Provincial landowners in Russian literature. In what works of Russian literature are provincial landowners represented and in what way can they be compared with Plyushkin? The "deadliest" soul

18.01.2021

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Composition - Images of landowners in the work "Dead Souls". (Option 1)

Poem by N.V. Gogol's "Dead Souls" is not only a description of the life and way of life of the Russian people in the nineteenth century, the writer in a satirical manner was able to show the most terrible human vices... According to the plot of the work, the main character Pavel Ivanovich Chichikov encounters them throughout his journey. The author clearly shows us how selfish, greedy, cruel and empty people can be - the images of the landowners of a small town clearly illustrate this.

Self-interest and greed

Chichikov's path begins with a meeting with Manilov. At first glance, it seems that it is impossible to find a more honest, correct, kinder, more caring and nicer person. But, as often happens, the first impression is very deceiving. Manilov is not at all worried about his relatives, and serfs are not at all interested in him. A very stupid, lazy, empty person. His attentiveness and kindness can be quoted. Chichikov quickly discovers these human vices Manilova and understands that for this careless person, the main thing is only his own comfort.

The landowner Korobochka after Manilov introduced herself to Chichikov as a completely different person. She is very economic and greedy, her life is limited to household chores, everything counts, no extravagance. Despite this, the landowner also has positive qualities - kindness and hard work, but the strong limited interests of a woman make her very stupid. Even selling dead souls, she is very reluctant to agree to this because of her greed, she says: "... I'd rather take a little time ...".

Cruelty and indolence

Even more unpleasant N.V. Gogol made images of other heroes of the poem - these are Nozdrev and Sobakevich. The first is a completely empty person, his life consists of constant festivities, drunkenness and entertainment. Nozdryov spends his money only on entertainment and dubious companies. Sobakevich is the complete opposite of Nozdrev, his practicality borders on pettiness. Sly and cruel, he trusts only himself and only cares about his money.

The "deadliest" soul

Combine all human vices in Dead Souls, Gogol succeeded in the image of Plyushkin. His stinginess borders on absurdity: the landowner keeps products that rot, the house is full of expensive things, they deteriorate over time. There is dirt and dust around, he avoids his own children, collects unnecessary things.

Through the created images of landowners, the author was able to perfectly show what was happening at that time in Russia. Human vices are depicted very vividly and vividly, forcing each reader to involuntarily look into his soul and see what others may not notice.

Composition - Images of landowners in the work "Dead Souls". (Option 2)

Nikolai Vasilievich Gogol is a great writer who raises important social topics in his works. So in the poem "Dead Souls" not only in the smallest details describes the life of that time, but the characteristics of the landowners, their vices and shortcomings. A provincial town is shown in the center of the narrative. There Pavel Chichikov deals with various landowners.

Opposite images

First, the main character meets Manilov. He is caring enough, honest and correct. The landowner gives the impression of a good person. But you don't have to believe the first impression. Manilov only hides behind a mask of piety. This person is a real egoist who only cares about his own well-being. He is forced to demonstrate kindness in order to gain favor in this world.

The opposite of Manilov is the secretary Korobochka. She has a different set of qualities. She only cares about the household. She is not a spender, unlike the landowner. The box can be called a good woman with a kind heart. But she is practically not interested in anything, she has no lesson for the soul. The woman is trying to save money all the time. Even when selling dead souls, she spends time, demonstrating greed.

Pavel Chichikov has to deal with unpleasant personalities. Sobakevich can be safely attributed to them. This person has a distrust of the whole world. He is cruel and petty. Chichikov himself compares him to a medium-sized bear. Another unpleasant type is Nozdryov. A man spends his fortune on entertainment. He is confused with a questionable company. They consist of drunks, gamblers and other asocial personalities.

The most interesting person is Plyushkin. The appearance of the landowner is rather awkward. It contains the features of both women and men. Plyushkin's estate is drowning in ruin. Dirt and dust reigns around. He made a dump from his house. The man was collecting all kinds of rubbish. He tries not to communicate with close people, avoids children.

The images of landowners in the poem "Dead Souls" best describe the state of Russia at that time. Through the described vices, the author tries to direct a person to the true path.

Other interesting essay topics

In what works of Russian literature are the images of landowners represented and how can these characters be compared with Plyushkin?

The images of provincial landowners are presented in the novel in verse "Eugene Onegin" by A.S. Pushkin and in the poem "Who Lives Well in Russia" by N.A. Nekrasov.

Pushkin's heroes are similar to Plyushkin in some personal qualities. Thus, the poet emphasizes the low intellectual level of the provincial landowners, their low spiritual needs. Their interests do not go beyond household chores, household chores, the subject of conversation is "haymaking", "kennel", stories about "their relatives." In addition, A.S. Pushkin are individualized, they are characteristic artistic types. These characters are most characteristically outlined in the scene of the ball held in the Larins' house on the occasion of Tatyana's birthday. Here

A.S. Pushkin presents us with images in line with the literary tradition: for example, the adviser Flyanov refers us to the comedy A.S. Griboyedov's "Woe from Wit", and the "uyezd dandy" Petushkov, "perky" Buyanov, Gvozdin, "an excellent owner, Owner of poor men" seem to precede the heroes of N.V. Gogol in the poem "Dead Souls". Portrait details are characteristic. Pushkin's "uyezd dandy" Petushkov reminds us of Manilov, whose appearance was "too sugar-laden." Buyanov, "in fluff, in a cap with a visor", of course, we associate with Nozdrev: Gvozdin, the last character, reminds us of Gogol's Plyushkin.

Thus, A.S. Pushkin, and N.V. Gogol created certain literary types, quite realistic and recognizable.

In the poem "Who Lives Well in Russia" N.A. Nekrasov, we also meet the images of provincial landowners. Their characteristic features are tyranny, lack of spirituality, lack of genuine, deep interests. Such heroes for Nekrasov are the landowner Obolt-Obolduev, Prince Utyatin. Like N.V. Gogol, N.A. Nekrasov critically evaluates these characters, depicting them in satirical colors. The author's attitude is already embedded in the very surname of the hero - Obolt-Obolduev. The author's mockery, subtle irony sounds in the portrait of this character:

The landowner was rosy,

Dignified, stocky,

Sixty years old.

In dialogue with the peasants, such features of the landowner are revealed, such as his longing for his former life, despotism and tyranny:

Whom I want - have mercy,

Whoever I want - execution.

The law is my desire!

The fist is my police!

Sparkling blow,

The blow is furious,

Utsar-cheek-mouth! ..

In the description of Prince Utyatin, there is a frank author's sarcasm:

A nose with a beak like a hawk

Mustache gray, long,

And - different eyes:

One healthy one - glows,

And the left one is cloudy, cloudy,

Like a pewter penny!

This hero also appears in the poem as a despot and tyrant, a man out of his mind, giving ridiculous orders to his peasants.

Thus, the heroes of the novel by A.S. Pushkin are similar to Gogol's characters in their personal qualities. We also note the authors' critical view of their heroes in all three works.

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in which works of Russian literature are images of landowners presented
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BULLETIN OF PERM UNIVERSITY

2015 RUSSIAN AND FOREIGN PHILOLOGY Vol. 2 (30)

UDC 821.161.1 "18"

IMAGES OF ANGLOMAN LANDSCAPES IN RUSSIAN LITERATURE OF THE XIX CENTURY

Marina V. Tsvetkova

D. philol. Sci., Professor of the Department of Applied Linguistics and Intercultural Communication

National Research University Higher School of Economics - Nizhny Novgorod

603155, Nizhny Novgorod, st. Bolshaya Pecherskaya, 25/12. [email protected]

The article is devoted to the study of the image of Anglomaniac landowners in Russian literature of the 19th century. The material for the analysis was the works of A.S. Pushkin's "The Young Lady-Peasant" and I.S. Turgenev's "Nest of Nobility" and "Fathers and Sons", which traced the main trends in the depiction of landowners-Anglomaniacs in Russian literature of the period mentioned. Passion for the English way of life, the way of housekeeping, the system of education and upbringing is invariably presented in a comic vein as deeply alien to the Russian spirit. Anglomania in the works of both authors is presented as a superficial phenomenon that does not deeply affect either the soul or the consciousness of the heroes. The revealed and described tendencies are projected at the same time on the attitude towards England and the British in Russian society of the 19th century.

Key words: images of Anglomaniac landlords; imagology; Russian literature of the 19th century; A.S. Pushkin; "The Young Lady-Peasant"; I.S. Turgenev; "Noble Nest"; "Fathers and Sons".

The study of the images of "ours" and "others" is one of the most popular trends in modern literary criticism, linguistics, cultural studies, and history. Its relevance is evidenced by the emergence of a special direction of humanitarian knowledge, called "imagology", which deals with the formation of the image of "alien", "other" in the literature, culture and public consciousness of different peoples [Oshchepkov 2010: 251]. In Russian literary criticism, imagology has now occupied its niche within the framework of comparative studies, which is confirmed, in particular, by the appearance of the fundamental work of O.Yu. Polyakova and O.A. Polyakova "Imagology: theoretical and methodological foundations" [Polyakov, Polyakova 2013].

In our country, the beginning of the study of the image of Russia and the Russians in English literature was laid by one of the largest Russian Anglists of the last century N.P. Mikhalskaya [Mikhalskaya 1995]. In the XXI century. studies of this subject, carried out by both literary scholars and historians, have appeared with enviable regularity. Suffice it to mention the works of E.Yu. Artemova [Artemova 2000],

S.A. Danilina [Danilin 2006],

L.F. Khabibullina [Khabibullina 2010] and others. One cannot fail to note the works built on the "reverse perspective", in which the focus was on the image of other cultures in Russian literature; so, N.V. Butkova [Butkova 2001] addressed the image of Germany and the Germans in the works of Turgenev and Dostoevsky, V.A. Khorev [Khorev 2005] - to the image of Poland and Poles in Russian literature. However, the evolution of the image of the Englishman, as well as the process of forming an attitude towards everything English, in Russian literature remain almost unexplored to this day. At the same time, such a study could shed additional light on the current state of Russian-British relations, making it possible to understand their roots, since national literature is a reflection of the people's picture of the world and a subtle tool for identifying changes taking place in it. Thus, the analysis of the images of the English landowners in Russian literature, offered in the article, has both novelty and practical value.

XIX century. was not chosen for study by accident: cultural historians note that since the end of the XVIII

century in Russia, along with Gallomania, which is gradually declining, Anglomania begins to develop. This process was driven by two factors: the French bourgeois revolution, which horrified the Russian aristocracy and disappointed the progressive public, on the one hand, and the impressive political, economic and cultural success of Great Britain, on the other. The War of 1812 strengthened trade and cultural ties with Britain, which fueled a growing interest in the country's government institutions and the economic theories developed by its scholars.

The first Anglomaniacs appeared in Russia at the end of the 18th century, which was largely due to the personal interest of Empress Catherine II in England, which coincided with the growing popularity of this country throughout Europe. The fascination with English culture was characteristic of this period, first of all, of those educated representatives of the Russian aristocracy who themselves had visited England and experienced the influence of its culture, which had already entered the period of its rapid flowering. Suffice it to recall the Edinburgh Salon of 1776-1779. E.R. Dashkova, librarian of Empress V.P. Petrov, writer S.S. Bobrov, M.I. Pleshcheev, who appeared in print under the pseudonym "Angloman", and others.

What attracted the educated Russians of that time to Great Britain is clearly seen in the "Notes of a Russian Traveler" by Nikolai Karamzin, where the author gives a detailed description of English life and the English character as he saw them during his trip to this country. He notes the specific sense of humor and eccentricity of the British, their heightened sense of justice and love for charity, the reliability of their word, as well as their idea of freedom, based on the Magna Carta. The British vision of freedom, which Karamzin formulates as “... I live where I want; I am sure that I have, I am not afraid of anything but laws ”[Karamzin 1988: 475], could not but amaze the imagination of contemporaries living in a state where three quarters of a century remained to wait until the abolition of serfdom.

There were quite a few educated travelers like Karamzin who visited England and experienced its influence, as a result of which the English style of dress in the first half of the 19th century. more and more successfully competes with French fashion (Pushkin's Onegin is "like a dandy London dressed"), and instead of French governesses they are increasingly invited

English governesses. As for the English language, it never reached the level of popularity that French had in the highest circles, which at the beginning of the century practically replaced the Russian language in salons. Nevertheless, English gained a certain spread in society, as evidenced by a study conducted by M.P. Alekseev [Alekseev 1976]. Memoirs and diaries of contemporaries confirm that at the turn of the XVIII-XIX centuries. There were quite a few Anglophiles among Russians (see, for example, "Notes" by F.F. ).

By the middle of the XIX century. political relations between Russia and Great Britain, already difficult, have escalated to the limit. In 1853 the Crimean War broke out. By this time, admiration for England in Russian society gradually faded away, although from the novel by L.N. Tolstoy's Anna Karenina, written in 1873-1877, shows how deeply rooted by this time the English influence in the aristocratic environment. A number of heroes have English names here: Betsy, Dolly, Kitty, even Steve is a derivative of the English Steve. It is interesting that in the historical epic War and Peace, where the action was transferred to the very beginning of the 19th century, many heroes have French names: Helene, Anatole, Julie, etc. Comparison of the names of the characters in the two Tolstoy's novels convincingly demonstrates the changes that took place in the Russian mentality from the beginning to the end of the 19th century. The place in the middle of the century occupied by English among other foreign languages can be inferred from the characterization of Vladimir Nikolaevich Panshin, thrown casually by Turgenev in The Noble Nest, who is shown as a man who knows how to live: he “spoke excellent French, English is good, German is bad ”[Turgenev 1954a: 112].

Review of Russian classics of the 19th century. allows us to assert that the images typical of that era associated with England can be divided into three categories - these are English travelers (“And the traveler, the stray, overstarchy impudent / Away a smile aroused / His caring posture / And silently exchanged gaze / he was a general sentence "[Pushkin 1986: 325] on the pages of" Eugene Onegin "by Pushkin and the British traveling couple in Lermontov's novel" Princess Ligovskaya "), English governess (Pushkin's Miss Jackson from" The Young Lady-Peasant "and Chekhov's Miss Tfays from

"Daughters of Albion"), as well as Russian landowners-Anglomaniacs, whose images are vividly represented by Pushkin in "The Young Lady-Peasant" and Turgenev in "The Noble Nest" and "Fathers and Children".

Grigory Ivanovich Muromsky is an Anglomaniac in "The Young Lady-Peasant". Pushkin writes about him that he was "a real Russian master." Having squandered most of his estate, he left for his last village, where "he continued to play pranks, but in a new kind": he planted an English garden, on which he spent almost all his remaining income, dressed grooms with English jockeys, got an English governess for his daughter, and process according to the English method. Thus, Anglomanism is presented by Pushkin as a tendency to "twist", characteristic of the Russian local nobility as a whole. It is indicative that the passion for all English turns out to be in the above description put on the same scale with extravagance, the result of which was Muromsky's departure from the capital. Pushkin treats Muromsky's innovations with irony bordering on sarcasm. Mentioning the English agricultural method, he sums up: “But Russian bread will not be born in a foreign manner” [Pushkin 1960: 100], and therefore Muromsky did not have any benefit from the transformations he carried out and even continued to get into debt. The author also describes the critical attitude of other landowners to the Anglomania of their neighbor. His most fierce opponent was Berestov, who, showing the guest his property, in response to praise for his economic orders, said with a sly grin: “Yes!<.. .>it’s not like my neighbor Grigory Ivanovich’s. Where are we going to go broke in English! If we were fed up in Russian ”[ibid.]. Thus, in "The Young Lady-Peasant", the fascination with all English, which was gaining momentum at the time when Pushkin was working on the story, is presented as a phenomenon deeply alien to Russian life, which, when confronted with it, takes on absurd and comical forms.

Ivan Petrovich Lavretsky is shown as an Anglomaniac in The Noble Nest. His image is very accurately presented by Turgenev as a “product” of a combination of Gallo- and Anglophilia, which was, apparently, characteristic of the first half of the 19th century. Raised by a French tutor - a former abbot who fled to Russia from the horrors of the French Revolution, Ivan Petrovich absorbed the ideas of free thought, which were expressed in the fact that, against the will of his parents, he married a serf, from whom he immediately left for the capital, hesitating to take her with you. In the future,

superficially assimilated French ideals bizarrely mingled in his mind with the English ones he had learned over the years he spent in Great Britain on the Russian mission in London.

Ivan Petrovich came to Russia as an Anglomaniac, as Turgenev put it, “everything in him smelled like Great Britain; he all seemed to be saturated with her spirit ”[Turgenev 1954a: 131]. His fascination with England was expressed in his appearance ("short-cropped hair, starched frill, long-lined pea coat with many collars" [ibid.]), Gastronomic preferences ("passion for bloody roast beef and port" [ibid.]), As well as his demeanor: “A sour expression on his face, something harsh and at the same time indifferent in his treatment, pronunciation through clenched teeth, wooden sudden laughter, lack of a smile, exclusively political and political-economic conversation” [ibid.]. The characterization that Turgenev gives to the hero indirectly helps us to understand how the image of the Englishman seemed to his contemporaries. From the quotes cited, it is quite obvious that he saw this image as a comic one.

Having portrayed Lavretsky as a perfect Anglomaniac, Turgenev unexpectedly reports: “But - a wonderful thing! having turned into an Anglomaniac, Ivan Petrovich became at the same time a patriot, at least he called himself a patriot, although he knew Russia poorly, did not adhere to a single Russian habit and spoke Russian in a strange way ”[ibid.]. If we compare Lavretsky with the hero of the novel "Fathers and Sons" Pavel Petrovich Kirsanov, who is shown at the same time as an Anglomaniac and a Slavophile, but was convicted by Bazarov that, considering himself a patriot, he does not at all represent the needs and aspirations of the common people, then it becomes clear that such types were characteristic of Russia in the 19th century.

Returning to the estate, Ivan Petrovich intends to carry out "radical transformations" [ibid: 132], which ultimately boiled down to the fact that "new furniture from Moscow appeared; spittoons and wash tables started up;<...>foreign wines drove out vodkas and liqueurs; people got new liveries; the inscription was added to the family coat of arms: “in recto virtus (in legality - virtue)” [ibid.]. “What about<...>estate management, - Turgenev notes ironically, - then, despite Ivan Petrovich's repeated intention to breathe life into this chaos, everything remained the same, only the rent was added in some places, and corvee became heavier, and the peasants were forbidden

address Ivan Petrovich directly: the patriot really despised his fellow citizens ”[ibid.].

The changes also affected the upbringing of his son. Ivan Petrovich announced that “he wants to make him, first of all, a“ man, ”un homme” [ibid: 134]. It is significant that the author forces his Anglomaniac hero here, as in a number of other episodes, to resort to French. The methodology of upbringing a young man, described later, also demonstrates a mixture of English and French: Lavretsky “fulfilling his intention<...>he began by dressing his son in Scottish style "[ibid.], charged him with gymnastics, while music, as an occupation unworthy of a man," banished forever "[ibid.], but ordered him to teach his son natural sciences, international law, mathematics and carpentry, on the advice of Jean-Jacques Rousseau; and heraldry to maintain chivalrous feelings.

The boy was woken up at four o'clock in the morning, poured over with cold water, after which he had to run around a high post on a rope, ride a horse, shoot a crossbow, at every opportunity, exercise firmness of will and every night enter into a special book a report of the past day and impressions ”[ibid.]. Father ". For his part, wrote him instructions in French, in which he called him mon fils and told him" vous ", although in Russian they were" you "" [ibid.].

Leaving the estate for Moscow, Lavretsky “diligently attended the club, orated and developed his plans in the drawing rooms” [ibid.], That is, behaved like a real Russian gentleman. However, during the period of reaction that reigned after the defeat of the Decembrist uprising, the acquired European gloss quickly slipped off it. The former Voltaire gentleman locks himself in his estate, begins to go to bed with roosters, steam in the bath, go to church and order prayers.

If Ivan Petrovich Lavretsky represented the generation of Russian Anglomaniacs in the 1920s, then the hero of the novel "Fathers and Sons" Pavel Petrovich Kirsanov is a representative of the generation of the 1940s. Comparing these two images, we can conclude that during the time that separated them, little has changed. In the views of Pavel Petrovich, English is also intertwined with French. He constantly uses French words in speech, finding no equivalents for them in Russian. At the same time, on the pages of the novel, Turgenev repeatedly calls him a "gentleman", depicting him dressed either in a dark English "suite", then in "an elegant morning suit, in the English style" [Turgenev 1954b: 138]. The author talks in detail about

how, while living in the countryside, Pavel Petrovich “arranged his whole life according to the English taste” [ibid: 146]. He drinks cocoa by the hour, which in the middle of the 19th century. was associated primarily with England, because it was there that special drinking houses appeared for noble people in the 17th century, where this drink was served. In the evenings, the hero sits in front of the fireplace, which is fired with coal (the main exporter of which to Russia at that time was Great Britain), and teases the old-style landlord neighbors with "liberal antics" [ibid.]. However, liberal antics could not only be due to English influence, but also be the personification of the influence of French free-thinking.

When describing Pavel Petrovich Kirsanov, just like when describing Lavretsky, Turgenev constantly mixes English, French and Russian in him. Describing Arkady's arrival, he notes: “Having made the European 'shake hands', he kissed him three times in Russian<...>and said "Welcome" [ibid: 134]. On the same page, when Arkady and Bazarov are leaving, Pavel Petrovich says to his brother in French: “I find that Arkady s“ est dégourdi (became more cheeky). ”And in the epilogue, saying goodbye, he says:“ Be happy, my friends ! Farewell! " [ibid: 272].

Kirsanov constantly spices up his speech with French words and even pronounces some Russian words in a French manner (for example, the word "principes").

Pavel Petrovich's liberalism, like Lavretsky's patriotism, has an aristocratic character. Turgenev ironically remarks that he “always stands up for the peasants; true, speaking with them,<...>frowns and smells cologne ”[ibid: 146].

The images of English landowners in all three works are united by the fact that the authors portray them with obvious irony, and their hobbies for the English way of life as superficial. Innovations are limited either by the appearance of a park in the estate, laid out in the English manner, and dressing up lackeys in a new pattern (Muromsky) livery, or by arranging the house in an English way (spittoons and dressing tables are made by Lavretsky, English washstands by Pavel Petrovich Kirsanov). At the same time, no global positive changes are taking place in the estates of Anglomaniacs: Muromsky did not have more money from running the farm in the English way, Lavretsky's position of the peasants worsened: despite the liberal views of the owner, corvee with quitrent increased; Bazarov ironically notes that in his

the room has an English washstand, and the door does not close.

Passion for English culture does not deeply affect either the soul or the consciousness of the landowners described by Pushkin and Turgenev. "Anglomancy" of their heroes, both authors portray as eccentricity, from which others are of little use.

The interpretation of the images of English heroes by the writers themselves, as well as the perception of them by those around them in works (written in different years of the 20th century), indirectly testifies to the fact that in Russia at that time the attitude towards England and the British invariably remained wary and ironic.

Note

1 A detailed description of the passion for English culture and language in Russia at the end of the 18th century. gives M.P. Alekseev in his article "English in Russia and Russian in England" [Alekseev 1974].

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IMAGES OF SQUIRES-ANGLOMANIACS IN RUSSIAN LITERATURE

OF THE XIXth CENTURY

Marina V. Tsvetkova

Professor in the Department of Applied Linguistics and Intercultural Communication National Research University Higher School of Economics - Nizhny Novgorod

The article examines the images of squires-anglomaniacs as they are depicted in Russian literature of the XIXth century. The analysis is based on Alexander Pushkin "s novel" The Squire "s Daughter", and two novels by Ivan Turgenev, "A House of Gentlefolk" and "Fathers and Sons". These novels are representative of the general way anglomaniac characters are depicted in Russian literature of the period. The squires "obsession with the English lifestyle, education, farming, housekeeping and child rearing methods is treated in a comic vein. Both authors show anglomania as a superficial phenomenon, which is not deeply rooted in the minds of their characters. The peculiarities of the representation of squires-anglomaniacs are projected onto the general attitude to England and the English in Russian society of the XIXth century.

Key words: images of anglomaniac squires; imagology; Russian literature of the XIXth century; Alexander Pushkin; "The Squire" s Daughter "; Ivan Turgenev;" A House of Gentlefolk ";" Fathers and Sons ".

In a number of works of Russian literature, provincial landowners are represented: in the play by D.I. ”And others.

In what ways can the heroes of these books be compared with Plyushkin? In relation to the management of the economy, to peasants, relatives and friends. Of course, Plyushkin is the most striking negative figure among the named heroes. It is no coincidence that N. V. Gogol exclaims bitterly: “And to such insignificance, pettiness, disgusting

Human! could have changed so much! " Aren't these words suitable for characterizing the heroine of DI Fonvizin's play “The Minor” of the serf Prostakova ?! The same pettiness, filth and meanness!

A striking contrast to these landowners is the hero of Leo Tolstoy's novel N. A. Bolkonsky, an excellent owner and a wonderful father. The prince despised an idle lifestyle, and therefore “was constantly busy writing his memoirs, then calculating from higher mathematics, then turning snuff boxes on a machine, then working in the garden and observing buildings that did not stop on his estate”. Old Prince Bolkonsky is a calculating owner. He "did everything deliberately, unhurriedly and extremely carefully." Undoubtedly, this image, drawn by the great master, is an example to follow.

Thus, I can conclude that the provincial nobility is represented in the works of Russian classics in a variety of ways and not all of its representatives are similar to the hero of N.V. Gogol.