the other. Inside the same "couple", the comparison is more "diverse" in nature, the main ideas of the heroes are opposed, their ethical installations, their personal characters and their elected life paths. It is significant that Shubin and Bersenev are intimate friends, Insarov and Kurkinovsky - both Grooms Elena, one official, the other "chosen by the heart."

Considering the selection of Elena "Hero" as a process, evolution, similar to the development of Russian society over the past decade, Dobrolyubov argued that Shubin, and then Bersenev corresponded in terms of their characters and ideological settings more archaic, distant stages of this process. At the same time, both of these hero are not so archaic to be "incompatible" with Kurkinovsky (a leader of the New Epoch) and Insarov (the most special importance for the emerging revolutionary situation). Bersenev and Shubin - people of the 50s. None of them is a pure representative of a hambic nature. Thus, Turgenev in the "on the eve of" as if he asked with his favorite type. And Bersenev and Shubin are genetically connected with "superfluous people", but they do not have many main features of the heroes of this kind. Both are primarily not shipped into clean thoughts, the analysis of reality is not their main occupation. From reflection and leaving the abstract theory of their "saves" professionalization, vocation, living interest in a certain field of activity, permanent labor. During the images of these heroes, the circle of moods and ideas is easily guessed, in particular the faith in the fact that, working in the field of art and science, you can save your dignity, protect yourself from compromises and benefit society.

The image of the artist Schubin presents an aesthetic and psychological study in the form of a portrait. Turgenev sought in the face of this hero to synthesize those traits that constituted the ideal idea of \u200b\u200bartistic in the 50s.

Shubin in its appearance, thoroughly described at the beginning of the novel, is similar to the people: a little growth, a strong blond, he together, with the pale and is amneen, his small arisers and legs testify to aristocrat. "Odariv" of his hero the name of the Great Russian sculptor, Turgenev gave his portrait the feature resembling the appearance of Karl Bryullov.

From the first conversation of the heroes - friends and antipodes (the outdoor of Bersenev is drawn as the direct opposite of the appearance of the Schubin: it is thin, black, awkward) - it turns out that one of them "clever, philosopher, the third candidate of Moscow University," a beginner scientist, the other artist , "Artist", sculptor. But the characteristic features of the "artist" of the 50s will greatly differ from the romantic idea of \u200b\u200bthe artist. Turgenev gives it to understand this in a special episode: Bersenev "Indicates" Schubin, which should be an artist in generally accepted concepts. The traditional stereotype "prescribes" the artist's mandatory admissance by nature, an enthusiastic attitude to music, etc. Resisting the national behavior and positions imposed on him, Shubin defends its interest in the manifestations of real, sensual life, to her "material nature": " I am butcher-s; My business is meat, meat sculpt, shoulders, legs, hands "(VIII, 9). In the approach of Schubin to the profession of the artist, to the tasks of art and to their vocation it is manifested by its organic relationship with the epoch. The possibilities of sculpture as an artistic family seems to be limited to him, and he wants to expand them, enriching the scratching art of other arts. Creating sculptural portraits, he puts in front of his task to convey not so much appearance as the spiritual essence of the original, not the "face line", and eye view. At the same time, it is inherent in a special, pointed ability to evaluate people and the ability to erect them into types. The accuracy of the characteristics that Shubin gives other heroes of the novel turns its expressions into the winged words. These characteristics are in most cases and are the key to the types depicted in the novel.

Often, the acopeition of the characteristic leads to a satirical image, sometimes to the likelihood of a person to his primitive analogue. Caricature and satirical approaching Schubin are remarkable because they arise from a dual, and sometimes multi-valued evaluation of the phenomenon and represent a certain approach, perception, consciously focused on a sharp, unusual object angle. The artist is able to see the same face in a series of elevated, elegant phenomena and in a satirical plan. Anna Vasilyevna Stakhova is perceived by Subin in one way as a decent respect for a woman who creates goodies, in the other - like a stupid and defenseless chicken. This latitude of Schubin's view is much more exhibited, its ability to see the same people from different points of view and in different ways to transmit their image in an episode with two sculptural images of Insarov - heroic (the deviations of courage, forces, honesty and nobility ) and satirical (here in his physiognomy the main thing is "stupid importance, pads, limitations"). Both images transmit the essence of the object. Double valuation of a hubin and self. He knows that from nature is endowed with talent, and speaks of himself: "Maybe the name of Pavel Schubina will be the glorious name over time?"; At the same time, he admits another opportunity - the reinstatement, transformation in the submissive, hazard cohabitant with a brine and stupid woman, the bubble in the vulgar provincial life. It embodies this opportunity in the caricature statuette. In the features of his character who relate to him with the "unnecessary people" of a reduced, provincial type, he sees the origins of this danger (Wed. The story of Petushkov Turgenev, the "Notes of the Zamoskvoretsky resident" is Ostrovsky; there is a similar episode in Goncharov's "Oblomov"); In the art, in his profession, in serious classes, it is salvation from the fate of the Russian Hamlet.

The very topics of Schubin's creativity, its ideas (for example, bas-relief: a boy with a goat) talk about him as an artist of the middle of the century, they resemble the works of Ramazanov, "anticipate" the young anticoline.

Shubin hardly reflects on modern socio-ethical problems. He belongs to the novel all the sayings, expressing the copyright point, and the criticism (including Dobrolyov) constantly referred to his words, determining fruitful, historically progressive ideas of the novel. Thus, all its originality and power as thinker and analyst, the author of the novel conveyed exactly Shubin, and not Insarov and not a representative of Science - Bersenev. In this clearly, the view of Turgenev on the personality of the artist was expressed. Turgenev did not share the theory of unconscious creativity, widely extended among the supporters of "pure art." However, the talent of generalizations, typification, the sharp thought of the artist depicted by Turgenev, is combined with the ability to unknowingly perceive the surrounding and appreciate in other gift of natural penetration into the essence of life phenomena. Shubin is continuous conversations with observational and silent Uvar Ivanovich, linked to the foggy meaning of his irrational assessments and prophecies. He is asked the most important question in the novel: "When will our time come? When do we have people people? - Give the term, - Wiss Ivanovich replied, "will" (VIII, 142). Only Shubin understands the mysterious relationship of the old nobleman, immersed in complete inaction and contemplation, with the "choir start", "black earth force", his ability to penetrate the people's point of view and to prove the natural processes occurring in the people. However, Shubin is understanding, develops incoherent, uncertain speeches of Uvar Ivanovich. In his pristine informality, amorphy, they are also unacceptable for him as "simple", rationalistic answers insarova for "damned questions". As the Personality of Shubin Draws, which corresponded to the look of Turgenev on an ideal artist. He is elegant, sophisticated, beeps, kind and selfish, loves life in her real manifestations and forms, spontaneously and happily enjoying beauty, not romantic, perfect and distracted, and coarse, alive, he is eager for happiness and is able to indulge. This is a man "With the Sun in Blood." At the same time, he more than anyone else in the novel is capable of self-analysis, to an insightful and ingenious assessment of phenomena, to understanding someone else's spiritual world and to dissatisfaction with its own. Creative imagination opens to him the charm of that inner animation, which is permeated by Insarov, and he dreams that such a mental lift becomes possible for everyone. This latitude of Schubin's views is characteristic of Turgenev, but does not correspond to the usual in the writer in the 50s of the idea of \u200b\u200bideal artistic nature. It was the mouth of the Shube in the novel that the thought was expressed that art cannot give the satisfaction of modern youth, thirsty of self-denial for the sake of universal happiness. So, having sought in the "noble nest" with the ideal of the mysterious authority of art standing on ethics and ideological strips, in the "on the eve" Turgenev pronounces the final verdict illusions about artistic work as a field of higher activities that can all conflicts and issues of time.

If Schubina's license author has invested the most important generalizations, definitions and evaluation, up to the recognition of the validity of the "choice of Elena", Bersenev, he transferred a number of ethical declarations. Bersenev is a carrier of a high ethical principle of selflessness and serving the idea ("the idea of \u200b\u200bscience"), like Shubin - the embodiment of the ideal "high" egoism, egoism of healthy and solid creative nature. Turgenev stressed that Bersenev was raised in the traditions of noble culture. Father Berseneva - the owner of eighty-two souls - liberated his peasants before his death. Shelling and Mystic, he was engaged in abstract philosophical objects, but was the Republican, bowed to Washington. He was remembered with the alarm world events, and the treatise was written to him was attracted to the utopian theories of humanism, in any case "the events of the 48th year shocked him to the ground (it was necessary to redo the whole book), and he died in the winter of the 53rd year, not After waiting for the son of the son from the university, but in advance ... blessing him to the service of science "(VIII, 50).

The characteristic is concrete and clear in historical and social terms. Father Berseneva - an abstract humanist and utopian - died, a little without surviving the first foresight of a new public lift, deeply shocked by the impressions of the catastrophe of 1848; He pointed out his son to the abstract science as a decent service subject (faith in enlightenment remained uncovered). So Turgenev creates its hero the biography of the concept, which was then perceived by other writers. The main importance of the biography of Bersenev was not in its particular content, but in the very method of building a story about the fate of one person in connection with the historical evolution of the social environment and with an assessment of philosophical and ethical concepts that replace each other during the historical development of society. Such a method was then mastered by Pomonyovsky (who developed him and frankly journalistic character), Chernyshevsky (for which he became a rethinking element of his peculiar art system), the letter and many others.

Care into science as the sphere of pure and independent creativity was a common phenomenon in the middle of the world's thinking people. Chernyshevsky himself hesitated what to choose the way - to be a philologist or a publicist writer. Since the 60s, the classes of natural sciences began to especially attract an independently thinking youth opportunity to combine the development of accurate knowledge with the freedom of expression of their philosophical, materialistic views.

Bersenev is granted a moral line, which Turgenev took a particularly high location on the scale of mental virtues: kindness. In his opinion, the kindness of Don Quixote gives the exclusive ethical meaning of this hero in the spiritual life of mankind: "Everything will pass, everything will disappear, the highest San, the power, a comprehensive genius, everything crumbling asion. But good deeds will not scatter smoke; They are more durable of the most shiny beauty "(VIII, 191). Bersenev is a kindness comes from a deep, traditionally inherited "Shillerian" humanism and from the "fairness" inherent in him, the objectivity of the historian, capable of standing above personal, selfish interests and determine the meaning of reality phenomena regardless of their personality. From here, it is stem, as a sign of the moral weakness of the "unnecessary man", understanding the secondary value of their interests in the spiritual life of modern society, its "second room" in the hierarchy of the types of modern figures.

In the mediation of Bersenev, his patronage of Love Helena and Insarov affects an objective understanding of what Elena seek, the consciousness of the "centrality" of Insarov's nature ("number first") and compliance with their friend, and most importantly - a strict adherence of the ethical principle of the identity of the personality to freedom of development And the freedom of feelings, rooted and has become "second in kind" respect for someone else's "I".

The features of Bersenev with Granovsky are significant (in the text of the novel, direct directions are given that he is a student of Granovsky and looks at his teacher as a sample to imitate). In the Person of Bersenev, the features of Chernyshevsky ("Essays of the Gogol period", positively evaluated by Turgenev), were nominated for the forefronts of the Gogolian period: a partnership, high respect for someone else's personality, the ability to "subsurious" passion, stop quarrels of friends, which was different "meek and loving" Stankevich (III, 218): humanity and sensitivity of Ogarev, the dedication to the work of the enlightenment, simplicity and dedication of Granovsky, - "He was a simple and modest person who did not dream of himself who did not know the pride" (III, 353 ) - All this is akin to the nature of Bersenev.

Turgenev emphasizes, thus, the ideality of his hero of a scientist, having endowered him the features of the nature of people who have become a legend who have been familiar with the democratic reader of the 60s as ideal images. At the same time, the type of scientist as an ideal turns out to be historically disavowed. With disdain calling the topic of scientific works of Bersenev, having extremely historical importance, and leading words from the novel that experts praised the author, Dobrolyubov writes about the work of a scientist as a surrogate of "real activities": "Story of our life turned out to be that Bersenev just left One tool of salvation: "wechieving the mind of the scientific of fruitless" ... and also the benefit that even in this could find salvation ... "(VI, 136-137).

Describing the activities of Bersenev quote from the "Duma" Lermontov, Dobrolyubov, thereby estimated her as the fruit of the "era of a lack of time" and as a manifestation of noble culture, the exercise of "extra people." Such an attitude to the professional activity of the historian's professional activity could be born only at the moment when a revolutionary situation and the thirst for direct resilience, public creativity covered the best people of the younger generation in the country.

It is interesting to note that all young people surrounding Elena are renounced from the aristocracy and noblest limitations, everyone claim to the title of worker and even the proletarian, - also the sign of an era, representing the mystified reflection in the heads of people of the historical democratization process. Labor, democracy, ministry has become an ethical ideal generation, who changed the ideal of elitism, chosenness. Bersenev speaks of the people of his type: "We ... do not Sibarita, not aristocrats, not the dumplings of fate and nature, we don't even martyrs - we are workers, workers and workers. Wear your leather apron, worker, yes, be marrying your working machine, in your dark workshop! " (VIII, 126).

In the dramatic monologue of the hero, a spontaneous premonition was expressed that a scientist in the eyes of society is steadily from the priest of science who owns the gift of penetration into the mysterious essence of things (such, for example, the interpretation of the personality of a scientist in the "Faust" of Goethe) turns into a mental worker who brings a durable income to society Sautting for its work more or less modest payment, without moral satisfaction, recognition, fame ("Passenger of the first class" A. P. Chekhov).

Optimism and active practicism generated by social and political changes, not all people expressed in disinterested ministry with a common good. The carrier of the features of egoistic defense in the novel is (Ober-Secretary of the Senate - Careerist Kurnatovsky. It is in a dispute with Kunatovsky Bersenev, ready to recognize the secondary importance of science in relation to the struggle for the immediate improvement in the life of people, defends the independence of scientific activities, opposing the doctrines of subordination to its bureaucratic "species »Governments.

The representative of the art of Shubin is more painful than Bersenev, perceives the cooling of the society's advanced people to his case. Shubin can not agree with the vulgar, nor with intellectual rejection of art. Its strongly and imposing him as an artist of a certain stereotype of behavior, and the traditional attitude towards the artist as an inspired and celebrating child-dreamer. Steady and hard work is done by the ethical ideal of Schubin. In the name of his calling, he is ready to play the feet of an ordinary "employee".

Insarov is the perfect embodiment of an active and consciously heroic nature - in the novel is characterized by the sum of the features in which democracy, hard work, simplicity of proletarian occupy no last place. It is also said about him - as a difference, "some Chernogorz". His social characteristic was especially important for the reader of the 60s, as Turgenev showed the process of democratization of the advanced, thinking layer of the Russian society, "full displacement of the nobles by the disinfair in our liberation movement", and idealized a new public type. Of course, the foreign origin of Insarov, however, "proletarianism", otherwise the misarity of Insarov, combined with the radicalism of conviction and readiness, boldly and decisively act, not sparing his life, tied him with new ideals and new heroes of Russian society, turned his image to "substitute ", In the form of an expression of thought about the inevitable appearance of such a Russian hero.

It is interesting to note that not only Bersenev, Insarov and partly Shubin feel "thinking proletarians." This "title" claims such a "leader" of the young generation, as Antipod Bersenev and Insarov - Kurkinatsky.

In the characteristic of Kernatovsky, "assigned" by the author of Elena, the idea of \u200b\u200bbelonging to Kursnatovsky, as well as Insarov, to the "effective type" and the mutually excracial positions occupied by them within this very wide psychological type. At the same time, in this characteristic, it is also manifested by how historical tasks, the need for solving which is clear to the whole society, force people of the most different political orientation to wear a mask of a progressive person and cultivate the features that are attributed to society to such people. Elena informs Insarov about Kursnatovsky: "It has something iron ... and stupid and empty at the same time - and honest; They say it is exactly very honest. I have an iron too, but not so ... He even called himself a proletarian. We, saying, chernoyarma. I thought: if Dmitry said it, I wouldn't like it, and this let him say! Let it boast! .. He must be self-confident, hardworking, is capable of self-sacrifice ... That is, to the donation of their benefits, but he is a great despot. The trouble will get into his hands! "

In conclusion, Elena reports the opinion of Schubin that Insarov and Kurkinatsky "both practical people, and see what difference; there is a real, alive, life this ideal; And here it is not even a sense of debt, but simply a service honesty and a significant content "; "And in my opinion," Elena objects, - "What is common between you? You believe, but it is not, because it is impossible to believe in yourself "(VIII, 108).

It would seem that Kernatovsky's characteristic inherent in the novel "On the eve" the clarity of the types of types, the refares of the copyright reaches its apogee. The writer no matter how you want to spend the fiction on the image of this, too for it is a clear type. As the main engine action in the novel acts insar; His personality, the case he devoted himself entirely, determines the fate of the heroine. "Official" groom - Kurkinatsky - does not bother Elena whit. Young people decide their fate boldly and independently. The Kursnatovsky characteristic is compressed, in one place, almost in the style of the famous "registers of acting persons", which Turgenev was in the early stages of work on works. However, by putting the last point in this characteristic, the writer leaves straightness, there is a spoken of Schubin and Elena on the most important issue of the identity of Kurkinatsky. Elena words, almost literally coinciding with the key wording of the article "Hamlet and Don-Kihot", opposes Kurkinan Insarov as a egoist, without faith and ideal, that is, "refuses" to him in the main feature of an active type ("Don Quixote", Turgenev terminology); Shubin directly counts him to the leaders, although it is stipulated that the ideal implies not from the living needs of society, but from the formal dedication to the service debt, the "principle" without detention.

Elena and Schubin's dispute is the nature of the joint finding of truth. Disagreeing with Shubin and put forward, it would seem that the opposite point of view, Elena still attaches serious importance to his words, takes them note. Each of them turns out to be right, and in general, their dispute clarifies not only the characteristics of Kurkinatsky, but also an idea of \u200b\u200ban active type. A person of an active character who can selflessly serve the idea, is not only a revolutionary or a fighter of the national liberation movement, but also a bureaucrat for which faith in the state and government destiny replaces any other ideal.

However, in accordance with the romance of the novel "On the eve" Kurkinatsky is not only an image of a certain modern type, but also by the embodiment of the ideal: he is an ideal administrator - a new type bureaucrat characteristic of the 60s. Cunnatovsky energetic, decisive, honest and adamant in concerning a certain principle ("iron"). For the external and pure psychological features of Kernatovsky as a person worth a certain worldview, it is embodied by the result of the evolution of some ideas of the 40s, the political, philosophical concept, the "decision" of the social problems of modernity to the thought that developed in a kind of direction. Giving the sentence the "hero of the case" - Kursnatovsky, Turgenev assesses not only the "case" itself, but also the concept, the ideological direction for which it relies. In the "Were and Things", Herzen contains an episode of his acquaintance with the real carrier of this kind of ideas, type, new in 1857 and the ideal, not yet debunked in the early 60s. Herzen writes:

"In the fall of 1857, Chicherin arrived in London. We were looking forward to it: once one of the favorite students of Granovsky, a friend of the Korah and Kethecher, he was for us a loved one. We heard of his cruelty, about conservative veleages (aspirations. - L. L.), On immense pride and doctrinarism, but he was still young ... a lot of angular is stuck in the time of time.

- I thought for a long time, to go to you or not ... I, as you know, quite respect for you, not in all I agree with you. That's where Chicherin began. He came up not just, not young, he had stones for the sinus ... The light of his eyes was cold, in the voice of the voice was the challenge and terrible, repellent self-confidence. From the first words, I hurt that it was not an opponent, but an enemy ... Distances who delivered our views and our temperatures were marked soon ... He saw the upbringing of the people in the imperation and preached a strong state and insignificance of the face in front of him. It can be understood that these thoughts were in the appendix to the Russian issue. He was a governer, considered the government much higher than society and his aspirations ... All this teaching went from his whole dogmatic construction, from which he could always immediately bring his philosophy of bureaucracy "(IX, 248-249; Italics our. - L. L.).

The similarity of the external manner, character and, most importantly, the worldview of Kernatovsky in Turgenev and Chicherin in the image of Herzen is striking. Moreover, the analysis of the Herzena personality of one of the main ideologues of the "State School" clarifies the meaning of the controversial reviews of Elena and Shubin about Kurkinovsky (on the one hand, he has no ideal, he is an egoist, on the other - he is able to come true, he is honest; his activities And selfless and does not follow from the needs of society). "Vera" Kurnatovsky is a belief in the state "in annex to the Russian question" (the expression of Herzen), i.e., dedication to the estate-bureaucratic, monarchical state. Understanding that reforms are inevitable, Kurkinatsky type figures connected all the possible changes in the country with the functioning of a strong state, and they considered themselves the ideas of the state and performers of his historical mission, from here - self-confidence, egocentrism, hence the willingness to come true.

However, faith in the monarchical state and in the bureaucratic "strong" system is a faith in a system, which historically can fill in a very different content (conducting reforms and conducting counter-reviews).

Saltykov-Shchedrin - the most "political" writer of Russia in the middle of the XIX century, who saw the colossal historical importance of the state in the development of society - more than once in his satirical artistic manner concerned the issue of "new", modern "sublime" bureaucrats who were preparing themselves to conduct government Reforms who claimed the role of figures that were destined to turn the "History Wheel", and then became the ministers of the reaction. In the satirical drama "Shadows", for example, he draws an environment of the early 60s, when the reform was combined with the onset of any free thought, with the suppression of the democratic forces of society. The heroes of the drama, young bureaucrats who believed in the doctrine of the "strong state" and convincing themselves in the fact that every system proposed from above is the benefit, come to bare careerism, the cynicism and the inner consciousness of the "monstrous barbecue", which they carry, providing their " Mandatory assistance "to any vile destination of the government.

N. G. Pomleyovsky was the largest among the sixties by the accuser of officials. I learned a lot from Turgenev and Saltykov, he saw completely different socio-political aspects of the Bureaucracy Problem and expressed his observations through a special, specific image system. However, the Episode of the Skunovsky Skatovsky in the "Nameman" left a noticeable mark in his creative imagination. In Molotov, he repeated this situation, making an image of a bride-official grotesque-satirical embodiment of the formalism of the bureaucratic apparatus.

More thorough than Turgenev in the novel "On the eve", he developed a conflict between fathers and children who seek the right to freedom of feelings and independence of the choice of life path. Turgenev did not complicate the transparent design of the novel by analyzing this, not so much for him in this case of an important conflict. The problem of officialhood, the fate of young bureaucrats, the leaders of the "New Time", as well as the issue of the international meaning of the Russian administrative system, he dedicated a novel "Smoke" at the end of the 60s (1867). The Poamalovsky, "plunging" the usual in Russian standards since the 40s conflict in a peculiarly illuminated and understandable moral world of the umbilical environment, on his background, considered those real, new ways that young people are trying to lay in an old, well-established society.

Elena and Insarov's relations are in many ways "ideal." The writer draws the heroes flying like moths into light, to the struggle that do not see and not recognizing the "small" obstacles on their ways ignoring them. There is still no resolute rejection of the old society and its morality, that war with them, which was declared in "What?", But there is a poetic, emotional statement of self-relief and irresistible force of the ideal impulse, his fruitfulness.

We see that in the "on the eve of" Turgenev cultivated three ideals, in the formation and strengthening of the influence of two of whom on society he played an important role. Turgenev contributed to the statement in the Russian readers of the artist's authority, the poet, whose activities can be opposed to participation in the practical affairs of the highest classes of society. The ideal of the scholars was also not alien to Turgenev. After all, quite shortly before "on the eve" - \u200b\u200bin the "noble nest" - he internally opposed Laurezza, aspiring to "positive knowledge", his former heroes - "clean theorists", distracted by "dreamy" thinkers. Soon, in the novel, "fathers and children", he will again write about scholarships and faith in science as the most important signs of a new type of people, the most modern, in a certain sense of the ideal expressants of the aspirations of society.

To the approval of the ideal of the bureaucratic "state" reformity of Turgenev did not put hands. In the system of artistic images of Turgenev, a liberal reformer bureaucratcher is always a negative figure, although Turgenev has understood that this type can have its ideal expression in the consciousness of its contemporaries. The feature of the artistic debate of the ideals of Turgenev was that he, "reviving" them, giving them the structural form of a living human nature, the individuality, endowed with a certain worldview and the style of behavior, did not give them to the type. The ethical ideal, the social decision, born by seeking era, received a real, vital embodiment, implementation and thus discovered their social and temporary limitation. Turgenev showed that this ideal already "materialized", and often the fact that humanity has already passed in its way the stage of his incarnation.

The idea of \u200b\u200bthe ideal for him was inseparable from the thought of the most modern, most progressive human character, ultimately from the thought of history, time. This feature, inherent in Turgenev to the highest, was characterized by other writers of the 60s, especially those of them, which were held through a school of the 40s with its historical philosophism. A. N. Ostrovsky In the 70s, he wrote about the ability to destroy the old ideals as a mandatory feature of a genuine artist: "Every time has its ideals, and the obligation of each honest writer (in the name of the eternal truth) to destroy the ideals of the past when they came ... "

It has already been noted that the liberation movement in Europe is considered in the "on the eve of" as the beginning of the emergence of the revolutionary situation in a number of countries, as a possible prologue for changing the political climate in Russia. Insarov utters words that immediately attracted the attention of readers and are still forced to think about the interpreters of the novel: "Note: the last man, the last beggar in Bulgaria and I - we wish the same. We have one goal. Understand what kind of confidence and fortress gives! " (VIII, 68). These words are considered as an expression of thought "On the need to unite all the advanced forces of Russian society for the struggle for reforms" and as a political lesson to revolutionary democrats, the preaching of that "that heroes only gives rise to the struggle for" nationwide "interests".

Not denying the possibilities of some political and didactic meaning enclosed in this phrase of Insarov, and in the image itself in the novel of the national liberation struggle, which unites the nation, should, however, note that for Turgenev is not less, and maybe more important was Another side of the case. In the "on the eve", despite the fact that this novel by its own structure is perhaps the most "reasonable", the library of the writer's novels, the lyrical element is unusually strong. The form of expression of a new ideal and a new one who has replaced even recent depression, public revival is the total tone of cheerfulness, energy, enthusiasm, which is felt in the sentiments of the main characters and, as if reflected by the light, illuminates other novel characters.

Describing the position of a person in different periods of life of society and with different political conditions, Herzen wrote about the revolutionary situation: "There are era when a person is free in general matter. Activities to which every energetic nature seeks, then coincides with the desire of society in which she lives. At times - also quite rare - everything rushes into the cycle of events, lives in it, suffers, enjoys, dypsy ... Even those person who will be entrusted against a common stream are also passionate and satisfied in the real struggle ... no time Needs to interpret about self-sacrifice and devotion - all this is done by itself and extremely easy. "It does not retreat, because everyone believes." The victims, in fact, no, the victims seem to the audience such actions that constitute a simple execution of will, a natural image of behavior "(VI, 120-121).

Herzen, who wrote these lines under the immediate impression of the revolutionary situation of the end of the 40s in Europe, speaks of the historical possibility of public unity - albeit unity in the worldview and aspirations (cf. words of Insarov, who claimed that all Bulgarians want the same) But in activity, in a state of spirit expressing the public lift. It is significant that Herzen writes about the reactionary figures that they are "beyond the total stream." The revolutionary situation, in his opinion, covers all society, most citizens are somehow involved in the struggle on the side of progressive forces, since revolutionary changes become a historical necessity. The revolutionary situation of the 60s in Russia made the main mood, the main tone of society optimism, the desire for happiness, faith in the fruitfulness of political creativity, and revolutionaries that the inevitability of self-sacrifice in the struggle were angry against the concept of "sacrifice".

Interest in the epochs of the national recovery, the activity of all members of society, to historical periods, when the choir of collective political acts sounded powerfully and each individual (frequently aimed at achieving private and personal goals) The will was fused in the direction of large historical accomplishments, covered Russian literature. His supreme expression was Roman L. Tolstoy "War and Peace".

The life of the main character in the "on the eve" is tragically; And, of course, it is not by chance that Insarov dies, without having to fight, about which she dreams, and Elena, preparing for participation in the war, it warms up his rapid end and looking for it. Turgenev was inherent in the acute consciousness of the tragedy of the stroke of history. It reflected in the images of his heroes - children of their time - and in their destinies. Elena, as above, it was noted above, brings the sacrificial impulse with the liza of gavitin. Moreover, the writer connects the dedication of both heroines, inherent in the thirst for the feat of the traditions of folk mobility (no wonder Elena "is" in a dream of Nishchenka Katya, who inspired her dream of the dream and leaving the family). However, in contrast to Lisa Kalitina, Elena is free from ascetic morality. She is a modern, bold girl, easily striking with the oppression of traditions, seeking happiness.

Before connecting his life with her life, Insarov introduces a favorite woman into their plans, interests and concludes a kind of agreement with her, suggesting with its part of conscious assessment of their possible future. That is what, according to Chernyshevsky, expressed in the article "Russian man on Rendez-Vous", would lead himself to "decent man" when a date with Asei, such a contract tried to "conclude" with his bride and Chernyshevsky himself. The failure of the love of Elena and its noble determination destroy the ascetic closure of Insarov, make it happy. Dobrolyubov especially appreciated the pages of the novel, where the bright and happy love of young people were depicted. The novel contains a meaningful conversation of Schubin and Uvar Ivanovich: "... Insar blood coughs; It's bad. I saw him the other day ... the face is wonderful, and unhealthy, very unhealthy.

"To fight something ..." Ivan Ivanovich said.

- It's all the same, just ... Yes, it's not anyway. But she wanted to live with him.

"It's a young business," Uvanovich responded.

- Yes, young, glorious, bold business. Death, life, struggle, fall, celebration, love, freedom, homeland ... good, good. Give God to all! It's not that sitting on the throat in a swamp Yes, try to show the look that you don't care when you really are essentially anyway. And there - strings stretched, links to the whole world or break "(VIII, 141).

Representation of Uvan Ivanovich, an old man, about the struggle as a synonym of death (therefore, all the same, a healthy or sick person goes to fight) Shubin contrasts the look of its generation, according to which life, happiness, struggle is inseparable. Regardless of whether the triumph or death leads the struggle, she makes a man happy ("God for all").

Aspirations and the needs of young "children's children" were characterized by Turgenev in the novel, and this was the main novelty. The "Eve" was found by the hero of the 60s, although it is also nominative; In fact, it was synthesized from historical needs, emerging ideals, individual observations on the development trends of the historical process. Not wanting to issue this hero for the typical, real rooted phenomenon of Russian life, Turgenev gave his idea the appearance of a vital, historically concrete hero - a fighter of the national liberation movement. Why this type was elected writer as a "substitute" of the Russian revolutionary figure, the "substitute", expressing and the inevitability of the transformation of such a hero in the main figure of modernity and the incompleteness of the process of its formation, we had the case to say higher.

The fundamental trait on which Turgenev built the character of this hero is its effective, active nature, its importance of a public engine, a person who has been appointed to implement the task, at the same time the simplest and most important for humans, the people, time.

N. Shchedrin (M. E. Saltykov). Full Cathedral cit. T. XVIII. M., 1937, p. 144.

The clarity and some intentional schematics as the general structure of the novel and its individual images were marked with a modern writer criticism. See: K. N. Leontiev. Provincial letter to Turgenev. - Domestic notes, 1860, No. 5, Depth. Iii, p. 21; N. K. Mikhailovsky. Literary and critical articles. M., 1957, p. 272.

S. M. Petrov fairly writes: "The problem of the public role and the meaning of the allocated democratic intelligentsia is raised by Turgenev for the first time not in the" fathers and children ", but in the" on the eve "(S. M. Petrov. I. S. Turgenev. M. , 1968, p. 167).

V. I. Lenin. Full Cathedral cit., vol. 25, p. 94.

Chernyshevsky in "What to do?", Speaking about the work of Lopukhov at the plant, very closely reproduced the formulation of the recognition of Kursnatovsky, who claimed that he almost changed the service in the Senate to the position of managing a large plant in search of a live case. There is nothing to say that the meaning of Lopukhov's activities at the factory is equally opposed to its administrative work that attracts Kurnatovsky, but the readiness of both heroes to abandon the cabinet classes (Lopukhov leaves science) for communication with direct manufacturers of material goods and understanding them (each in accordance with With its worldview) the importance of industrial enterprises in society characterizes both of these heroes as leaders of the new era. The possibility of direct controversy Chernyshevsky (or his hero - Lopukhov) is not excluded with the understanding of the organization's importance at the factory, which is stated in Cornatovsky's reasoning.

A. N. Ostrovsky. Full Cathedral cit. T. XV. M., 1953, p. 154.

M. K. Cleman. Ivan Sergeevich Turgenev. L., 1936, p. 123; Commentary by A. I. Batuto to the "On the eve" (VIII, 533).

In this article, we will consider the novel of Ivan Sergeevich, created in 1859, put it with a summary. "On the eve of" Turgenev first published in 1860, and so far this work remains in demand. Not only the novel itself is interesting, but also the history of its creation. It, as well as a brief analysis of the work, we will present after we present the summary "on the eve". It is presented below) created a very interesting novel, and his plot will probably like it.

Bersenev and Shubin

On the bank of the Moscow River in the summer of 1853, there are two young people under Lime. An acquaintance with them begins a brief content "On the eve". Turgenev presents us first of them, Berseneva Andrei Petrovich. He was 23 years old, he just graduated from Moscow University. This young man is waiting for a career scientist. The second - Shubin Pavel Yakovlevich, who gives hope of sculptor. They argue about nature and about the place of man in it. Her self-sufficiency and fullness amazed Bersenev. He believes that against the background of nature is clearly seen by the infidel. It gives rise to anxiety and sadness. Shubin believes that you need to live, and not reflect. He advises his comrade to make a heart girlfriend.

Then young people turn to the conversation already about ordinary things. Recently, Bersenev saw Insarov. It is necessary to introduce a scuba with him, as well as with the family of the hour. It's time to return to the cottage, should not be late for dinner. Stakhova Anna Vasilyevna, the secondary aunt Pavel Yakovlevich, will be unhappy. And this woman he owes the opportunity to make sculpture.

Stahova Stakhova Nikolai Artemyevich

The story of Stakhova Nikolai Artemyevich continues Roman Turgenev "On the eve" (summary). This is the head of the family, who from the young age he dreamed of profitably marry. He realized his dream of 25 years. His wife was Schubin Anna Vasilyevna. However, soon the stah came up with Augustine Christian. Both of these women were bored. His spouse suffers infidelity, but she still hurts, because he was a deception presented with his mistress a couple of gray horses from Anna Vasilyevna Plant.

Life of Schubin in the family of the hour

Shubin lives for about 5 years in this family, after his mother died, a kind and intelligent Frenchwoman died (Father Schubin died a few years earlier). He works hard, but urabs, nothing wants to hear about professors and academies. In Moscow, Schubin is considered to be given hope, but he still has not done anything outstanding. The daughter of the Stahov, he really likes. However, the hero does not miss the opportunity to pokoke and with a plump 17-year-old Zoya, an Elena companion. Alas, Elena does not understand these contradictions in the personality of Schubin. She always outraged the lack of character in a person, angry, she did not forgive false. If someone loses her respect, he immediately ceases to exist for her.

Personality Elena Nikolaevna

It must be said that Elena Nikolaevna is an outstanding nature. She is 20 years old, she is very attractive and statutory. She has a dark blond braid and gray eyes. However, in the guise of this girl there is something irregular, gustful, which will not like everyone.

Nothing can satisfy Elena Nikolaevna, the soul of which is striving for active good. This girl since childhood was occupied and disturbed by hungry, beggars, sick people and animals. At the age of 10, she became acquainted with the nasty girl Katya, began to take care of her. This girl has even become a kind of item of her worship. This passion parents Elena have not approved. True, Katya soon died. However, helen's shower remained a track from meeting her.

The girl lived his life since 16 years old, but she was alone. No one shy to Elena, but she languished, he said that she had some kind of love. She did not want to see her husband of Schubin because he was distinguished by impermanence. But Bersenev attracts Elena as an educated, clever and deep man. But why does he persistently talk about Insarov, who is obsessed with the idea of \u200b\u200bliberating homeland? Bersenev's stories awaken in Elena living interest in the identity of this Bulgarian.

History Dmitry Insarova

The story of Insarova is such. His mother kidnapped, and then killed some Turkish aha, when Bulgarian was still a child. The father made an attempt to take revenge on him, but was shot. Remaining orphans at the age of eight years, Dmitry arrived at the age of aunt in Russia. After 12 years, he returned to Bulgaria, which for 2 years he studied along and across. Insarons were repeatedly dangerous in his journeys, he was pursued. Bersenev personally saw the scar left at the place of the wound. Dmitry does not intend to take revenge on Age, he pursues a more extensive goal.

Insarov is poor, like all students, but scrupulous, proud and undemanding. It is distinguished by tremendous performance. This hero studies political economy, right, Russian history, translates the Bulgarian chronicles and songs, is a Bulgarian grammar for Russians and Russian for Bulgarians.

As Elena loves Insarov

Dmitry Insarov during the first visit made on Elena not such a big impression as she expected after the enthusiastic stories Bersenev. However, one case soon confirmed that he was not mistaken in Bulgarian.

Once, Anna Vasilyevna was going to show the beauty of Tsaritsyn his daughter and Zoe. The big company went there. Park, ruins of the palace, ponds - all this impressed Elena. Zoya sang well during a boat sailing. She even shouted the Bis company, who poured the Germans. At first they did not pay special attention, but after the picnic, already on the shore, they met again with them. Suddenly one man's impressive growth separated from the company. He began to demand a kiss in compensation for the fact that Zoe did not respond to the applause of the Germans. Shubin became with a claim to Irony, Vitious to admonish this drunk, however, it only wondered him. And the Insarov came forward. He simply demanded that he left. The man was leaned forward, but Insarov raised him into the air and threw in a pond.

Are you curious to know what the summary "on the eve" continues? Sergeevich prepared us a lot of interesting things. After the case that occurred on the picnic, Elena admitted to himself loved by Dmitry. Therefore, for her, a big blow has become the news that he moves with the cottage. Only Bersenev is still understanding why this departure was needed. His friend once admitted that he would definitely leave if they fell in love, as he could not change the debt for the sake of a personal feeling. Insarov said that he does not need Russian love. Having learned about it, Elena decides to personally go to Dmitry.

Explanation in love

So we got to the scene of explanations in love, describing the summary of the work "on the eve". Surely readers are wondering how it happened. Briefly describe this scene. Insarov confirmed Elena, which came to him that he was leaving. The girl decided that she needed to be the first to confess his feeling that she did. Insarov asked if she was ready to go for him everywhere. The girl replied affirmatively. Then Bulgarian said he would take her to his wife.

The difficulties faced with beloved

Meanwhile, the Kennatovsky began to appear at the Akhan, who worked in the Senate Ober-Secretary. This person sees for the future husband of his daughter as a future husband. And this is just one of the dangers of lover. All the alarming become letters from Bulgaria. It is necessary to go, while you can, and Dmitry is preparing for departure. However, he suddenly was cold and fell ill. 8 days Dmitry was at death.

All these days Bersenev took care of him, and also told Elena about his condition. Finally, the threat passed. But until complete recovery is still far away, and Insarov is forced to stay in his home. Ivan Sergeevich says in detail in detail, but we will lower the details, making up the brief content of the Roman I. S. Turgenev "On the eve".

Once Elena visits Dmitry. They say for a long time about what you need to hurry with departure, about the golden heart Bersenev, about your problems. On this day, they become her husband and wife no longer in words. Parents learn about their dates.

Helena's father calls his daughter to answer. She confirms that Insarov is her husband, and that in a week they will go to Bulgaria. Anna Vasilyevna faints. The father grabs Elena by his hand, but at that moment Shubin shouts that Augustine of Christian and calls Nikolai Artemyevich.

Travel Elena and Dmitry

Young already arrived in Venice. Behind the difficult relocation remained, as well as 2 months of illness in Vienna. After Venice, they will go first to Serbia, and then to Bulgaria. It is only necessary to wait for the rendiche, an old wolf, which should shift them across the sea.

Venice really liked Elena and Dmitry. However, listening to theater "TRAVIATU", they are confused by the scene in which Alfred says goodbye to Violetta dying from CHAKHETOP. Elena leaves a feeling of happiness. Insarow the next day becomes worse. He has a heat again, he is in forgetting. Elena, angry, falls asleep.

Next, her sleep describes Turgenev ("on the eve"). Read brief content, of course, not as interesting as the original work. We hope, after exploring the plot of the novel, you will have a desire to meet him closer.

Son Elena and Death Dmitry

She dreams the boat, first at the Tsaritsyn pond, and then in the restless sea. Suddenly the snow whirlwind begins, and here the girl is already not in the boat, but in the wagon. Near her - Katya. Suddenly the wagon rushes into a snowy abyss, and her companion laughs and calls Elena from the abyss. Raising your head, Elena sees Insarov, who says that he dies.

Further fate of Elena

Already approaching the final summary "On the eve". Turgenev I. S. Next tells us about the fate of the main character after the death of her husband. 3 weeks after his death, a letter comes from Venice. Elena reports to parents that rides in Bulgaria. She writes that there is no other homeland for her. The further fate of Elena reliably remained unexplained. There were rumors that someone saw her in Herzegovina. Elena allegedly was the sister of mercy at the Bulgarian troops, always worn black clothes. Next, the trace of this girl is lost.

This ends the summary "on the eve". Turgenev took the story of this work plot from the story of his acquaintance. You will learn more about this, having acquainted with the history of the creation of "on the eve".

History of creation

Vasily Katarayev, familiar Turgenev and his neighbor for the estate, in 1854 he went to Crimea. He anticipated his death, so Ivan Sergeevich's story written by him. The work was called the "Moscow Family". The story was presented with the story of the unfortunate love of Vasily Kataryev. During training at Moscow University, Cathadis fell in love with one girl. She threw him and set off with young Bulgarian on his homeland. Soon, this Bulgarian died, but the girl never returned to Catarya.

The author of the work suggested Ivan Sergeevich to handle it. After 5 years, Turgenev began writing his novel "On the eve". The story of Kathareda served as the basis for this work. By that time, Vasily was already dead. In 1859, she completed the "On the eve of" Turgenev.

Brief analysis

After creating images of Lauretsky and Rudda, Ivan Sergeevich wondered about where "new people" will take from which layers will they appear? He wanted to portray an active, energetic hero, who is ready for a stubborn struggle. It was these people who demanded the "thunderstorm" 1860s. They should have replaced with such a rudine who could not move from words to business. And Turgenev created a new hero, with whom you have already met by reading the brief content of the novel. Of course, this is insar. This hero is a "iron man", which has a decisiveness, perseverance, the power of will, owns. All this characterizes him as a practical figure, unlike contemplative natures, similar to the sculptor Schubin and Philosopher Bersenev.

Elena Stakhova makes it difficult to make a choice. She may marry Alexei Berseneva, Pavel Shubin, Egor Kursnatovsky or Dmitry Insarova. The presentation on the heads of the work "On the eve" (Turgenev) allowed you to get acquainted with each of them. Elena personifies the young Russia "on the eve of" change. Ivan Sergeevich thus solves an important question about who is now most of the country. People of art or scientists, state figures or nature that devoted the life to serving a patriotic goal? Elena his choice responds to the question, which was very important for Russia of 1860s. On whom she stopped her choice, you know if I read the brief content of the novel.

Elena Nikolaevna, twenty-year-old Beauty, with youngsters, was distinguished by a good and dreamy soul. It is attracted to helping patients and hungry - both people and animals. At the same time, she has long been manifesting independence and lives with his mind, but has not yet found a satellite. Shubin does not attract it because of its variability and impermanence, and Bersenev is interested in her with his mind and modesty. But then Bersenev introduces her with his friend, Bulgarian Dmitry Nikanovich Insarov. Insarov lives the idea of \u200b\u200bliberating their homeland from Turkish rule and attracts alive Elena.

After the first meeting, Insar did not manage to please Elena, but everything turns over after the case in Tsaritsyn, when Insarov protects Elena from the bailiffs of a huge growth, herself into the pond. After that, Elena confesses himself in the diary, which loved Bulgarian, but soon it turns out that he intends to leave. At one time, he told her that he would leave, if fell in love, because she did not intend to abandon the debt for the sake of personal feelings. Elena goes to Dmitry and recognized him in love. To the question, whether she will follow him everywhere, the positive answer sounds.

After that, Elena and Dmitry are associated with Bersenev for some time, but in the meantime, with the Motherland Insarov, increasingly alarming letters come, and he is already seriously preparing for departure. In one of the days, Elena is releasing himself. After a long and roast conversation, they decide to get married. This news becomes for parents and friends Helen's blow, but she still leaves her husband.

Reaching Venice, Dmitry and Elena are waiting for the arrival of the old Randich Sailor, who should send them to Serbia, from where their path lies in Bulgaria. However, Insarov is sick, he starts the heat. Exhausted Elena dream of a nightmare, and, waking up, she understands that Dmitry at death. Randich no longer finds him alive, but at the request of Helena helps her to deliver her husband's body on his homeland.

Three weeks later, Anna Stakhova receives a letter from his daughter: she heads to Bulgaria, which will become her new homeland, and will never return home. Further traces of Elena are lost; According to rumors, she was seen during the troops as a sister of mercy.

Roman motifs

The ideas and motives of the novel were analyzed in detail from the progressive position of N. A. Dobrolyubov in the magazine "Contemporary" in January 1860 (the article "When will this day come?"). Dobrolyubov notes the sensitivity of Turgenev as a writer to urgent public issues and stops how the author reveals some of these topics in his new novel.

Special attention was paid by Dobrolyubov, the issue of choosing the main character. Dobrolyubov sees in Elena by a stah allegory of young Russia on the eve of public shifts - the interpretation, with which Turgenev himself did not agree (see Criticism):

Elena learned from the Russian people a dream of the truth that needs to be sought in the distant lands, and the willingness to sacrifice themselves for the sake of others. An artist, a scientist, a successful official and revolutionary, and she eventually choose not a clean mind, not art and not civil service, as a result, is applying for Elena's love. Dobrolyubov emphasizes that from all candidates, the only worthy Insarov, who does not think of their happiness without happiness, who is all subordinate to the highest goal and whose word does not disperse with the case.

Another topic passing through the novel is the topic of the conflict of egoistic and altruistic aspirations in the human soul. For the first time, this question rises in the scene of the dispute of Bersenev and Shube about Happiness: Is the desire to happily with a selfish feeling, which is above - disconnecting people "love-pleasure" or uniting "love-sacrifice". At first, Elena and Insarow seems to be that this contradiction is not, but then they are convinced that this is not the case, and Elena bursts between Insarov and his family and homeland, and later Insarov asks her the question, is his illness in punishment their love. Turgenev emphasizes this inevitable tragedy of human existence on earth, when Insarov dies at the end of the book, and Elena disappears and its trace is lost. But this ending is still stronger thanks the beauty of the liberation gust, giving the idea of \u200b\u200bfinding social perfection of timeless, universal character.

Criticism

Turgenev, who dreamed of the Union of Antiques and the Reconciliation of Liberals with Radical Democrats for the struggle for the common national idea, did not accept the position of Dobrolyubov, who had denied the consistency of the noble liberalism and the opposing Russian Insecarious Turks, which included not only obscurant reactionaries, but also Cute heart by the author of Liberals. He tried to persuade Nekrasov to abandon the publication of the Dobrolyubov article in the contemporary, and when he did not return him to the arguments, broke with the editors of the magazine. For its part, the dispensers of the "contemporary" also took a course for confrontation, and soon a crushing review of Rudin appeared in the journal, written by Chernyshevsky.

Significant was for Turgenev and criticism of the novel from more conservative circles. So, Countess Lambert refused Elena Stakhova in such qualities as femininity or charm, calling it immoral and shameless. The same position was taken by critic M. I. Daragan, who called the main character "empty, vulgar, cold girl who violates the decency of the light, the law of female shame" and even "Don Quixote in a skirt", and Insarov - dry and schematic. In the secular circles about the novel joked: "This is" on the eve "that will never have your own tomorrow." Once under the cross-fire of progressive and conservative critics, who ignored invested in the mouth of Insarov, the appeal to national reconciliation, Turgenev, according to their own words, began to experience the desire to resign from the literature. The serious state of the writer was aggravated by hints from I. A. Goncharov to the fact that in their last works, including in the "on the eve", Turgenev borrowed images and motives from the "cliff", by that time not yet finished.