Turgenev in my perception. "Stranger Turgenev (later creativity writer)

THESIS

Psychopoethics I.S. Turgenev - Romanista

(on the material of the 1950s - the beginning

1860s)

Performed:

Chukhleb Irina Aleksandrovna

Introduction .................................................................................... ..4.

Qualification characteristics of work

The originality of Turgenev psychologism in the aspect of the structural and genre features of the writer's novels 1850-1860. ..................................... ..10

1.1 Problems of studying psychopoethics in modern literary criticism ................................................................................... 10

1.2 typological and individual in the genre system and in the characterology of the Turgenev novel .............................................................14

1.3 The specificity of the psychology of Turgenev ........................................................... .23

Psychological disclosure of the inner world of a person in the novels of Turgenev 1850g ........................................................................................ 38

2.1 Features of secret psychologist in the Turgenev novel ............... 38

2.2 The role of morally psychological collision in Rudin novels and the "noble nest" ...................................................................... 41

Evolution of psychologist in Romanov I.S.Turgenev

about "new people." ...................................................................................... ..46

3.1. Type of public actor of the era of the late 50s of the 1960s in the novels "On" new people "............................................................................ 46

3.2. Transformation of the role of a love-psychological collision in novels

"On" new people "...................................................................................... .49

3.3. The evolution of the principles of the psychological disclosure of the "internal person" in the novels of the late 1850s of the 1860s. ("On the eve,

Fathers and children ") .............................................................................. 53

Conclusion ................................................................................. 65.

Bibliographic list ...................................................... .. ... ..68

Introduction

The social and aesthetic value of a person is determined by the measure of his psychological complexity and spiritual wealth, and the main aspect of the playback of character is actually psychological. (Of course, the inner world of man is not to be reduced to his psychology. But it was through the hero's psychology that is most deeply and clearly, convincingly and holistically reveals in the art of his inner world). (25, p.16).

According to researchers, the problem of psychologism is comprehensive in nature. It is closely related to the object and the subject and at the same time the role of the subject is extremely large.

The problem of psychologism is interesting and aesthetically significant in that it is in it very ocre and clearly reveal and the internal contradictions of the individual, which simultaneously reflects and be in itself contradictions and conflicts of the era and society. (12.82)

A person in literature is as a character as a certain type of behavior, feeling and thinking.

Researchers note that it is necessary to differentiate and distinguish between the concepts of "psychological" and "psychological analysis", since they are partially combining, are not synonymous in the full sense and do not coincide. The concept of "psychologism" is wider than the concept of "psychological analysis", it includes, for example, the reflection of the author's psychology in the work. A similar one cannot be said about psychological analysis, which has a combination of its funds, which necessarily assumes the object to which it should be directed. "The appearance of psychological analysis in the work - V. V. K. K. K. K., - its form and typology most often depend on the conscious installation of the writer, on the nature of its diving, personal properties, from the situation in the work, etc. at the same time, Describing psychological analysis as a conscious aesthetic principle, it should not, apparently, absolutize the deliberation of the choice by the artist of those or other properties "(28, from 47).

Psychological analysis arises at a relatively high stage of the artistic development of humanity and is manifested only in certain social and aesthetic conditions.

Among the researchers, the consent is unprecedented and in the interpretation of the content of the concept of "psychological analysis". So, for S. G. Bocharov, interested in "psychological characteristics" in the sense in which, for example, they say about L. N. Tolstoy and Dostoevsky, as the great artists-psychologists, the object of psychological analysis is the "inner world" as Something in itself occupying an artist who can attract its independent and special interest (9, from 17).

Some researchers understand the image in the literature of human characters under psychologism, but not every image, but only this, in which character is built as "live value." In this case, various, sometimes contradictory faces are disclosed in the character: the character appears not one-bedroom, but another planned. At the same time, these researchers include the concept of psychologism and the image of a person's inner world, i.e. His and experiencing an understanding of the character as a complex multidimerous unity, on the one hand and the image of the inner world of the character - on the other; It acts here as two aspects, two faces of psychologism.

The image of the inner world of a person - psychologism in his own sense of the word - is a way of constructing an image, a method of reproduction, comprehension and evaluation of a vital nature.

Some researchers, for example, A. I. Jesuit, seeks the causes of generating psychologism outside the work. He notes that "in the process of developing literature during periods of increased interest in psychologism by the writers themselves, as well as literary criticism and literary criticism, they are replaced by periods when interest in psychologism almost falls." The researcher comes to the conclusion that the "social and aesthetic soil" of increased attention to psychologism and its revival and development in the literature is primarily the "well-known independence and independence of the inner world of a person in relation to its living conditions." This situation in public life is not always formed, but only in certain social and aesthetic conditions, when a certain system of personality relations with society has already developed, or when it is resolutely approved and defended in acute and open struggle ... Psychologist as aesthetic principle, as a measure of human value He retreats to the background ... When historically, a new type of relationship of society with a person begins only to gradually be established or modified and the former psychologism is improved as aesthetic sign goes on the scene. The trend marked by the researcher, the trend of the "tides and tides" coincides mainly with those socio-historical processes to which the author indicates as the cause of the appearance or absence of psychologism. However, A. I. Jesuit is limited only by the statement of this fact, without explaining it (25, p.18).

A. B. Esin objects to him, noting that "the direct and direct ratio of such style quality as psychologism, with objective social reality inevitably simplifies the real picture of the interaction of literature with social life." The author suggests looking for a new link, which stands between social reality and psychologism and the mediating effect of the first to style and, in particular, on psychologism (22, from 54).

Relevance of the topic.

The novels I.S. Romegenev more than once became an object of analysis in terms of the specifics of art psychologism. Among the predecessors should be called the names of such well-known researchers as G. B. Kurland, G.A. Biala, P.G. Empty, A.I. Batyuto, S.E. Shatalov, etc. Until now, much attention was paid to the peculiarities of the "secret psychologist" of the writer and the analysis of the forms of its expression in the idiosity of I.S. Romegenev. Updating the "external" manifestations of psychologism, exploring the poetics of a psychological portrait, scientists have already set the question of the "inland man" in the image of Turgenev - Romanist. However, as it seems to us, the problem of "internal person" in the light of psychopoetics, that is, in the correlation "Thought - the Word", studied not yet so deeply and comprehensively as other aspects of the psychology of Turgenev. This causes the relevance of the chosen topic.

Without claiming a multidimensional study of this topic, we see the purpose of your work In order, on the basis of the existing scientific developments of the psychologist Turgenev, to show the work of the writer in the image of the manifold and the complexity of the processes flowing into the soul of the hero and verbalized according to the laws of artistic generalization. In other words, we consider psychopoietics in its characterological function.

Study material: Novels I.S. Romegenev about "extra" and "new people" of 1850 - early 1860s ("Rudin", "Nobor's nest", "On the eve of" "fathers and children").

Object of study - psychology of artistic prose XIX century.

Subject of study - Psychopoethics Turgenev - Romanist, the specifics of Turgenev psychologism and its manifestation in the structure of artistic text, the psychological disclosure of characters, in the system "Thought - the word".

The following flows the following target research tasks:

Examine theoretical literature on the problem of psychologism and, in particular, psychopoethics;

In evolution, the system of psychologist of Turgenev-artist on the material of the novels of the 1850s - early 1860s;

Analyze the functional role of psychologism in the aspect of psychopoethics;

Consider the originality of Turgenev psychologism in the aspect of the structural and genre features of the Writer's novels of the 1850s - early 1860s;

Explore the plot - composite, style features of Turgenev novels in the process of studying the ideological - structural role of the moral and psychological collision in these works.

Research methods: typological, complex, comparative comparable; The work also uses a systematic approach and principles of study of descriptive poetics.

Methodological basis of work Make up the works of A.B. Eustina, A.I. Izitova, E.G. Etkinda, A.S. Bushmina, V.V. Kompanian, GD. Gacheva, S.G. Bocharova, O.I. Fedotova et al. On the problems of the figurative specifics of literature, Psychologist's poetics. Used the same methodological ideas contained in historical - literary works G.A. Biae, G. B. Kurland, S.E. Shattalova, A.I. Batuto, P.G. Empty and other Turgenevedov.

Practical significance of work It is the possibility of using its materials on literature lessons in X classes of secondary school.

Approbation:

The work was tested at the Methodological Seminar at School No. 11 p. Pervomayskoye, Ipatovsky district, Stavropol kr.

CHAPTER 1.

The originality of psychologism in the aspect of the structural genre features of the Romanov I.S. Turgeneva -H - began 1850-1860.

1.1. Problems of studying psychopoietics in modern literary criticism.

In the XIX century, there is a wide introduction of social and psychological and ideological and moral and motives for the first time to develop in the realistic novel first in the artistic literature.

A. Jesuitov, considering the problem of psychologism in the literature, noted the multi-consciousness of the concept of "psychological", reducing it to the three main definitions: 1) psychologist "as a generic sign of the art of the word"; 2) "As a result of artistic creativity, as an expression and reflection of the author's psychology, his characters and, wider - public psychology"; 3) psychologism "as a conscious and defining aesthetic principle (25, pp .30). Moreover, it is precisely the last value and performs dominant in psychological analysis." The problem of psychologism is interesting and aesthetically meaning that it is extremely acute, dramatically and clearly. Internal personality contradictions are revealed, which simultaneously reflects and hosts contradictions and conflicts of era and society "(25, p.55).

In the literature after the "Natural School" there is a widespread switching of attention from the medium, with the typical circumstances on the character, which, of course, is psychological phenomenon. By 40-50 years of the XIX century. Those general cultural processes and patterns that favor the development of psychologism also clearly manifested. First, the value of the personality is steadily increasing and at the same time increases the measure of its ideological and moral responsibility. Secondly, in the process of social development, the historically folding type of personality is complicated, because the system of social relations is developing and enriched - an objective basis for the wealth of each individual personality. Communication and human relationship becomes more diverse, their circle is wider, the relationship themselves is more difficult in essence. As a result, the personality existing in realistic historical reality is potentially complicated. It is clear that these processes directly and directly stimulate the development of psychologism.

XIX is a qualitatively new stage in the development of psychologism. In the work of writers - realists, the disclosure of the roots of the depicted phenomenon is important, establishing causal relations. "One of the main things becomes the question of how, under the influence of what vital factors, impressions, by which associations and other, these or other ideological and moral foundations of the identity of the hero are changing, as a result of which events, reflections and experiences, the hero comes to comprehend this or other moral or philosophical truth "(23, 1988, p.60). All this, naturally, leads to an increase in the specific weight of the psychological image in the work.

The realistic method involves an image of an individual not only as a product of certain circumstances, but also as an individuality that enters into active, wide and diverse relations with the surrounding world. The potential wealth of character born in his relationship with reality leads to the deepening of psychologist and increase its role in the literature.

"Psychologism is an integral alignment of literature, it plays a large role in the image of a character as a complex unity of objective and subjective, natural and unique" (Golovko, 1992, p. 110).

In order for psychologism, a fairly high level of development of the culture of society as a whole is needed, but most importantly, it is necessary that in this culture the unique human personality is aware of as value. Such understanding of man and reality and became possible in the XIX century, where psychologism reaches the highest peaks in the knowledge and mastering the inner world of the individual, putting the highest moral requirements.

"Literary psychologist is a feature form,
The embodiment of ideological and moral search for heroes, a form in which literature is developing the formation of a human nature, the ideological basis of the individual. This, above all, consists of a cognitive-problematic and artistic value of psychologism "(23, 1988, p. 28).

In the psychological drama, psychologism occupies a leading position, it is its meaningful form carrying a certain problem, ideological load. This is not part, not an element of the artistic structure of the drama. Psychologist in it is a special aesthetic property that penetrates and organize all elements of the form, all its structure, all conflict of provisions.

The main focus of the psychological drama is focused on any external manifestations, but on the inner life of the actors. Psychologist here acts as an expression of a human inner life. The characters of the psychological drama can be divided into two main groups (and the social characteristic in this case plays a minor role), belonging to different psychological types: the first group - "People of the outside world" and the second - "internal" (60, 1999). Representatives of the first group are devoid of reflective consciousness, these are "clisited" types, deprived of mental depths. People of external type are complex nature, acting in their "non-usefulness" and "deductions" from any manifestations of real reality, not finding its place in it. They enter the peculiar conflict not only with society, but also with themselves, becoming involuntary victims of "free will", the carriers of which they sometimes consider themselves.

In addition, the introduction of psychologism into the internal structure of the psychological drama makes a refinement of the acting persons. There is no single hero most often, there are several of them and each of them carries a personal drama. "The psychological drama becomes a product with polyphonic sound (sound is equivalent to the" voices "of the actors). Psychological drama is, most advantage, polyphonic, not monologic structure "(Bona, 1970, p.248).

It can be said that psychologism in the drama is a certain principle of organizing its art elements in some unity, which is the integrity and peculiarity of the psychological drama.

Features of the psychological drama as genre variety.

The drama, (in particular, the psychological drama as its genre variety) goes to the literary arena at that time when the process of forming a new "human idea" is underway. After all, it is the "idea of \u200b\u200bman" evolving, determining the diachrony of the genre system, the dynamics of literature. "The philosophical" idea of \u200b\u200ba person ", characteristic of a certain historical and literary era, causing the dominance of genres of a certain literary kind, the flourishing and the development of those of which are most located on the adequate embodiment of this idea" (Golovko, 2000, p.8).

1.2 Typological and individual in the genre system and the characteristics of the Turgenev novel.

Such works as "Evgeny Onegin", "the hero of our time", "Dead Souls", was "laid" a solid foundation for the future development of the Russian realistic novel. The artistic activities of Turgeneva-Romanist turned around at the moment when Russian literature was looking for new ways by contacting the genre of socio-psychological, and then a socio-political novel.

In the 1859th years before Turgeneh, a new, large ideological and artistic task - to show the "moment of fracture" of Russian life - it was impossible to solve the means of "small" literary genres. Conscious of this, I. S. Turgenev and turned to a new genre for himself, having accumulated individual elements that came to him necessary for the artistic construction of his novels in the process of previous creative work in the field of poem, novels, essay, story, drama.

Apparently, there are no genuine artists at all that would not be interested in the inner world of their heroes. V. G. Belinsky did not imagine a big artist without "the ability to quickly comprehend all forms of life, to be transferred to every character, in any person." Developing this thought, N. G. Chernyshevsky in his dissertation emphasized: "One of the qualities of poetic genius is the ability to understand the essence of character in a valid person, look at him with insightful eyes."

N. G. Chernyshevsky wrote that "psychological analysis is almost a significant of the qualities that give the strength of creative talent." Knowledge of the human heart, the ability to disclose his secrets to us - after all, this is the first word in the character of those writers whose creations are surprised by us. Starting from the middle of the XIX century, the psychological analysis in Russian literature acquires a new quality: aggravated artistic attention to the psychological development of the individual, as the subject of the image becomes a common trend in the development of critical realism, which was due to deep socio-historical changes.

V.A. Nedzvetsky considers Turgenev's novels to the type of "personal novel" of the XIX century (41, C54. Russian Social-universal novel of the XIX century: formation and directed evolution. - M., 1997). This type of novel is characterized by the fact that both in a substantial and structural relationship is predetermined by the history and fate of the "modern person", developed and aware of his personal rights. "Personal" Roman is open to everyday prose is far from irreplaceable. As noted by N.N.Strakhov, Turgenev as much as he could, I was looking for and depicted the beauty of our life (51, critical articles about I.S. Turgenev and L.N. Tolstom.-Kiev., 2001.S.-190). It led to the selection of phenomena at the advantage of spiritual and poetic. V.A. Nedzvetsky rightly notes: "... a fourth study of the fate of a person in an indispensable connection and the ratio with its practical debt to society and the people, as well as the universal turn of the problems and conflicts naturally attached to the Goncharovsky-Turgenev novel that broad epic breathing ..." (51, p.189- 190)

Many researchers note that on Roman I. S. Turgenev in its formation and development had an impact of all literary forms in which his artistic thought (sketch, story, drama, etc.) were checked.

As noted by the observations of many researchers (N. L. Brodsky, B. M. Eychenbaum, B. Kurlyandskaya, S.E. Shatalov, A.I. Batyuto, P.G. Empty, M. K. Cleman, G. A. Bial, G. A. Zeitlin and D.R.) The most durable and constant should be considered the relationship of the Roman Turgenev with his story. According to the genre sign, Roman I. S. Turgenev is a story due to its vertex composition, a clearly indicated point of the highest voltage. Literary criticians sought to understand the proximity of the Turgenev novel with the story. According to Zeitlin, Turgenev did not accidentally call his novels by the Tap: they really stand on the verge between these genres, where, unlike Roman-epic, Roman tragedy, we find the novel-story. And this hybridity of the genre is determined by many features of the structure of the Turgenev novel - its simplicity, compression, harmony.

Turgenev Roman is not thought without a major publicity. This is one of the significant differences between the Turgenev novel from his story. A characteristic feature of the structure of the Turgenev novel is an underlined continuity of the narration. Researchers note that novels written at the heyday of the writer's talent are replete with scenes, as if not completed in their development, the total values \u200b\u200bnot disclosed to the end. The main goal of I. S. Turgenev - to draw only a spiritual appearance of the hero in the main features, to tell about his ideas.

Requests of social life and the logic of their own artistic development of Turgenev was given to the need to overcome the "old manner" of the essay. Poping in 1852 by a separate publication "Notes of the Hunter", Turgenev decided to "get rid ... from this old manner", as he said in a letter to K. S. Aksakov 16 (28) October 1852. This decision to leave the "old manner" Turgenev was still more definitely repeated in the letter P. V. Annenkov from 28 (9) of the same year: "It's necessary to go to another -" It's necessary to find it - and to speak forever with the old manner "( P., 11,77)

Overcoming the "old manner", Turgenev puts the task of understanding the hero in his social role, in the aspect of correlation with the whole epoch. Thus, Rudin acts as a representative of the era of the 30s-40s, the era of philosophical hobbies, distracted contemplation and at the same time a passionate desire for public; Serving, "case", with a clear understanding of their responsibility to the homeland and the people. Lavretsky is the expressive of the next stage of the public history of Russia - the 50s, when "act" on the eve of the reform acquires the features of greater social concreteness. Lavretsky is no longer Rudin, a noble enlightener, who has died from any soil, he sets himself the task of "learn to steal the Earth" and the moral to influence the folk life by its deep Europeanization. In the personality of Bazarov Turgenev embodied the essential features of the prominent representatives of the democratic circle of the 60s. As a materialist materialist, despising idealistic abstractions, as a person's "adamant will", conscious of the need to destroy the old, to "clear the place", the nihist of the bazarov belongs to the generation of revolutionaries, the differences.

Turgenev paints representatives of their time, so his characters are always confined to a certain era, to a certain ideological or political movement. Rudin, Bazarov, Nezhdanov are associated with certain stages of class struggle in the history of Russian social development. The characteristic feature of his Romanov Turgenev considered the presence of historical certainty in them, associated with his desire to transfer the "most image and pressure of time". He managed to create a novel about the historical process in his ideological terms, about the change of historical eras, about the struggle of ideological and political directions. Turgenev novels have become historical not on the topic, but according to the image of the image. With sharp attention, watching the movement and development of ideas in society, Turgenev is convinced of the unsuitability of the old, traditional, calm and extensive epic narration to reproduce the modern rapid public life: "... then the critical and transitional time we are experiencing, two can be refuge epic "(P., I, 456). The task of catching ideological and political trends of time, to capture the "era layer" turned Turgenev to create a novel-story, to the original composite-genre structure.

The special type of novel, created by Turgenev, is associated with this ability to notice the emerging life, it is true to guess the peculiarity of the turning points of the Russian public history, when the struggle between the old and new is extremely sharpened. The transition of public life from one state to another occupies a dialectic writer. He managed to transfer the ideological and moral atmosphere of every decade of public life of Russia of Russia 1840-1870s, to create an artistic chronicle of the ideological life of the "cultural layer" of the Russian society of this period. In the preface to the collection of novels in the publication of 1880, he wrote: "Author" Rudina ", written in 1855th, and the author" Novi ", written in 1876, is one of the same person. Throughout this time I It sought to make enough strength and skills, conscientiously and impartially depict and embody in proper types and the fact that Shakespeare calls "The Body and Pressure of Time", and that of the physiognomy of Russian people of the cultural layer acutely changed, which predominantly served as my observations "( XII, 303).

The task of reproducing the transitional moments of Russian history, the desire to hate about the runaway "last wave of life and" to catch the rapidly changing physiognomy "Russian intelligentsia, reported to the novels of Turgenev, the well-known sketch of them set them to the border on the concentration of content, clearly designated the points of the highest voltage to the allocation of the vertex moments of the story history, Focusing around one hero. It is not by chance that the Turgenev novels called the ones, sometimes large leaders, sometimes with common novels who passed, however, "the verses of our public life". Consciously avoiding the "fragmentation of characters" (Belinsky) and common household scenes of Turgenev at the same time applies Specifically historically, creating the image of the era with the help of a few meticulous details of the selected details. A. Morua wrote so much about the work of Turgenev Romanist: "Often compared the art of Turgenev with Greek art. The comparison is true, because the Greeks, like Turgenev, complex integer indicated by hint of a few excellent devils. Never novelist to Turgenev showed such a complete savings: perplexed how Turgenev could give such short books to give the complete impression of duration and completeness. "

The special structure of the Turgenev novel, undoubtedly, connecting the deepening in the patterns of social reality consequently, with the philosophical historical views of the writer, with the recognition of the dialectical development of natural and social reality. The school of dialectical thinking under the leadership of the hegelian Verdera, Turgenev knew that the movement of history was performed through the struggle of the opposite began from the lowest to the highest, from a simple to complex, with a repetition on the highest level of positive lowest content

In their literary-critical articles, Turgenev has repeatedly emphasized the role, and the importance of the critical start in the historical movement of humanity. The denial was considered as the time of the transition from the old to the new one: with his entry into the field of social development, a negative start is "one-sided, ruthless and destructive", but then loses its irony and filled with "positive content and turns into a reasonable and organic progress" (I 226). In the historical movement of mankind, the writer seen primarily the action of the law of denial. He believed that each phase of public history through the struggle of the internal opposites comes to self-denial, but at the same time its positive content is organically absorbed by representatives of a new, higher development phase. The present, leaving the historical scene, transmits its future began its rational principles and is thus enriched in the future. This is how the continuity of generations is carried out, according to Turgenev's thought, whose novels are permeated with faith in considerable history, although the writer was characterized by the features of philosophical pessimism. The idea of \u200b\u200bdenial of the old, thorough and approval of a new, defeating was determined for the structural genre organization of the Turgenev novel. He believed his task of the novelist in guessing "moments of fracture, moments in which the past dies and something new" (P., III, 163) is born.

In an effort to elevate the art of a novel, close to the story, Turgenev tried to transfer the "truth of human, physiognomy", was interested in only ordinary events, genuine scale and natural proportions of life phenomena, guided by a classic sense of measures and harmony. This denial of adventurous-scene engage in Romanov Turgenev noted Moscassan: "He adhered to the literature of the most modern and most advanced views, rejecting all the old forms of the novel, built on intrigue, with dramatic and skilled combinations, demanding that life", Only life is "pieces of life", without intrigue and without coarse adventures. "

Not an entertaining intrigue, not the rapid development of events, but the "internal action" is characteristic of Turgenev's novels - the process of detecting the spiritual content of man and the conflict with the environment.

Despite the novelistic character, Turgenev's novels differ in the necessary epic. It is created precisely those, the leading heroes go beyond the limits of intimate-personal experiences in a wide world of spiritual interests. Rudin, Lauretsky, Insarov, Bazarov, Solomin, Nezozhanov and others focus on the problem of "common good", about the need for radical transformations of people's life. The inner world of heroes absorbs the aspirations and Duma of the whole era - the era of noble education, like Rudin and Lauret or the era of a democratic lift, like bazaars. The image of the hero acquires a well-known epichetic, because it becomes an expression of national identity, some indigenous trends of people's life, although Turgenev reveals the character of the hero not in wide scenes of social practice, but in the scenes of the ideological dispute and in intimate experiences. The history of these experiences is extremely substantive and therefore, love is born on the basis of internal ideological consent, because it puts lovers to conflict with the nearest public environment. Because of this, love becomes an inspection of the moral value of heroes. It is not by chance that the narration in the novels of Turgenev is completed by the "dramatic explosion", as M. Rybnikov said correctly.

Epic understanding of life contributed to the Vera Turgenev to the spiritual wealth of the Russian people, in his moral superiority over the landowners. Pictures in novels the public history of the people of the "cultural layer", Turgenev, this world of the noble and allocating intelligentsia assesses from the position of the author's "notes of the hunter", that is, the consciousness of the great moral forces melting in the people.

The way of achieving an epic scale in the Turgenev Roman is a special refraction of the principle of historicism: a complex interpenetration of chronological aspects occurs in the novel. Currently, in which the action is deployed, through the past, explaining the origins of the roots of depicted phenomena, events, characters. For the Russian novel, in general, in particular for Turgenevsky, the underlined communication of the times and the close interaction of chronological plans are characteristic. The characters of the characters in their integrity and development are issued at Turgenev at the expense of retrospects (biographies and projections in the future (epilogues)), therefore those "extensions" who were perceived in criticism as "miscalculations" and "flaws" of the author possess an epic meaningful meaning contribute to germination Tale in the novel.

The epic latitude of Turgenev reaches the displacement of temporary layers and the use of large temporary breakthroughs. Present is deployed smoothly and leisurely in accordance with the content of the actions and events depicted and events, the last future is given sketchously, fluently, casually, concentrated.

Turgenev - sought to the utmost dynamic of the first introductory episodes, to ensure that the actors show themselves directly in the dialogic scenes. But these lasts are usually combined with prior, truth, very compressed and expressive socio-psychological characteristics. Dynamic zinch is often replaced by biographical retreats, which are sometimes very significant. For example, in the "noble nest", this retreat is implemented throughout many chapters (VIII-XVI) True, this retreat in this novel acquires independent importance in the context of the whole. Widely deploying a social and household background, which explains the dramatic history of Lisa and Lavretsky, Turgenev in the XVII chapter is returned to the narration in the present. Such a complex plexus of the present and past is life in the novel "Smoke".

Flowing "add-ons", disclosing the perspective of character and giving a wide panorama of life, the loving psychological story is complicated in its structure, acquiring epic content. In addition, the kernel of the Turgenev novel is far from the intimate psychological collision: personal history is always accompanied by scenes of dramatic action, which are ideological clashes of social antagonists or the ethical and philosophical conversation of like-minded people. Love itself in the Turgenev novel acts deeply thought, born from spiritual sympathy, which is why the scenes of ideological conversation organically fit into the history of intimate personal relationships. Beloved becomes for the Turgenev girl by a teacher who answers the question of how to do good.

The writer's attention is focused on a variety of ideological mediation of love story. Already in episodes
From the present time Turgenev goes beyond "big
Tale ". The scenes of the ideological conversation, complicated by psychological motives, constitute the basis of the novel and determine the structurally genre of its originality.
The form of dialogue in the novels of Turgenev always performs the justified necessary, because it is depicted with it
People whose relationships are internally significant
Significant. Interlocutors and in the scenes of the ideological dispute,
In an intimate conversation are given in comparison, in comparison
friend. To the form of the dialogue of Turgenev nezoubs
The purpose of the image of the ideological and psychological antagonism of Rudda and Pigasov, Bazarov and Pavel Petrovich Kirsanova,
Lauretsky and Panishin, Sipyagin and Solmin, as well as with the aim of images of people, spiritually loved ones, - Rudina and Lenznev, Lauretsky and Mizavevich, Liza and Lavretsky, Shubin and Bersnev, Litvinova and Potugina. Forms of dialogical speech, Turgenev draws a clash of typical characters expressing significant historical trends of time. At the scene of an ideological dispute, expressing the ideological relationships of his participants, Russian intellectuals of the 40-70s, are essential in the composition of Turgenev Romans. We are interested in the history of ideological discrepancies of their heroes, Turgenev opposed them to each other not only on the line of ideology, but also along the line their individually psychological content. The discrepancies in Turgenev interlocutors on theoretical issues is always the discrepancy between the typical characters presented in the unity of their ideological and moral appearance. In the scenes of the dispute, Turgenev acts as a psychologist, acutely interested in the spiritual peculiarities of antagonists. The polemical dialogue becomes the form of identifying not only the content of the theoretical position of the acting persons, but also their socio-psychological originality.

So, the important difference between the Turgenev novel from the story is rooted in the nature of its construction. When compared with the story of Turgenev, his novel looks like a complex and at the same time a very slender plot-composite system with a clearly established internal relationship between all it is sometimes contradictory elements.

1.3 Specificity of psychologist I. S. Turgenev.

In the second half of the XIX century, when a huge number of ideas made his way in all forms of public consciousness, in Russian realistic literature, there was a particularly obvious tendency to an increasingly deep penetration into the inner world of man.

The opening of the complex sphere of human thoughts and feelings is the main part of the realistic method of artistic creativity, and the psychologically reliable disclosure of the inner world of a person on the basis of his connections with the surrounding world has long been a strong artistic conquest.

The research literature has long been raised the question of the great importance of the contribution of I. with Turgenev to the treasury of human studies.

Back in the XVIII century, in the 50s, N. Ch. Chernyshevsky formulated the definition of many types of psychological analysis on the material of the analysis of psychological manner L. Tolstoy: "The attention of the graph of Tolstoy is most drawn on how some feelings and thoughts develop from others; it is interesting To observe how the feeling of directly arising from this position or impression, obeying the influence of memories and the strength of the combinations submitted by the imagination, goes into other senses, turns back to the previous starting point and again it worst, changing the chain of memoirs, as a thought born first sensation leads To other thoughts, he is fond of and further, dreams with a valid sensation, dreams of the future with reflexion about the present. Psychological analysis can take different directions: one poet has more than the outline of characters; the other - the influence of public relations and everyday clashes on characters; third - the connection of feelings with actions; Fourth - Ana Liz passion; Graph thick is all the more - the mental process itself; His forms, his laws, dialectics of the soul, to express with a certain term.

Contemporary I. S. Turgenev, critic P. V. Annenkov, wrote that Turgenev is "a certain psychologist", "but mystery." The study of psychology at Turgenev "is always hidden in the depths of the work - he continues, - and he has developed with him, like a red thread, beaten in fabric."

This point of view was separated by a number of critics during the life of Turgenev, she received recognition and in the subsequent period - up to the present day. In accordance with this point of view, Turgenev psychologism has an objective and final nature: mental, internal, intimate, although it is comprehended, but not through a kind of removal of cover with the soul caches, when a picture of the appearance and development of the senses of the hero opens in front of the reader, and by artistic realization of them in external manifestations in pose, gesture, facial expressions, act, etc.

Knowledge of the human heart, the ability to reveal his secrets to us - after all, this is the first word in the characteristic of each of those writers whose creations are surprised by us. "

Starting from the middle of the XIX century, psychological analysis in Russian literature acquires a new quality: aggravated artistic attention to the psychological development of the person as the subject of the image becomes a common the trend of the development of critical realism, which was explained by deep socio-historical changes. The second half of the XIX century - the era of breaking the Ustiva Old, patriarchal serfdom Russia, when "old irrevocably, in front of the eyes collapsed, and the new one was just fit." Lost the process of historical movement. "In some decades, the transformations that have taken whole centuries in some European countries," - wrote V.I. Lenin about this era. Russia's capitalist Russia went to the change of fortress Russia. This economic process was reflected in the social area "common lifting of a sense of personality."

The deepening of psychological analysis in the Russian literature of the middle and the second half of the XIX century, associated with the new decision of the personality problem, found its individually unique expression in the work of Turgenev and Goncharov, Tolstoy and Dostoevsky. These writers unites the desire to understand the inner world of a person in its contradictory complexity, incessant change and the opposite of opposing opposites. The psychology of the personality was considered as a multilayer, in the correlation of the indigenous properties and surface formations that arose under the influence of the socially vicious medium. At the same time, the method of psychological analysis was carried out by our wonderful writers individually peculiar, in accordance with their understanding of reality, with their concept of man.

Comparative ideological and artistic characteristics of related writers as representatives of trunk, opposite and at the same time inextricably linked currents in the Russian psychological realism of the XIX century, is of great importance for understanding not only the individual identity of each of them, but also the patterns of the literary process.

According to M. B. Khranchenko, "typological unity does not mean a simple repeatability of literary phenomena, it involves their relatives - similarities of some essential internal features." For the writers of psychological flow, Russian critical realism is characterized by the image of the diverse conflicts of the personality and society, in contrast to the writers of the so-called sociological flow, are interested in conflicts due to deep contradictions between the needs of the nation, the people and the dominant public entry, a self-sufficient-serpentine building.

The inner world of heroes becomes an object of close artistic study in the works of the psychological direction. "The history of the human soul" recognized Lermontov "is hardly more curious and not more useful than the history of the whole people." The main goal of art L. Tolstoy believed in "express the truth about the soul of a man." Art, he considered a microscope that brings the artist to the secrets of his soul and shows these common secrets to everyone. "Passion Images" is entirely occupied by Goncharov. He constantly depicted "the process of various manifestation of passion, that is, love", because "the game of passions will give the artist a rich material of living effects, dramatic positions and reports more than its development."

"Inner man" in the new literature of Europe existed before this phrase appeared. Literature- and, of course, philosophy - differently understood what was happening "inside"; The perception of thought and the ratio of thought with the word designed to express it, verbalize it. Under psychopoetics, Etkind understands the field of philology, which considers the relationship of thought, and the term "thought" here and below means not only the logical conclusion (from the reasons for consequences or from consequences, reasons), not only a rational understanding process (from essence to the phenomenon and back), but also the whole aggregate of the internal life of a person. The thought (in ordinary usual color) conveys the content that Jean-Paul was inserted into the concept of "internal man"; However, we will use this combination often, meaning the diversity and complexity of the processes occurring in the shower. To begin with, we note that verbalization, that is, the severity of thought by external speech is significantly different in different cultural and stylistic systems.

"Internal man" and psychology - this problem is considered by E. E.Tortex as an up-to-date. He noted that Zhukovsky was looking for "verbal means - to express inexpressible. Russian narrative poetry and romance prose of the XIX century seeks to connect the world of "internal person conquered by romantics with a psychologism rejected by them. Romantics discarded the character - Novalis resolutely stated: "The so-called psychology is laurels that have taken place in the sanctuary of the place owned by the true gods." Writers of the XIX century, overcoming romanticism, took up the rehabilitation of psychology. N. Ya. Berkovsky noticed: "The characters are unacceptable for romantics, for they constrain the personality, put it limits, lead it to a certain hardened"

Russian prose (and before it - "Roman in verses" Pushkin) is increasingly more insistent and decisively removes this erroneous representation. Neither one of our great novelists has both of such a "cursing": the psychology of Goncharov's heroes and Turgenev, Dostoevsky and Tolstoy, Garshina and Chekhov differs in flexibility, multilateral depth, variability, unpredictable complexity. Each of them is their own idea of \u200b\u200bthe internal dominant: Goncharov is a struggle of the natural essence of a person with a book; Dostoevsky is a birth in the consciousness of a non-grain-growing and obeying of itself the idea of \u200b\u200bthe idea leading to the splitting of the person, to the pathological "twin-quality"; Tolstoy - the struggle between the spiritual and sinful-carnal forces inside the body and the soul, the struggle defining and love, and death; Chekhov is a conflict between a social role and self-human in man. These runaway formulas involuntarily lightly, the reader will find more detailed and serious judgments in the proposed book (Etkind E.G. Internal man and external speech.: Essays of psychopoethics of Russian literature XVIII-XIX V.-M., 1999.-446c).

Of course, psychology writers were not supporters of pure psychologism, a passive contemplative immersion in the inner world of the hero as a self-sufficient and unlimited flow of associative connections. Through the psychology of the person, they revealed the essence of public relations. The history of intimate and personal experiences made it possible to identify the moral and psychological states of representatives of antagonistic social forces and trends. No wonder V. G. Belinsky wrote: "Now the novel and the story are depicted not by vices and virtues, but people like members of society, and therefore, depicting people depict society."

The psychological drama of the person spent the socially due to the fact that some significant processes of public history. But, as G. Pospelov noted, in the artworks of psychological flow, and the characters of heroes show themselves only the "symptoms" created their social circumstances, in contrast to the works of the sociological direction, in which typical circumstances are directly.

Psychologist of prose I. S. Turgenev repeatedly attracted the attention of researchers, including the author of this monograph. Even in the 1954 article "The artistic method of Turgenev-Romanist (based on the materials of Rudin's novels," noble nest ", the day before," "fathers and children") ", and then in the book" Method and Style of Turgenev-Romanist "considered forms of psychological Analysis in the works of Turgenev due to its worldview and method. Portrait drawing, the originality of the psychological part, the content of the author's position, the nature of the narrative style - everything was studied by me in connection with the forms of psychological analysis of Turgenev.

From the works, specially dedicated to the specifics of the artistic manner of Turgenev, should be called a long-standing book by A. G. Zeitlin "Mastery of Turgenev-Romanist", published by the Soviet writer in 1958. A significant part of the monograph of the city of Biae "Turgenev and Russian Realism" is given to the study of the writer's novels from the point of view of the connection of their ideological content with the features of the artistic form, in the perspective of the ideological and political and ethical and philosophical worldview. Style components are considered in accordance with the person, taking into account the concept of character, the Turgenev solution to the problem of personality, which gives the analysis to organic unity, despite the motley and variety of attracted material.

In the books "Problems of Poetics I. S. Turgenev" (1969), "Art World I. S. Turgenev" (1979) S. E. Shatalov practically continues the tradition of their predecessors, considering the evolution of Turgenev psychologism from the subject, external image of the soul to more Deep analytical penetration into the inner world of man. In addition to these monographic works, there are also separate articles on the forms of psychological analysis in the same work of Turgenev.

Turgenev was an opponent of self-surveillance, which sorew the observation of Tolstoy, escaling him to look at the people with an insightful look. According to N. G. Chernyshevsky, Tolstoy "extremely carefully studied the mysters of the life of the human spirit in itself," this knowledge "gave him a solid foundation for studying human life in general, to solve characters and springs, the struggle of passions and impressions." Turgenev, the reflection of an extra person focused on this focused attention to himself: "Also, all these subtle reflection and reflections over their own feelings." The old "psychological belt", which is "positively positively monomicing Tolstoy, was associated with Turgenev with the capricious, obsessive and fruitless self-analysis of the" excess person. " This concentration of the "Russian Hamlet" on its purely individualistic experiences was a writer with small, egoistic, leading to disunity with humanity.

Turgenev fairly objected to the detailed description of the minor phenomena of the psyche in the works of epigales of thick, against the use of the method of psychological decomposition. When the pursuit of subtle halftones becomes an end in itself, then psychological analysis acquires subjective one-sided character. Turgenev advised N. L. Leontiev: "Try ... to be as simple as possible and clearer in art; your trouble is some kind of confusion, although faithful, but too small thoughts, some unnecessary wealth of the rear ideas, minor feelings and hints. Remember that no matter how thin and the inner structure of some fabric in the human body, skin, for example, but its kind is understood and uniform "(P., II, 259). He wrote Turgenev: "... Your techniques are too thin and exquisitely smart, often to darkness" (P., IV, 135). Welcoming the gift of psychological analysis L. Ya. Stechkina, Turgenev finds that this gift "often goes into some kind of painstaking nervousness", and the writer then flows into the "petty, in whim." He warns her from the desire to "catch all the fluctuations of the mental states": "You all are constantly crying, even sobble, feel terrible pain, then now the same non-ordinary lightness, etc. I do not know, - enters into Turgenev, - You read Lion Tolstoy; But I am sure that for you the study of this - the undoubtedly the first Russian writer is positively harmful. "

Turgenev appreciated the striking power of psychological analysis inherent in thickness, fluidity, mobility, dynamism of its mental pattern, but at the same time negatively referred to an infinite decomposition of the feeling in the works of thick (P., V, 364; VI, 66; VII, 64-65, 76 ). The form of the immediate image of the Mental Process of Turgenev was regarded as "capriciously monotonous, in someone and those, as well as", as "the old man, transmit oscillations, vibrations of the same feeling, provisions," as "psychological". It seemed to him that thanks to the petty decomposition of the feeling on his constituent parts.

This dissatisfaction with microscopic analysis "Soul" was not random for Turgenev: it is associated with the deepest foundations of his worldview, with a certain solution of the problem of personality.

Tolstoy perfectly coped with the task of dynamic transformation of internal speech. Turning an idiomatic inner speech into a syntactically organized and understandable for others, Tolstoy created a literary imitation of internal speech, trying to preserve its features - absentiance and condensed. But Turgenev is the transformation of the undecided flow of speech thinking into speech, understandable for everyone, was not true and, most importantly, possible. He did not satisfy the Tolstovsky transition from the inner speech to the external, as a rationalistic invasion of the region of human consciousness, which is not subject to analytical decomposition and designation.

Turgenev was to some extent right when it protested against the rationalistic understanding of the "spirituality" of the human person, against the verbal, consequently, a logized image with the means of the inner monologue of the mental stream, still vague and completely unconscious on the earliest incharmedi stages of its development, in any case, The conviction of Turgenev is that the first movements of the emerging life, the first unconscious manifestations of consciousness are not amenable to accurate verbal designation - is quite consistent with the provisions of modern scientific psychology.

The negative attitude of Turgenev to the method of rational designation of all phases of the mental process becomes clear, especially in the light of achievements L. S. Vygotsky in the field of thinking and speech.

Protesting against those who consider the relationship between thought and the word as the processes independent, independent and isolated, as well as against those who identify these processes, L. S. Vygotsky at the same time recognizes that "thought and the word" are not interconnected Communication. This connection arises, changes, grow up during the very development of thought and the word. "In the same work," thinking and speech "the scientist writes:" We did not agree with those who consider internal speech as what precedes external as its inner side . If the external speech is the process of turning thoughts into word, materialization and objectification of thought, then here we are observing the reverse process, the process, as if going outside, the process of evaporation of speech in thought. But the speech does not disappear at all and in its inner form. Consciousness does not evaporate at all and does not dissolve in a clean spirit. The inner speech is still speech, i.e. the thought associated with the word. But if the thought is embodied in the word in external speech, then the word dies in the inner speech, giving birth. Inner speech is largely thinking with clean values \u200b\u200b... ". Expressing his idea as a result of carefully conducted experiments, L. S. Vygotsky notes:" This course and the movement of thought does not coincide directly and directly with speech deployment. Units of thought and units of speech do not coincide. One and other processes detect unity, but not identity. They are connected with each other with complex transitions, complex transformations, but do not cover each other as straight lines superimposed on each other. It is easiest to see this in cases where the work of thought ends unsuccessfully when it turns out that the thought did not go to words, as Dostoevsky says. "

The process of the origin of feelings and thoughts is represented by Turgenev's mysterious laboratory closed for any writer. The first movements of emotionality will not tolerate cold analytical dismemberment: they are mysterious and cannot immediately become conscious. His cherished beliefs in the indecomposition of the spiritual process, which flows hidden, precisely at the first stages of his development, Turgenev expressed in connection with the intimate experiences of Lisa and Lavretsky: "Lavretsky was given to the whole who fascinated his will - and rejoiced; but the word will not express what happened in a clean soul Girls: It was a secret for her itself. No one knows, no one has seen and never see, as designed to life and blooming, it is poured and ripen grain in the lands of the Earth "(VII, 234). This is a comparison of an abstract psychological concept with grain poured and growing in the village of Earth, reveals the Turgenev understanding of the emerging feeling process as non-influential external observation.

According to the deep conviction of Turgenev, it is impossible to designate the exact word that in itself is unpacked, incomprehensible due to the richness of the shades and the complexity of internal contradictory unity, thanks to the insufficient awareness of these only alone, only born feelings. That is why Turgenev abandoned the microscopic analysis of the vague, unexplored streams of the internal emotional life of a person, but preferably portrayed the means of the inner monologue, ripening and quite conscious feelings, fully completed thoughts, i.e., after all, the results of the mental process. It is not random to the means of epithets and their clutch, he passed the stable signs of the spiritual warehouse of his heroes and in the situation of this moment, as the image of their changing moods.

It should be related: the sphere of the subconscious and various levels of consciousness were very occupied by the Turgenev psychologist, but for the identification of these areas he almost did not use the means of the inner monologue. But we turn to this topic below.

Turgenev and Tolstoy - antipods in their psychological method, according to ideological and creative, ethical and philosophical position.

Sober realism of a thick, completely alien romantic idealization, affected at the receptions of psychological analysis, in the desire to decide the whole process of the origin and development of the feeling, to designate the most depth direct movements of consciousness. Tolstoy traveled to his merciless analysis to the last depths of the personality, clearly detecting the very first manifestations of the inner consciousness, the most diffuse. During the mental process, Tolstoy took the most unsubstantiated links and the relationship of the smallest particles of mental life, their bizarre clutch and transformation, in a word, a complex pattern of internal, mental. By all excessive analysis, the writer walked to the synthetic representation of the moral and psychological system of the personality of the literary hero, which experiences a complex history of release from the infectant class ideas and norms.

The rationalist position of Tolstoy, first of all, said in the image of elementary particles of the microcosm of mental life, undoubtedly annoyed Turgenev, who considered the deep essence of the human personally irreparable and therefore not subject to decomposition on the smallest indivisible elementary particles. The psychology of elementary particles was presented to him "monotonous about the same sensations." He performed a convinced opponent of the enlightenment, rationalistic approach to the human person, to her "spirituality", that is, the opponent of the Tolstovsky "Dialectics of the Soul", the removal of covers with the mental life of a person to its simplest terms.

Deprived of the limitless faith due to the word and reason, in their ability to express both the fact that in itself is mysterious and is not subject to external definition, i.e., the designation, Turgenev, in full consent with a romantic aesthetics, believed that only music transfers with the greatest Immediately the emotionality of a person. Thus, summing up the lonely of the Misseuman and the slender life of Sanina, suddenly the crossed-off, donated to him by Jamma, and received her response letter from America, Turgenev with all certainty notes: "Do not take to describe the feelings tested by Sanin at reading this letter. Similar feelings are not Satisfactory expression: they are deeper and stronger - and immediately of any word. Music One might pass them "(XI, 156).

The emotional element of music puts a person in a direct relationship with a verbally inexpressible stream of inner life, all the wealth of overflows and transitions of feelings, illuminated by the light of a certain consciousness; Introduces it to the ideal, raises over the everyday human life. Music art becomes for Turgenev's perfect heart, passionate impulse of the mysterious stranger from the story of "three meetings", sublime love Liza and Lavretsky. Poetic love of the Russian girl! Could be expressed only by the wonderful, triumphant sounds of the composition of the lemma. Attention to the world of an internal person receives a romantic color in the works of Turgenev, associated with the desire for a synthetic image, as well as to the "generalized-symbolic reflection of individual mental states".

The Turgenev concept of the personality, in the origins of its leaving the romantic philosophical idealism of people of the 40s, leads us to understand the internal organic bonds of the creative method of the writer with the forms of his psychological analysis. The realistic method of Turgenev becomes romantically active due to the understanding of the person, as a mysterious, mysterious and incomprehensible in its substantial basis. "After all, it is only in us in us that remains for us a semi-legged secret," says the writer, explaining the proximity of Marianna, to her to the end unconscious, to romance, to poetry (XII, 100).

Protesting against the literary imitation of the most diffuse stages of internal speech, still connected with the subconscious depths of our spiritual "I", Turgenev created the theory of "secret psychology", according to which "psychologist should disappear in the artist, how the skeleton disappears from the eye under the living and warm body, which It serves as a solid, but invisible support. " "The poet must be a psychologist," Turgenev clarified K.N. Leontyev, "but secret: he should know and feel the roots of phenomena, but represents only the most phenomena - in their bloom or fading" (P., IV, 135).

chapter 2.

Psychological disclosure of the inner world of man in Romanov I. S. Turgenev about"Unnecessary people."

2.1 Features"secret psychologist" In the Turgenev novel.

The peculiarity and strength of Turgenev psychologism is that Turgenev has most attracted those spontaneous moods and impressions that, merging, should cause a person a feeling of completeness, saturation, joy of the immediate feeling of being, enjoyment from the feeling of their merger with the surrounding world.

S. E. Shatalov at one time explained the lack of studies of the psychological method I. S. Turgenev in the fact that the conditions for setting and solving this issue at the current scientific level are not yet quite crude. The study of the psychological method of even Dostoevsky and L. Tolstoy began relatively recently; As for Turgenev, yes, in other times, Herzen, Goncharov, Leskov and many other artists of the XIX century, then the modern reader is forced to be content with or invalid the work of the authors who took advantage of psychologism, or summarize the associated comments scattered in the work of the skill of Russian classics.

As A. I. Batuto noted, the techniques of psychological disclosure of characters in Turgenev are in close compliance with the form of its novels that they are an integral part of it. Turgenev depicts a psychological process, as if going next to the reader, charging him a lot in the spiritual life of the hero to guess. For these purposes, the researcher believes, Turgenev uses the method of "secret disclosure of mental movements." The writer builds his analysis in such a way that not talking about the background of the mental phenomena, after all, it allows the reader to draw up an idea of \u200b\u200bits essence.

The decision of the main issue - about the historical meaning of the hero - is subordinated to Turgenev novels and the image method, the inner life of the character. Turgenev reveals only such features of the inner world of the character, which are necessary and sufficient for their understanding of both social types and characters. Therefore, Turgenev is not interested in sharply individual traits of the inner life of their heroes and does not resort to detailed psychological analysis.

Unlike L. Tolstoy Turgenev much more interested in the general, rather than a private, not a "mysterious process", and the obvious visible manifestations.

The main psychological trait that determines the development of the internal life of heroes, their fate, and therefore, the movement of the plot is a contradiction between the worldview and nature.

He portrayed the emergence, development of feelings and thoughts, who chosen the strength or weakness of nature, its passionality, its romantic contemplative element, or its moral strength and reality. Moreover, these qualities were considered in their growth, changes and all kinds of transformations, but at the same time, as data is known to the fate of their carriers by the fate. Psychological analysis in Romanov Turgenev was not static, but the spiritual evolution of characters was distinguished by the radicality of interests. Not the process of spiritual development of heroes, and the struggle of the opposite began in his mind interested Turgenev-artist. And this is precisely this struggle of opposing in man who cannot exist in unity, remains intact for Turgenev heroes and leads only to the change of psychological states, and not the birth of a qualitatively new attitude to the world. With the conviction of Turgenev in the indecomposition of human processes, his theory of "secret psychology" is connected.

The theory of "Secret psychology" assumed a special system of artistic incarnation: the pause of mysterious silence, the effect of an emotional hint, etc.

The most deep course of inner life was consciously remained underwent, was shot only in their results and external manifestations. Trying, to fight extremely impartial, Turgenev invariably took care of the observance of the distance between the author and the character.

As G. B. Kurlyandskaya writes, "Turgenev performed a conscious opponent for finding a clearly determined designation of those simple particles of mental life, which constitute the deep basis of human psychology."

At the same time, this conscious and principled refusal of the image of the mysterious process of the birth of thought, and feelings do not mean at all that Turgenev was a writer of statistical characteristics that transmit only sustainable signs of human character. The historical and philosophical worldview of Turgenev affected his concept of a person as a participant in public history. Characters in Turgenev's novels are always representatives of a certain phase of social development, expressants of historical trends of their time. Personal and general - various spheres for Turgenev. Natural attractions and inclination associated with nature, brought up by a long-term generation process, often do not correspond to the conscious requests of a person. With his moral consciousness, he is entirely belonging to a born future, and in kind, it is associated with the real, which is already captured by the destruction and disintegration. Turgeneva psychologist is therefore interested in the story of the soul, but the struggle of the opposite began in the consciousness of the hero. The struggle of opposing principles, which can no longer exist in unity, remains intact for Turgenev heroes, but leads only to the change of psychological states, and not to the birth of a qualitatively new attitude to the world. The struggle of the opposite, that is, the conscious moral and public aspirations of heroes with some kind of their born, eternal qualities, is depicted by the writer as unsuccessful: each has a peculiar nature, in all irresistible.

2.2 The role of the moral and psychological collision in Rudin novels, "noble nest".

Rudin is a brilliant nature, it belongs to the characters that are put forward on public arena when the historical necessity arises in them, personal properties correspond to the role they are called to play history. Turgenev paints him as a person's mental type - theorist, the "Russian Hamlet", but shows that Russian reality foreign and, similar to him, the Russian reality makes them in the unusual character of their roles.

Psychologist depends on the socio-psychological type, which is reproduced by an artist in the images of heroes. Rudin-torn from the people of the people by the power of historical circumstances was doomed to the groundlessness, on a wandering of native land. According to his own words, he "wandered not by one body - silently wandered. "Where I did not have, for what roads did not go." The inner socio-psychological drama of the Rud Dream, the splitness of thought and feelings, words and things in it, more than once he was noted in criticism. This drama was the result of the socio-historical circumstances of the era of timeless, when the best representatives of the noble intelligentsia were "smart unnecessaries", "superfluous people."

The internal mental conflict of Rudina is a complete disagreement between the contemplativeness of the inaction character and moral sensitivity, which calls the Rudin to the ministry of the Motherland and the people. Rudin understands that domination over one minds and is irrelevant and useless. The predominance of the head, reasonable over property to the immediate and bright feeling and the action characterizes the Rudin as a typical representative of the noble intelligentsia of the 30s - 40s. He suffers from "damned inappropriate", "every movement of his life, and someone else to decompose on the components of the elements" internally split Rudin stretches to the ideal of spiritual integrity, hot, passionate life, it recommends living simply and directly: "The more simpler, the more closely the circle for which Life runs up, the better. " Representatives of the rising democratic intelligentsia of the 60s understood that the noble enlighteners of the 40s were insolvent in the practical application of their ideas to the case, partly because it was not yet enough soil to fully implement their ideas, partly because, developing more An abstract thinking rather than life, which gave for their views and feelings to some negative elements, they lived most of themselves; The head of the head was sometimes it was great that he had broken harmony in their activities, although it cannot be said that there was a dry heart and cold blood. The socio-psychological drama of Rudin is associated with certain historical conditions, the period of the 1830s - early 1840s in Russia's life, when the noble intelligentsia was given to the distracted philosophical quests, which, leading to live contradictions of real life.

The type of "excess person" was put in the center of the next novel Turgenev - the "noble nest". This his hero has endowed semi-democratic origin, physical strength, mental integrity and ability to practical activity. A sharp feeling of the speed of historical movement, the change of public forces exercising this movement, put the writer before the need to observe and analyze new characters arising in the Society of Types. Interest in the people, the desire to be useful to him to find his place in the historic life of the country, the main sense of the development of which should be the improvement of the people's life, based on the knowledge of the needs and aspirations of the people, are characteristic of Laurezza. Lavretsky - thinker. Conscious of the need for action, he considers for himself care to develop the meaning and directions of this action. A lot of moments have been introduced into the novel "Noble Nest" to emphasize the gamletism of the main character. In the fate of Laurerse, as in the destiny of Rudina, Turgenev shows the spiritual drama of the idealistic noble intelligentsia of the 30s - 40s, cut off from the folk soil, although, as D. I. Pisarev, "on the Personality of Laurek, is clearly indicated Nathodics. It never change the Russian simple, but durable and sound practical meaning and Russian good nature, sometimes angular and awkward, but always sincere and unprepared. Lauretsky is simple in the expression of joy and grief ... ". Lavretsky sincerely strive to be useful and necessary homeland. But he can no longer teach himself by the noble illusions, which supported his existence, Rudin, his thoughts are facing real life, to rapprochement with the people. "I need to plow the land," he says. Lavretsky proclaims the need to return the intelligentsia "with idealistic heavens to real reality."

It was necessary to preserve and carry the "soul I live" through the long years of the fastening person of serfs, and not only carry, but also await this soul in others, at least in the form of the most common and abstract, but sublime truths, like in Rudin ", or the moral purity of poetic pictures of the" noble nest ". Historically, the task was that on the one hand, with refund and protest, to reject everything impregnated with the slave ideology and morality, and on the other - to clarify the humanistic ideal, seeing happiness in life and not in a profit or career, not in slaveland, but in aspirations To beauty, to the truth, to good, in the awareness of the debt, in the proximity to the people, in love for the Motherland. The heroes of the Turgenev novels of the 50s were the best Russian people of that time, not giving out and others to finally go and go down.

A sharp feeling of the speed of historical movement, the change of public forces exercising this movement, put the writer before the need to observe and analyze new characters arising in the Society of Types. Lighting the weaknesses of "extra people", Turgenev at the same time indicates that they played a positive role in the public life of their time.

A love-psychological conflict plays a great ideological and artistic role in Romanov Turgenev. N. G. Chernyshevsky notes notes inherent in all Turgenev novels: through a love story to reveal the meaning of the hero in public life.

The core of each Roman Turgenev forms a personal drama of the hero. Turgenev-Romanist is experiencing its heroes, first of all, not on large, but on a small vitality, making them by the participants of a complex loving psychological collision.

However, the behavior of the hero in the "small" loving psychological drama with a narrow range of participants turns out to be a decisive test not only for a hero of "small" loving psychological, but also for a participant in another "big" social and historical drama. Turgenev-Romanist comes from the ideas that the personal and social properties of people are inextricably linked with each other. Therefore, the behavior of the Turgenev Hero in the face of the beloved woman and other people surrounding not only his personal, but also the social properties embedded in it is the measurement of its historical significance. Thanks to this behavior of the hero on the "small" arena and features in a personal loving psychological drama helps a novelist to answer the question of the social value of the hero, about the ability to serve the needs of society and the people. The hero of the Roman "Rudin" turns out to be weak and untenable in love, and the lack of direct feeling reveals the contradiction, the inner torn of his nature is not only because, he is inferior to Rutin and is ready to try on with reality, but also because at that moment he He ceases to represent the social element of the youth of "idealism", the risk that was expressed in the style of his sermons, corresponded to his unpleasuries, internal freedom from the influence of the conservative oblivion of life and attracted young people to him. Rudin prefers to talk about love than love and love itself is one of the winning philosophical topics for him.

The main features of people "Rudinsky type" were revealed at the time of the testing of the test - "tests of love", through which, defining the true value of heroes, Turgenev usually "conducted" them in their tests. This test, Rudin could not stand: very foolish in words, he at the moment when the need appeared to show determination in fact, turned out to be weak and unimustal. He was confused and immediately retreated before a serious obstacle

Chapter 3.

Evolution of psychologist in Romanov I.S. Romegenev about"New people".

3. 1. Type of public actor of the era of the late 50s of the 1960s in novels about "new people."

1. As an artist who quickly responded to all major events of modern public life, Turgenev felt the need to create the image of a new hero capable of changing the passive noble intellectuals such as Rudin and Lavretsky, whose time was held. This new hero of Turgenev finds in the middle of the democrats of the allocates and seeks to describe it with the maximum objectivity in two novels - "on the eve" (1860) and "fathers and children" (1862). The question of the new figure of Russian history is preceded by the "On the eve of" a peculiar philosophical overture - on the topic of happiness and debt (15, Turgenev and Russian realism.: Sov.P.P., 1962, p.183). In the "on the eve" we see the irresistible influence of the natural chaos of public life and thought that the thought and imagination of the author involuntarily obedoled, "I wrote N.A. Dobrobraubov in the article" When will the real day come? "" "On the eve" - \u200b\u200bfirst novel, in Which public value of the hero is undoubtedly approved, and at the same time this is the first novel with the figure of the difference in the center. The new hero is characterized as the direct opposite of Rudin and Lavretzky: there is no shadow of egoism or individualism in it, the desire for self-supporting goals is completely alien to him. There are all the properties of an individual character necessary for the historical figure, which is intended to fight for the liberation of the native country: "Will's inflexibility", "focused purification of a single and long-standing passion", etc. In the novel "On the eve", a person of a strong character and purposefulness inspired by the great idea of \u200b\u200bthe struggle for the freedom of the birthplace, which he subordinates all his life comes to replace the reflecting and suffering "excess people". Insarov completely a man of a new era. "There is no in him," the researcher S.M.Petrov notes, nor eating hamletism, nor painful reflection, nor the tendency to self-division. (44, I.S.Turegennev. Creative way. - 5rd ed.-m. 1978).

He is not interested in the music of eloquence, which was so characteristic of "unnecessary people" like Rud Deta or Beltov.

Insarov, if we apply the Dobrolyubovskiy characteristic of a new generation of new people, "not, knows how to glisten and noise. In his voice, it seems there are no screaming notes, although there are sounds very strong and hard. In Insaro, there is also a discrimination of the disorder between the word and the case. ( 21, Coll. Op. In 9 t., -M).

This integrity of the person, born by devotion to the Grand Cause, gives him strength and greatness. The novel "On the eve" meant that new people-democrats are becoming the heroes of Russian literature. Turgenev's novels of the 1860s differ from preceding topics, they gained great importance to social issues. Its manifestations are clearly noticeable in the novel "Fathers and Children". In the "fathers and children", Turgenev returns to the "centripetric" structure of the novel. The embodiment of historical movement, historical fracture in the novel is one hero. "At the same time, in the" fathers and children "for the first time, the Turgenev is a novel, the structure of which is determined by the opposition of conscious and political forces" (36, -l., 1974).

2. Life observations convinced Turgenev that the Democrats, with which he ideologically went to, is a large and growing force that has already shown himself in many areas of social activities. Turgenev felt that it was from a democratic environment that the expected hero should be released. The heroes of the first two novels were close and understood by Turgenev. Now he has faced the task of an artistic incarnation as the heroes of the new era of people of a completely different warehouse than the characters from the Wednesday of the Nobility Intelligentsia of the 30s. It is believed that "In an effort to catch and condense in the images of Insarov and Bazarov, the features of a new public type, the artist could not quite deeply feel his essence, failed - due to the novelty of character - to the end to reincarnate in it" (56, -M, 1979 ).

The psyche of people like Bazarov and Insarov remained to be known as "closed", because "it is necessary to be bazar himself, and it did not happen to Turgenev," D.I. Pisarev believed. And therefore, the critic believed that here "psychological analysis associated with the List of Bazarov's thoughts we do not find, we can only guess what he thought and as it formulated his beliefs before himself. In the process of the evolution of the Turgenev psychologism, - the researcher S.E. .Satalov, - a peculiar splitting occurred. When the main and minor heroes appeared, the psychological analysis was always deliberately deepened and over the years I became more complicated. With the outcome of various embodiments of some types - mainly new - reveals a refund to indirect psychologism. . Turgenev was interested in these new types, he sensiblely caught their not quite determined features. He gave a figurative certainty, maybe even not so much scattered strokes of the behavior of real persons, how many expectations and hopes that bind to the new hero.

Considering the problems of Turgenev Romanov of the late 50s of the early 1960s, we notice that Turgenev was still striving for the truthful display of the entire new and progressive in Russian life. "Exactly and strongly reproduce the truth, the reality of life is the highest happiness for the writer, even if this truth does not coincide with his own sympathies," he wrote (11.Hu, p.349). The novels "On the eve" and "fathers and children" have shown that new people become the heroes of Russian literature - democrats. The merit of Turgenev and is that he was the first in Russian literature to noted their appearance and an ever-increasing role in the late 50s.

3.2. Transformation of the role of a love-psychological collision in novels"about "new people"

Large ideological and artistic role in the novels I.Sturgenova about "new people" continues to play a love-psychological conflict, although its functions are much weaker than in previous novels, and in the "fathers and children" the center of gravity is transferred to the collisions that reveal the social problematics, as a result of which the loving psychological conflict moves to the background. Its structurally forming function and its structural-forming function in connection with the evolution of the genre system. This in turn is due to a change in issues.

In the novel "On the eve" for the first time, love appeared as unity in convictions and participation in general business. The history of Insarov's relationships and Elena Stakhova is not only the story of disinterested love based on spiritual community; Personal life is closely intertwined with the struggle for bright ideals, for loyalty to a large social cause.

In the "on the eve", as well as in Rudina and the "noble nest", the character, and not only the main characters, but also minor, are revealed through the loving psychological collision. The depth and strength of love, the most forms of its manifestation characterize the features of the personalities of Heroes - Shubin, Bersenev, Insarov. Careless and frivolous Shubin, although he suffers sometimes from indifference, Elena, loves her as shallow as shallow art. Bersenev's love is quiet, mounted, sentimentally sluggish. But insarov appears, and love with such force captures Elena that it becomes scary. A selfless and boundless feeling that covered her, the awakening of the passion, its courage, all this corresponds to the strength of the nature and wealth of the personality of Insarov. Turgenev paints completely different, still unprecedented in his works, scenes of love, a new type of relationship between the heroes of the novel. Having loved Elena, Insarov runs not from weakness of character, like "extra people", but from the strength of him. He is afraid that the love of the girl, which he did not even go on the ground to look at the person who could divide his life, will prevent him. And Insarov even thoughts do not allow "to satisfy a personal feeling to change their work and their debt" (U111,53). This is all again familiar features of the moral appearance of the dismocratic democrat of the 60s. It is noteworthy that the attitude towards Insaru in Elena is somewhat different than that of the heroes of the first novels of Turgenev. Natalia is ready to bow in front of Rudin. Elena "felt that she did not even bow in front of Insarov, but to file his hand friendly (U11.53). Delane is not just Insarov's wife - she is a friend, like-minded person, a conscious participant of his business.

And naturally, as opposed to Rudina and Natalia, Lavretzky and Lisa, Insarov and Elena find their happiness, their life path is determined by the high idea of \u200b\u200bthe feat in the name of the happiness of the people. Harmonic compliance between the ideal and the behavior of Elena is tangible in total affects the scenes of the novel dedicated to the image of the origin and the development of her feeling to Insar. Noteworthy in this respect ch. X1U, in which after the next story of Insarov about Bulgaria between him and Elena, the following dialogue occurs:

"Do you really love your homeland?" She said timidly.

It is not yet known, "he answered," That's when any of us dies for her, then you can say that he loved her.

So, if you were deprived of the opportunity to return to Bulgaria, "Elena continued," Would it be very hard in Russia? "

It seems to me that I would not bear it, "he said.

Tell me, - began again Elena, is it difficult to learn the Bulgarian language?

Insarov ... again spoke about Bulgaria. Elena listened to him with devouring, deep and sad attention. When he cumshot, she once again asked him:

So you would never stay in Russia? And when he left, she watched him for a long time "(U111,65-66). The sad intonation of Elena's questions is caused by the consciousness that her love is not able to keep Insarov in Russia, and the fear that her own worship before sacrificial heroism can remain unrequited , And the thirst for active good. However, Elena's question feels cautious, but persistent search for a faithful way leading to a solid connection with Insarov. Natural continuation and natural development This dialogue gets in ch. Hu111.

"So you will go for me everywhere?

Everywhere on the edge of the earth. Where will you be, I'll be there.

And you do not deceive yourself, you know that your parents never

will not agree to our marriage?

I do not deceive myself, I know it.

Do you know that I am poor, almost beggar?

What am I not Russian that I am not destined to live in Rosius, what will you have to break all your connections with the Fatherland, with relatives?

I know I know.

You also know that I dedicated myself to a difficult, ungrateful, that I ... What will we have to be subjected to not one dangers, but also to deprivation, humiliation, can be?

I know everything I know ... I love you.

What you will have to fall behind all your habits that there, alone, between others, you may be forced to work ... She put her hand on his lips.

I love you, my dear "(U111.92). Elena is characterized by an extraordinary thirst for activity, purposefulness, the ability to neglect the opinion and conditions of the environment and, most importantly, an irresistible desire to be a useful people. Smart, concentrated in his thoughts, she is looking for a wovel person, One-minded, seeing a broad perspective and boldly coming forward.

In the novel, the types of Russian life on the eve of the fall of serfdom are diverted in the novel. "They all their historical content - as the researcher S.M. Petrov indicates, are correlated with the main theme" on the eve ", which led the location of the main actors around Elena as the Roman Composite Center."

Another N.A. Dobrobrubov considered the image of Elena, the novel focus. In this heroine, according to Criticism, embodied "the irresistible need of a new life, new people, which now covers all Russian society, and even not only the so-called" educated "..." The desire of active good is in us, and there are strengths; But fear, uncertainty in their power, and finally, ignorance: what to do? - constantly stops us ... and we are all looking, we are waiting, waiting ... We are waiting for us to at least explain what to do. "

Thus, Elena, who, in his opinion, the young generation of the country, its fresh strength is characterized by a festivity of protest, she is looking for a "teacher" -chat, inherent in the active heroines of Turgenev, despite the tragic junction, "on the eve" breaths the statement of mind, advanced thought, courage and heroism. Elena embodied new trends. Turgenev believed that the magazine of the work was not fully fully explained to the direction of the further development of the pictures of the characters and did not clearly determine their fate. He turns to the epilogue, where in heavy reflections Helena about the guilt of them with Insarone in front of the sky "for the mountain of poor lonely mother" sounds about the impossibility for a man of long happiness. "Elena did not know," Turgenev concludes from himself, - that the happiness of every person is based on the misfortune of another. " Unlike the first two novels in the "On the eve", Turgenev is developing the romance structure of the type "scenes from life", which combines the features of the chronicles and stories - confession: most of the life of the hero (sometimes all) is covered in scenes separated by large chronologically dips and grouping around Scene kernel. In the main prices with the maximum fullness, a certain psychological situation is reproduced (most often on the basis of a love collision) with its inherent inner movement. In the "on the eve", Turgenev continues to use the loving psychological collision as a means of moral characteristics and evaluating their heroes, their relationship, the strength and wealth of their inner world, the characters are revealed in this conflict. As in the previous novels, the loving psychological conflict in the "On the eve" misses "a large public content.

"Fathers and Children" - a bright sample of a socio-psychological novel. Large social problems that worried Russian public thought in the 1860s and reliably reflected by Turgenev in "fathers and children", put this novel and political and in artistic relations above other writer's novels. Turgenev transfers the center of gravity on collisions, revealing social issues, as a result of which the love intrigue moves to almost the middle (X1U-HU111). The loving psychological conflict in the novel is so compact that it is placed in just five chapters, although its role is important.

Turgenev, for whom True love has always been a high criterion, showing the contradiction between the statements of the Bazarov about love and flashed in it with a great feeling towards Odintova, seeks not to humiliate Bazarov, and on the contrary, to exalt it, to show that in these seemingly dry, worm Nihilists lighten a much more powerful power of feeling than in the "crowded" before Katya Arcadia. The love of the last bazaars determines briefly "Blanmange". In the fate of the advanced difference-democrat, as noted in criticism, love rarely played the all-term and the more "fatal role"; And it's not by chance that Turgenev takes a love plot in the "fathers and children" of Turgenev.

And in the bazaarov, the powerful power of love, the celebration of youth affected. "In conversations with Anna Sergeyevna, he even more formerly expressed his indifferent contempt for all romantic: a, left alone, with indignation felt romance in herself." "Its blood clouded as soon as he recalled her; he would easily have a blood with his blood, but something else was set in him, which he did not allow anything, what he always drowned, which was outraged all his pride" (1x, 126 ).

In the "fathers and children" for the first time in Turgenev, the loving psychological conflict does not fulfill the structural-generating role. The structure of the new Turgenev novel is determined by the confrontation of social and political forces capable of entering into contacts, only in the skirmishes and "combat actions" of ideological order. Having considered the role of a loving psychological collision in the Romes of Turgenev about "new people", we notice that, as in the previous novels, it performs a number of functions. Through the loving psychological collision, there is a disclosure of characters, in the "on the eve" she "misses" a large social content and performs a structural-forming function. In the "fathers and children" the role of a love-psychological collision is greatly weakened, because The center of gravity is reinforced on collisions that reveal social issues.

3.3. Evolution of the principles of psychological disclosure of the "internal person" in the novels of the late 1850s of the early 1860s. ("On the eve, fathers and children")

As an artist, Turgenev is distinguished by interest in the details of the nature of character not only under the decisive impact of the medium, but also as a result of quite sustainable independent internal development of heroes.

Psychological analysis in novels about "new people" acquires new quality: it is noticeably complicated due to the appeal of the author to receiving internal speaking, although this reception is to some extent in the previous Romanes of Turgenev.

During work on the novels about "new people", the evolution of the psychological method of Turgenev is noticeable: "Indirect analysis, - notes researcher S.E.Shatalov, - acquires greater deposit, subject tangibility and bulge; combination of various techniques descriptions of the heroes from the outside" is increasingly creating an illusion Simultaneous penetration inside. "

But this evolution meant not a departure from some of the principles of the analysis of the inner world and the transition to others, but the development of trends, from the very beginning of the inherent psychological method of Turgenev, mastering the capabilities laid down in it. This process can be defined as the accumulation of creative experience and the growth of the artist of the writer. Turgenev to the limit used the possibility of psychological analysis in the objective narration, which were available to the Russian literature for the 1860s. And it's not by chance that Herzen in the spring of 1860. In the "bell" will name Turgenev "the greatest modern Russian artist." In the novels "On the eve" and "fathers and children", the evolution of the psychological method of Turgenev as a result of its own creative development of the artist and taking into account the experience of Russian and foreign literature.

In novels about "new people" - due to the novelty of character - Turgenev uses a variety of means of psychological analysis - and among them, those in the early novels and the reports met episodically, or not at all were used.

First of all, these are notes, letters, diaries. For example, excerpts from the Elena diary are grouped in such a way that a holistic picture of the formation of her feeling towards Insarov is created. Dreams are introduced, scoreless gusts are so pleased that their connection with the surrounding circumstances is unclear.

In the "on the eve", as noted by researchers; The writer strongly emphasizes the compliance or inconsistency of the landscape of the internal states of the heroes. Landscape framents acquire a psychological function. So, doubts and oscillations of Elena are shared and reveal by special landscape compliants: "In front of the morning it is undressed and fell into bed, but could not sleep. The first fiery rays of the Sun hit her room ... "Oh, if he loves me!" She exclaimed suddenly and not having exclaimed her light, revealed his arms (U111.88). When she goes on a date from Insar (to which which He decided not to appear), follows the landscaped pre-expectant of her disappointment: "... 0 I wanted to see insaround once again. She walked, not noticing that the sun had long disappeared, obscured by heavy black clouds that the wind gustly rustled in the trees and flower her dress that the dust was suddenly climbed and rushed to the post on the road ... flashed lightning, hit the thunder ... the rain hung his streams ; The sky circle was postponed (U111.90).

During the work on the novel "On the eve, Turgenev has become available formerly not quite clear corners and spheres of human psyche.

The most intention acquired great socio-political distinctness and pointedness. The arsenal of psychological analysis means was richer. "The socio-political problems from now on in the novels of Turgenev determine relationships between characters and open something new in their inner world, which previously not portrayed writers," notes researcher S.E.Shatalov.

In novels about "new people" to disclose characters, already familiar techniques are used, for example, repetition. In the dialogue with Pavel Petrovich, directly in front of the duel of the bazaars is limited by the fact that only the ends of phrases (and not their own, and their interlocutor) repeats .0Dako in this, in Turgenev, reveals all the bazaars at this moment. In each of his carelessly uttered response, complacent contempt for the ritual of the duel, which is soporno respected Paul Petrovich; Irony is swaying, both at the opponent's address and in its own address. Recalling the reasons for Duel, Pavel Petrovich says:

"- We can't tolerate each other. What is more?

What is more, - repeated ironically bazaars.

As for the very conditions of the fight, since we will not be in the seconds - for, where to take them?

Exactly where to take them? "

And before the duel itself:

"Are we can start?

Let's proceed.

New explanations you, I suppose, do not require?

Do not require ...

Sawn out to choose?

Sedugovolovka. "(1x, 134).

Using all the same repetitions undoubtedly having the importance of peculiar techniques of psychological analysis, designed for extremely minimal, but nevertheless, there is quite sufficient, the desire of the Bazarov and the one-to-face to approximate each other, their secret, all growing excitement.

However, in the overwhelming majority of cases, Tolstovsky common repetitions in the work of Turgenev objectively oppose not these truncated repetitions, and the default techniques, pauses, often a kind of psychological, semantic overload of a separate phrase, and sometimes even individual words.

Thus, in the novel "On the eve", a short-term output of the patient insarova from the delusional state is depicted: "Chedd, he whispered, and his eyes closed." The 0Dine word is full of deep psychological value, which can be quite evaluated, only remembering the description of the first date of Elena with Insaro His apartment. After conducting Elena, Insarov thought: "Is it not a dream?" But the thin smell of the rescue, left by Elena in his poor, a dark room, reminded her visit. The word "aware" in the mouth of Insarov means that the thought of Elena did not leave him throughout his serious illness. There are no other words on the "this topic", there is simply no novel. Reception of a long aces or defaults, which is also found in the previous works of Turgenev, is filled here with a special content.

Here the bazarov in a conversation with Arkady (GL.1X) makes a risky statement: "Ege- Ge ... You give an even meaning of marriage; I did not expect from you." The Bazarov said is left as if without attention.

But another point of view is still felt in the subtext - it is given to understand it ... The default: "There were several steps in silence," and then translated the conversation to another line ...

In ch. The Fathers and Children on the terrace includes Fenzheka - for the first time during Arkadia, and "Pavel Petrovich strictly frowned his eyebrows, and Nikolai Petrovich was embarrassed" Fuenuschka only entered and came out - nothing else, but after that, "silence dominated the terrace for several moments disturbed only by the arrival of Bazarov

In Chapter X1x, motivating his departure from the estate of Odse, bazaars

with irritation, he says that he didn't hire it. " "Arkady wondered, and the bazaars lay down and turned face to the wall. For several minutes in silence" (1x, 156).

Odenty like both, but both seek to hide apart

my feelings.

In chkkhy. Bearing in mind your relationship with Bazarov, Arkady asks the interlocutor: "- Did you notice that I was already released

from under his influence? "Instead of clarifying that I thought

at the same time, Katya ("Yes, he was freed, but I will not tell you about it yet, because you are a junior self-sufficiency"). Turgenev is limited to an indication of the psychological pause in the dialogue: "Katya said". (1x, 165). With this, the means of psychological analysis is evacuated by the figure of the main character.

Having met Arkady and Bazarov, Nikolai Petrovich is lucky in Marino, on the road Arkady is experiencing: "- What, but here the air! How nice it smells! The right, it seems to me that nowhere in the world does not smell like in the local edges! Yes, and the sky here. .. Arkady suddenly stopped, threw an indirect look back and silent. "(1x, 13). This is the first hint that the bazaars, the "enemy of all efforts", and Arkady in his presence shy to be himself. Soon after, Nikolai Petrovich begins to read poems from Evgenia Onegin, bazaars interrupts his decompatization request to send matches. In this second secret (but already more specific) psychological characteristics of Bazarov as an irreconcilable opponent of "romanticism". No wonder after some time the bazaars will be announced by Arkady: "And the father is nice small," but "poems, he reads in vain."

So in these novels, Turgenev is realized by the central theoretical position of its "psychology": the writer "should know and feel the roots of phenomena, but represents only the most phenomena."

"Secret" psychological analysis of Turgenev Skup and "Surface" only at first glance. With the help of such an analysis, Turgenev convinces, for example, in the fact that the bazaars only seems to be a mockery, a skeptic and a heartless student. The scenes of explanation of the Bazarov with Odentova speak about it. Pause, scraps of phrases, slow speeches, pauses show that both all the time go along the edge of the abyss. But on a large, sincere feeling turns out, in the end, it is "nihylist". Heracking humanity, restrained strengths of the Bazarov's experiencing testify such a few speeches before death: the desperate call of the Father: "Eugene! ... my son, my dear , a cute son! "- Bazarov answers slowly, and in his voice, the tragedy and solemn notes are played:" What is my father? "(1x, 163).

In this regard, it is appropriate to recall the characteristic judgment of Turgenev on the receptions of the psychological analysis, expressed in the play on the play of the Ostrovsky "Poor Bride". "Mr. Ostrovsky in our eyes, so to speak, is closed in the soul of each of those created, - the Turgenev states, - but we let us notice him that it is undoubtedly a useful operation must be performed by the author before. His people should be already in full of his power when he displays them before us. This psychology will say, perhaps, the psychologist should disappear in the artist, how the skeleton disappears from the eye under the alive and warm body, to which he serves as a strong, but invisible support ... To us, concludes Turgenev, - the most precious, sudden Movements in which the human soul is spoken by ... "(P. Hu111.136).

In force, the newness of the character of Turgenev appeals to, it would seem to be outdated for the XIX century reception - to enter the diary of the hero into the text of the narration. But the whole question is how to enter. The Elena Diary not only reduces the number of pages of the novel, acquainting the reader with her character to mood, but, apparently, some of them exclude altogether by substitution. In addition, the diary consists of runaway passages (peculiar scenes), with each of them preceded by ellipsis. "All this notes researcher A.I. Batuto, - emphasizes the wedge of the image of the spiritual development of Elena, creates the illusion of its cinematic continuity."

The complex state of its heroes of Turgenev transmits through the drawing of external movements. So, after a night dating from the bazaar and intimate psychological conversation with him, Odintova turned out to be agitated. Her complex state of mind is the consciousness of the infertility of his outgoing life, the desire of novelty, the fear of the possibility of passion is passed by Turgenev through the drawing of the external movements of the heroine: "Bazarov rapidly came out. Odintsova, Intrivily rising from the chair, headed by fast steps to the door, as if wishing to return the Bazarov ... Lamp for a long time he burned in Anna Sergeyevna's room, and for a long time she stayed still, only occasionally by fingers in their hands, who were slightly bitten by the night cold. "(1x, 294-295). Gesture is a great psychological burden in the Romanes of Turgenev. The flow of unbearable in the word of thoughts and feelings, which, thanks to the characteristic detail, are guessed by the reader. Relying on intimate-personal experiences of Bazarov, on his positive human nature, Turgenev refutes the nihilistic denial of romance. It shows that bazaars, contrary to nihilistic prohibitions, deeply and greatly feels . The tragedy of love leads Bazarov to the feeling of emptiness, bitterness and some poison. The most profound, inner, patient and carefully denied manifested in the manner to hold on, in the appearance of the hero, is that it does not depend on his volitional effort. On the contrary To remain in the top plan of the nihilistic consciousness is expressed in words, his conversations with Arkady. "

For these two points, the detection of an internal mental state through external movement and mimic changes, and verbal approval of the former, nihilistic views associated with the desire to close the sources of romantic life, they are given by the author nearby, in the estimated comparison.

Turgenev, as underlined above, the means of disclosing the main socio-psychological characteristics of the person becomes the portrait. In the static portrait of Elena Stakhova, the main psychological feature of her personality is also expressed, - it is the internal mental tension, a passionate, impatient looking for a search. "She recently passed the twentieth year. She was high, his face had a pale and dark, large gray eyes under round eyebrows surrounded by tiny freckles, forehead and nose, absolutely straight, compressed mouth and pretty acute chin. Her dark-bound braza descended low on a thin neck. In all its creatures, in the expression of the face attentive and a little bit, in a clear, but changeable gaze, in a smile, as if tense, in a quiet and uneven, there was something irregular, electric, something impustiful and hurry , In short, something that could not everyone likes that even repelled other. Its had a narrow, pink, with long fingers and legs are also narrow; she went fast, almost rapidly, slightly leaning forward. (U111,32) .

The history of the consistent deployment of the images of the main characters begins with the appeal of the writer to receive "premium, unpropered little premium as in the novels of Dostoevsky, but psychologically expressive."

So, the image of E. Stakhova arises for the first time in the sphere of the subjectively expressive speech of Schubin. The question of Bersenev in the work on the bust of Elena Shubin is responsible with despair: no, brother, does not move away. From this person you can come in despair. Look, lines clean, strict, straight; It seems to be not difficult to grab similarity. It was not here ... it is not given like treasure in hand. I noticed, how does she listen? None of the feature touch, only the expression of the view is changing, and the whole figure changes from it. "(U111.10).

Speaking about the appearance of Elena, Shubin reveals the complexity of its spiritual "I". Pre-comments of the main actors are replaced by a sketch image at the first moment of their appearance in the scenes of a dialogical speech.

Brief characteristics of secondary characters, also acquire a greater psychological depth. Wiss Ivanovich, Venetian actors, Randich - all these are living people, and inanimate circumstances; Two-three features of Turgenev notes an understanding of the very being of their inner world.

As the researcher A.I. Batuto notes, especially expressive

similar characteristics in the novel "Fathers and Children": Kukshin, Fenochka, -All secondary characters outlined convex. Researchers of creativity I.S. Romegenev noted that it would be mistaken to imagine the evolution of Turgenev psychologism in the novels "on the eve" and "fathers and children" as a completely uniform development of homogeneous in all its manifestations.

So, Professor S.E.Shatalov notes that "... In an effort to catch and condense in the images of Insarov and Bazarov, the features of the new

public type, the artist could not quite deeply feel his essence, failed - due to the novelty of character, to reincarnate in it. "

Thus, in the process of the evolution of the Turgenev psychologism, his unique splitting occurred. When the most of the main and secondary characters are outraged, something close to the artist, the psychological analysis was always deepened and became increasing over the years. When the various embodiments of some types are outlined - mainly new - a refund to indirect psychologism is found. Noting the evolution of Turgenev psychologism in line with Russian psychological realism, it is impossible not to note a kind of reverse flow in its translational stream. This is due to the content itself of new social types or new subjects of psychological research.

3 A K L S H E N E.

Considering the issues devoted to the study of the problem of the peculiarity of psychology in Romanov K.S.Turgenev of the 1850s - early 1860s, we came to the conclusion that the Natural Littleship raised, despite the significant achievements of Soviet literature in this area, requires an additional study.

The psychological skill of the writer is wearing in connection with his ideological and aesthetic tasks. Psychologist is determined by the concept of man and reality of each artist and is a means and form of typing, i.e. The psychology system is associated with the artistic method of the writer.

Studying the problem of the peculiarity of psychology in Romans I.S.Turgenev K.1850-Kh - N.1860s was practiced in the aspect of the analysis of the creative method of the writer.

In the first chapter of the work, the data of Turgenevia's structural and genre features of the Turgenev novel of the 50s-early 60s, the problems of the "secret" psychologism are considered in the aspect of the identification of typological and individual began in the socio-psychological novel Turgenev. Turgenev is one of the most vivid representatives of the psychological course of Russian critical realism; And the peculiarities of the psychology of the writer manifests itself the most clearly when comparing with the systemically related systems of psychologism. Thus, we touched upon the question of the role of the writer's creative personality in the literary process of the 1850s - 1860s.

This problem is considered on the example of the novels of the 1850s - early 1860s not by chance. In the late 1830s - early 1840s, Russia embarked on the path of transformation from the feudal monarchy into the bourgeois. The country prepared a revolutionary situation. Lenin described this era, as the era of breaking the ruins of the old patriarchal serfdom of Russia, when "old irrevocably, in front of the eyes collapsed, and the new one was just fit." A new social force appeared on the historic arena - the revolutionary-democratic intelligentsia. Turgenev stubbornly reflected on the nature and means of public transformation and about the positive hero, which will contribute to its implementation. The main characters of Turgenev Romanov expressing new aspirations of new Russia.

The idea of \u200b\u200bdevelopment, the idea of \u200b\u200bprogress has always been close to I.S. Turgenev. The great merit of Turgenev is the creation and development of a special variety of novel - the novel of the public, in which the most important and quickly reflected new and more and more timely and quickly affected by the era. The main characters of the Turgenev novel - the so-called "extra" and "new" people, noble and disinfect-democratic intelligentsia, during a significant historical term predetermining the moral and ideological and political level of Russian society, its chayan and aspirations.

Social questions in the Romans of Turgenev received a artistic embodiment in the image of a personality quest. The artist of psychological flow does not accidentally strive for significant psychological development of character and uses a love-psychological collision for this.

Psychologist is considered by us as a dynamic system; The evolution of psychologism is caused by the development and complication of the problems of the Turgenev novel.

We tried to show that the love-psychological conflict in novels about "new people" loses its structural-forming functions, so characteristic of it in Rudin novels,

The "noble nest", since the nature of the new hero, his social and moral positions could not be disclosed in the framework of the traditional collision. In connection with the change in nature in the novels "On the eve", "fathers and children" evolve, forms and means of psychological analysis are enriched.

It is impossible to agree with those researchers who consider Turgenev with such a writer who reached art vertices, only approaching the "Dialectics of the Soul" L. Tolstoy. The psychological analysis of Turgenev was deep, original and effective in the knowledge of the inner world of man.

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Turgenev in my perception

Turgenev is one of the most famous writers of the XIX century. He knows and read in all countries of the world. Turgenev wrote a lot of excellent stories, poems in prose, plays, stories and novels. All these works are created by the hand of the talented author. Turgenev is the glory of our literature. One of foreign journalists noted: "If the Pushkin, Lermontov, Dostoevsky and Pistemsky is read abroad, then this is due to the fact that the writings of Turgenev laid the way abroad with its predecessors and successors."

I first got acquainted with the works of Turgenev still in elementary school. These were poems in prose and stories from the Notes of the Hunter. Then I, of course, could not appreciate these works, but a lot later I read some of the most magnificent leaders of this wonderful writer. I was shocked. What skill is created unique images of heroes and heroines!
How realistic is Russia's life of those years! Reading these works, you get into the unique Turgenev world, worry, worry about heroes.

The works of Turgenev are full of thought about the fate of the Motherland. Witched to the people and deep faith in his great future, they helped the upbringing of Russian revolutionaries. "He quickly guessing new needs, new ideas introduced into public consciousness, and in his works ordinaryly turned ... attention to the question facing the line and already vaguely starting to worry society," -
He wrote about Turgenev Dobrolyubov.

The public and literary merit of Turgenev, who created wonderful female images, full of thirst for activity, dedication and readiness for the feat. These are Turgenev heroines as Elena from the Noman "On the eve", Jamma from the Test "Wounds" and many others.

Turgenev is a subtle artistic prose master. Whatever the theme he touched, all from under his pen came out masterfully written. These are feminine images (the so-called "Turgenev Girls"), and people from the people (numerous images from the "Hunter's Notes"), and the pictures of nature. Even Belinsky noted Turgenev "Unusual skills to depict the paintings of Russian nature." For example:

"... With dew, there is a scarlet shine on the glades, even recently lured liquid gold streams ..." As bright, this landscape is described in colorfully and vividly. Reading these lines, you can easily submit this unique picture. "The singer of Russian Nature, Turgenev with such poetic strength and immediacy showed the captivating beauty and the charm of the Russian landscape, like a none prose to him," the great critic wrote.

Why are Turgenev's works so realistic and truthful? Maybe because everything that happened the author survived or saw himself. Turgenev once said: "My whole biography is in my writings." It seems to me that this is true. For example, in 1843 an event occurred, which had an imprint for the entire life of Turgenev: he met an outstanding singer, a smart and attractive woman of Polina Viardo. Forever tied Turgenev with a great big artist, hot love. She brought a lot of happiness to the writer, but happiness and grief, joy and despair went nearby. The wife of Turgenev's beloved woman could not be: she had children and husband. And their relations retained the purity and the charm of true friendship, followed by a high sense of love. .

Read the works of Turgenev as the "noble nest", "on the eve", "first love", "hanging water", and you will see how poetically, how thinly draws a writer a sense of love. Love, bringing a person and joy and grief, making it better, cleaner, sublime. So only the one who experienced this feeling in all its beauty and strength could write about love. But most often in the stories and novels of Turgenev love is tragic. Undoubtedly, the vital drama of the writer affected.

I must say that I like the books in which the theme of love is raised, and therefore I would like to devote my work to such works.

One of the first Turgenev novels was the novel "noble nest". He had exceptional success, and it seems to me, not by chance. "Nowhere poetry is a dying noble estate in such a calm and sad light, as in the" noble nest, "- wrote Belinsky. We are in front of us in detail described the life of the good and quiet Russian Barina Fyodor Ivanovich Lavretsky. Meeting with the beauty of the barbury Pavlovna cool turned over all his fate. He married, but the marriage soon ended the rupture of the fault of Barbara Pavlovna. It was easy for him to survive a family drama. But a new love came, whose history is the story of the novel: Lavretsky met Lisa Kalitin. Lisa
It was a girl deeply religious. This formed her inner world. Her attitude to life and people decided to have a bad feeling of a sense of duty, fear of causing anyone's suffering, offend.

The misleading false news about the death of Varvara Pavlovna, Lavretsky is going to marry the second time, but his wife suddenly appears. Sad finals came. Lisa went to the monastery; Lavretsky stopped thinking about his own happiness, dove, aged, closed. The latter Dvoroving his image of the feature remains his bitter appeal to himself: "Hello, lonely old age! Break, useless life! "

The famous Soviet critic Schneerson was written about this wonderful novel: "A subtle analysis of mental experiences, exciting lyricism of scenes and descriptions, the softness of the narrative tone amounted to the bombing charm of artistic skill, which determined the power and ensured the outstanding success of the" noble nest ".

Most recently, I read another excellent tale of Turgenev - "Whether Waters". This is one of the most famous writers. I would like to bring one, in my opinion, an interesting fact from the history of creating this story. The book of the Journal of Europe, where "hanging waters" were printed, I had to release a re-edition (the case was almost unprecedented in journal practice): the success was great.

What attracted readers in this story? Thinking into it, we will see that Turgenev as part of a story about love puts broad life questions, raises important problems of modernity. The author draws two main characters - Jemma and Sanina. Gemma is an unusually beautiful, smart and immediate girl. Selected Gemma - Sanin - Russian Traveler. He is non-nell, kind, not alien
poetry. I must say that women's types in Turgenev are stronger nature than men. Compare, for example, Jemma and Sanina, Lisa Kalyagin and Lavretsky.

Love for Jemman awakened all the best, most honest, which was in the soul of Sanina. Turgenev found high words, poetic paints to portray the feelings of lovers. The author comes this beautiful and unique feeling - the first love: "First love is the same revolution ... youth stands on the barricade, her bright banner goes high - and whatever it was waiting for her - death or a new life in everything - everything she sends His enthusiastic hello. "

But Sanin changes this great feeling. He meets the brilliant beauty of Mrs. Polozov, and the attraction to her makes him abandon Jemma. Polozov is shown not only as a depraved woman, but also as a serfdom, like a deft businesswoman. She is a predator and in his business practice, and in love. The world of Gemma is the world of freedom, the world of richness is polozova - the world of slavery. But not one love changes Sanin. He changed both the ideals that were sacred for Gemma. For marriage, Sanin must be mined. And he is solved to sell his own estate. This meant and selling its fortress. But earlier Sanin said that selling live people is immoral.

Literary critic, analyzing the "hanging waters", made an interesting conclusion: "By creating a story about love, where I supposedly" there is no social, no political, nor a modern hint ", the author not about one love readers. He taught them to be honest and principled in everything, take care of the purity, the nobility of beliefs and thoughts, to cherish love, freedom, to go human advantage, respect the people. " It seems to me that this is a very faithful and deep remark.

Turgenev reached the lives of world glory. "Notes of the Hunter" became very popular in France. Even more added the fame of Turgenev, his socio-psychological novels. Contemporaries wrote: "The progressive circles of readers were conquered by the moral purity in the matters of love, which Turgenev was discovered in his novels; They captivated the image of a Russian woman covered by a deep revolutionary impulse; Amazed the figure of the Militant Democrat Bazarov. "

Of course, in such a small essay it is impossible to embrace even a small particle of what Turgenev left us. I would advise our peers to read at least a few leaders of this wonderful writer, and I'm sure these works will not leave them indifferent. In any case, acquaintance with these talented essays has become a turning point in my life. I suddenly discovered what a huge spiritual wealth is lighted in our literature if there are such talents such as Ivan Sergeevich Turgenev.

E.V. Gulevich, aspirator of the second year of the specialty "Theory of Literature". Textology of Grodno State University named after I. Kupala

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Music as a factor of psychologist prose I.S. Turgenev

This article is an attempt to comprehend the interaction of music and prose in the work of the writer as a way to deepen the psychologism of the narrative. Music in prose Turgenev is one of the most subtle and accurate motors of the semantic energy of the psychological state of the hero. In the works of the writer, the music harmoniously continues the Word, complements the saturation of the hero that happened in the soul, the nuances of sensations experienced by heroes. Musical episodes in the works of Turgenev play an important role in the disclosure of the psychology of the characters of heroes and the movement of the plot.

Keywords: psychology of narration, meaning energy, musical episodes, psychology of characters.

It is known that the reader's perception of the artistic work depends not only on his literary "experience", but also from what musical works he heard, what a picture of the paintings, sculptures, as well as with what degree of attention, interest and understanding the recipient These elements perceived. In turn, the writer, on the one hand, being a recipient regarding everything that was created outside his consciousness, often unconsciously carries the traces of other generics of art in his creations, and sometimes consciously uses elements of art interaction. Such combinations allow it to strengthen the fine-expressive features of the text and more fully imagine the spiritual life of its heroes, to provide the reader with the possibility of maximizing their entity. The fusion of the arts encourages in depths to live many episodes of text, expand the boundaries of one art by referring to another of his mind.

In our opinion, for the work of Turgenev, the interpenetration of literature, music and painting was characteristic. This article is an attempt to comprehend the interaction of music and prose in the work of the writer as a way to deepen the psychologism of the narrative. It is known that it is in the word "Music finds mental design, and in music the word acquires higher emotionality and expressiveness. This organic bond is natural, as the music and sounding word combines the presence of a tempo, rhythm, frequency, timbre, range, emotionality, singers and melody. Transfering feelings, mood and experiences of a person, music follows speech intonation, serves as a means of intonation of meaning. In essence, musicality is the inner clarity of the prosaic letter, actually the letter incarnation is an external visibility. At the same time, the outer clarity generates the inner, which, in turn, creates an artistic image from an alpha code, that is, it makes the external visibility to the visible and internally tangible. The mediator between these two types of clarity is the personal perception of the reader, which depends on the characteristics, as far as the image is holistic and "volumetric".

Music has always been close to the inner spiritual mood of Turgenev. Already in childhood, the writer knew how to finely feel the music, but the elements of Spartan education, which were cultivated by the Father, eventually resulted in extremely superficial acquaintance.

© E.V. Gulevich

with the world of music, what a writer was subsequently regretted. But his soul was drawn to music. Over time, this traction has increasingly intensified - Turgenev is increasingly visiting the theater, listening to Opera. In 1843, on one of the theater evenings, the writer was forever captured by the talent of P. Viardo; The magical properties of her voice made on the writer the same impact that the song of triumphant love on the main character of the same name of the TURGEVEV, executed by Muzzem. Life in the stream of the musical element, which Turgenev felt, staying "nearby" Viardo, enriched his inner world, music became the inner need of the writer. He is deeper, all the thoroughly compiled her depths. Naturally, this ability to finely understand and feel the magic of music could not not affect the peculiarities of the creative method of Turgenev - music sounds between the rows of Turgenev prose.

As you know, the style of prose Turgenev is strict, simple and laconic. The writer avoided verbal intricacies and "openwork" descriptions. Despite this peculiar "misfortune," Turgenev, as no one managed to comprehend and show the psychological depth and overflow the spiritual states of their heroes. Without falling into the verbal extremes of psychological analysis, Turgenev transmits the nuances of the sensations experienced by heroes, and in this he helps the musicality as a harmonious continuation of a verbal series that complements the saturation of what is happening in the soul of the hero. That is why the defining concepts of Turgenev prose were forever become melodious, singer, rhythm, emotionality, passion and ease.

Music is characteristic of the text of Turgenev prose itself. The author is often, especially in the episodes of the descriptions of nature and the condition of the soul of heroes, uses such expressive means as repetitions, halftone words, expressive epithets, rhythmically organized speech. As in the music, Turgenev often enjoys the reception of injection, "strengthening sound (escaledo) and extinction, sound attenuation (Diminuendo)" [Gozengud, 1994: 123]. For its prose and style, the letters are characterized by double epithet, epithet with the transition of one character in another, or "comparison of two separate, but internally interdependent epithets" [Chicherin, 1978: 40]. The epithet concludes shades and leads to a more complete understanding of the poetic image.

In addition to repetitions by analogy with musical refrehensors, to create musical patterns of speech, Turgenev uses synonymic variations of words and syntactic parallelism. Such parts of the text set the mood, serve as an emotional strengthening, the discharge of feelings, the transfer of many

cinema shades of the same psychological state of heroes. So, the description of the music sounds like the music itself in the image of the Lauret's in love, who heard the game Lemma: "Suddenly it came to him that in the air there were some wonderful, triumphing sounds; He stopped: the sounds were even more magnificent; Sovchem, they flowed with a strong stream, - and in them, it seemed to speak and sang His happiness "[Turgenev, 2005: 106]. It should be noted that the nature of this rhythmically organized breakdown of the text is characterized by polyphonism, which is achieved by an abundance in the text of high-quality adjectives and verbs. The transitions of the same sounds from the drums into the unawares, the discharge of homogeneous members "is saturated with the sound of the rhythmic system of prose Turgenev at least than poems" [Chicherin, 1978: 39].

Turgenev has a homophone scene. For example, in the scene, where in the foreground Parshin, which is pre-prepared gestures, movements, words, everything is designed for the external effect, Turgenev does not apply to the musical means of transferring the condition of the soul of this character, as it is internally unwashed.

The writer often even has its heroes according to the laws of musical contrast Forte -Piano (loudly quietly). So, when describing the women's images, Turgenev uses the word "quiet". Most often it is used when the image of Lisa is observed: "Her eyes laced quietly" [Turgenev, 2005: 56], "her head was quiet and rose" [Turgenev, 2005: 63]. She also has a voice quiet, and the conversation is leisurely, quietly, and even the inner life of the heroine, the author calls "quiet". "The Laurerse first violated her quiet internal life" [Turgenev, 2005: 113]. "He loved her robust gait, smooth answers, a quiet voice, a quiet smile" [Turgenev, 2005: 179]. "Tikhoniy" is called in the novel and the very laurer, leading life outwardly modest, poorly disabled in bright events. Scenes with the participation of these heroes are built as scene-piano.

As if dropped back to the chord below, in the image of the origin and development of love experiences, Lisa and Lavrezky Turgenev uses the motive of silence. He satums her and the environment, and the inner sensations of heroes: "Night was quiet and light" [Turgenev, 2005: 112], "Everything was quietly circle" [Turgenev, 2005: 114], Lisa "quietly approached the table ... "[Turgenev, 2005: 89]," there was a silent, affectionate night "[Turgenev, 2005: 213]," The reddish high reeds are quietly rustled around them, the motionless water was quietly shone ahead, and their conversation was quiet "[TURGE-

ne, 2005: 198]. So merge into one "quiet" melody of the state of people and pictures of nature. Lisa and Laurezky music worries sincerely and deeply, expressing the thrill of their feelings. Music sounds in the soul of Lisa, the birth of love in the heart of Lavretsky also begins with music. Lisa plays Beethoven. Lavretsky, agitated by music, escorts the lemma home and is sitting at him to three nights, listening to his writings. The need for music conveys a new state of the soul of the hero. Something is unclear, but the beautiful thing is in his life. The description of the night, which concerns it, sounds like nocturne chopin. The sounds of nature are like filled with music. The most beautiful music is born in the soul of Laurezza - the music of love.

In the contrast, these heroes are represented in the Roman's images of the faith of Pavlovna and Panishin. Their appearance is usually accompanied by a loud laugh, noisy game, singing. The author describes them with indispensable squeezed gestures, active facial expressions. Speech Barbara Pavlovna, for example, full of emotional splashes, shouts, spectacular phrases. Therefore, scenes with the participation of Panish and Barbara Pavlovna sound like scenes-forte.

In the novel, the "noble nest" the development of the topic reaches maximum expression in the scene of the ideological fight of Lavretsky with the panel and in the scene of his love explanation with Lisa. To convey the mental state of Lavretsky's heart, his excitement from happiness monitoring, the author introduces the description of the music lemma to the artistic text, which seems to hear the reader. Then the major sound weakens, the notes of anxiety, sadness - the dramatic junction occurs. In the epilogue-final, the musical theme of spring, youth, eternal change of generations, the need for reconciliation with a rapid tower life. The novel by a note of the eternal love and the impossibility of happiness, born to a scene of the last meeting of Lavretsky with Liza in the monastery.

The most musical hero of the novel is lemmas. His image is closest to the author (perhaps it is because of its musicality). It is not by chance that Turgenev calls the lemma "fan of Baha and Handel" - its favorite composers. The music of the lemma marks the apotheosis of the love of the main characters. She sounds after their night dating in the garden, continuing everything that is impossible to express in words, everything that is full of the soul of Laurezza: "... Sweet, passionate melody from the first sound covered the heart; She shone all, all languished inspiration, happiness, beauty, she grew and melted; She concerned everything that is on earth

le dear, secret, saint; She breathed immortal sadness and went to die in heaven "[Turgenev, 2005: 193]. Music "Contracts" and "continues" the Word. It is consonant with the events and change of the psychological states of the heroes, is a kind of emotional center of the entire narrative.

Musical in essence is the final-epilogue of the novel. In it, as in the Symphony final, all themes and characters of the work are again held in front of the reader in descriptions and dialogue. It resembles the form of Rondo, as refrained is the subject of spring, youth, fun, joyful awakening of hope. Almost throughout the chapter, cheerful laughter sounds, noise, gaps. Next to the general action passes the topic of the memories of Laurets. He goes into the house several times, for a long time sits in the living room, suitable for that bench in the garden, "on which he spent some happy, unique moments" [Turgenev, 2005: 268]. The bench has shocked and twisted, "But he recognized her, and his soul embraced his feeling that there is no equal and sweetness, and in the sorrow, - the feeling of live sadness about the disappeared youth, about the happiness that once possessed" [Turgenev, 2005 : 269]. This episode acquires an extraordinary emotional saturation and ends with music: "Lavretsky ... touched one of the keys: a weak, but pure sound and secretly trembled in his heart" [Turgenev, 2005: 270]. In the soul of Lauretsky, the inspired melody of the lemma sounded again.

Thus, all scene nodes of the novel and the relationship of heroes are developing to the music. Music "Sounds" is already on the first pages of the "noble nest" and accompanies the action to the final. Music is enhanced and the emotionality of the work is made. In the novel sounds Music Beethoven, Weber, Donizetti, Strauss, Alyabyev. The music is composed by the heroes themselves, it reflects their mental state, transmits the living atmosphere surrounding their living atmosphere, complementing the beauty of nature, enhancing lyrism and the overall poetic flavor of the novel. Musical episodes play an important role in the disclosure of the psychology of the characters of heroes and the movement of the plot.

In the novel "On the eve" a little mention of music and musical scenes. Basically, they are connected with the zoya - the girl is simple, but interesting. She was distinguished by musicality, played on the piano. Elena Stakhova does not play, but certainly musically developed, since it is through her perception that the author of Opera Verdi "Traviata", which she listens with ins-

rove in the Venetian theater. The scene in the theater Along with the scene, Elena's reflection in the bed of his patient's husband occupy a key place in the final part of the novel. Music managed to convey, to monitor what heroine did not seem to think about. The mental state of heroes during a walk in Venice echoes the latest optimistic intonations of Alfred and Violetta. The heroes of "Trestiats", as well as the heroes of the novel, the last time feel happy and dream of a new life in another edge.

Premiere of the opera Verdi "Traviata" took place in the Venice Theater La Fenice on March 6, 1853. The heroes of the Roman are listening to Opera about a year after its premiere - in the spring of 1854. Elena and Insarov sincerely enjoy the game and singing the actress, the performer of the role of Violetta. But a convincing game of a young actress conveys waiting for something terrible, irreparable is no longer in the opera, but in life. It's not by chance that Insar will notice: "She does not joke: death smells" [Turgenev, 1986: 302]. For the history of Violetta, the tragedy of Insarov and Elena, the tragedy of life lit by high love. The author, intentionally describing the perception of the opera heroes, transfers the thoughts and feelings of Elena in the course of the development of the plot of "TRAVIATS": "Elena drunk at the sight of this bed, these hungry curtains, flasks with a medicine, obscured lamp ... I remembered her close past .. . And the future? And the present? " - flashed in her head "[Turgenev, 1986: 287]. Art reflects now life itself, the approaching ghost of death is concerned. This terrible omen reports and "deaf, genuine cough insarov" in response to the preliminary cough of actresses, and verbs denoting the inner state of the heroine: "Elena Drohnula" [Turgenev, 1986: 289], "Elena wandered" [Turgenev, 1986: 290] . Elena's alarming premonitions echoes the restless sound of the clarinets accompanying the mournful replicas of Violetta in

the second picture of the opera. The final of the opera, especially her melody "how terrible and bitterly die when life is so captive", transmits the entire sorrowful palette of Insarov's feelings and Elena [Turgenev, 1986: 312]. Opera singing expresses the entire depth of the feelings of the heroes in love with the most abyss of non-existence. Love, the highest happiness and the inevitability of death as if they agreed together.

So, Turgenev's prose's musicality is enclosed in the syllable, in the verified, elegant, harmonic manner of the narrative, according to which his texts are recognized, as the melodies recognize the creation of the composer. Turgenev's prose is extremely musical and rhythmic. Here, the rhythm is manifested not only in the rhythmization of the speech flow, but in other properties of prosaic narration: in the change of pieces, in the repetitions and contrasts of themes, motives, images and situations, in the harmony of construction, in all elements of the composition. It is not by chance that Turgenev was able to give such musicality to prosaic texts that they were involuntarily perceived as poems - poems in prose. The word Turgenev always defines the idea, in addition, it is musically, expressive. Rhythm here is one of the most subtle and accurate motors of the semantic energy of the psychological state of the hero. Turgenev prose's musicality provides "sound expressiveness of the word" [Chicherin, 1978: 6]. Music along with the description of the landscape creates a special poetic flavor of the novel. Prose TURGEYEV melodies harmonic and clear, thrill responsive, with a shade of Mozartov's purity. Turgenev's prose sounds like Music Beethoven or Mozart. Its musicality and in the plastic, "balanced rhythm of speech sounds themselves, and in that sound gamut, which in this speech is depicted" [Chicherin, 1978: 36]. Rhythm forms the unity of the form and content of Turgenev prose - prose, which is characterized by a special level of psychologism, prose created by the hand of the poet.

Bibliographic list

1. Gozengud A. I.S.Turegen / A. Gozengud. - St. Petersburg: Composer, 1994. - 123 p.

2. Turgenev I.S. Noble nest / I.S. Turgenev. - Moscow: Suite, 2005. - 238 p.

3. Turgenev I.S. On the eve / I.S. Turgenev. - Moscow: Fiction, 1986. - 559 p.

4. Chicherin A.V. Rhythm image / A.V. Chicherin. - Moscow: owls. Writer, 1978. - 276 p.

Musicality As A Psychological Factor In Turgenev's Prose

The ARTICLE DEALS WITH THE PROBLEM OF MUSICALITY AS A FACTOR OF PSYCHOLOGICAL DEPTH IN I. TURGENEV'S PROSE. Musicality Serves to Reveal The Inner World Of Turgenev's Heroes, To Disclose Their Emotions and Feelings. The Combination of Rhythm and Melody in Turgenev's Works Makes The Unity of His Prose That Creates a Special Effect of Showing Too Much without Mentioning It Verbally.

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Analysis of creativity and ideological and artistic peculiarity of works

Ivan Sergeevich Turgenev (1818-1883)

Creativity I.S.Turgenev is a bright phenomenon not only in the history of national literature, but also in the history of social thought. The works of the writer have always caused a rapid response in society. The novel "Fathers and Children" "provoked" such a controversy in criticism, a similar one is difficult to find in the history of Russian social thoughts. The writer in each new product responded to the social life of his time. Terrible interest in topical issues of modernity is the typological characteristics of Turgenev realism.
N. Dobravubov, noting this feature of Turgenev creativity, wrote in the article "When will the real day come?": "Live attitude to modernity has strengthened for Turgenev permanent success in the reading public. We can safely say that if Turgenev touched on some question in his story, if he portrayed any new side of social relations, - it serves as a rift for the fact that this issue rises or will soon rise in the consciousness of the educational society that this new party. .. Soon speaks before the eyes of everyone. "
With such a "alive" connection with the time, the peculiarities of the worldview, the political views of the writer played not the last role.
they manifested themselves in the artistic types of "excess person" (Rudin, Lavretsky), "New Man" (Insarov, Bazarov), "Turgenev Girl" (Lisa Kalitin, Natalia Lasunskaya).
Turgenev belonged to the camp of the nobility-liberals. The writer occupied a consistent anti-refresh position, hated despotism. Proximity in the 40s to Belinsky and Nekrasov, cooperation in the 50s with the magazine "Contemporary" contributed to his approach with the advanced public ideology. However, fundamental discrepancies in the matter of ways of changing life (he categorically denied the revolution and relied on reform from above) led Turgenev to rupture with Chernyshevsky and Dobrolyubov, to exit the magazine "Contemporary". The reason for the split in the "contemporary" was the Procedure of Dobrolyubov "When will the real day come?" On the Turgenev novel "On the eve". Bold revolutionary conclusions criticism frightened Turgenev. In 1879, he wrote about his political and ideological preferences: "I have always been and still remained" Poshaprovenitz ", the liberal of the old cut in the English dynastic sense, a person waiting for reforms only over, the principal opponent of the revolution.
Today's reader is in less than the contemporaries of the writer, worries the political acuity of its works. Turgenev is interesting to us, first of all, as an artistic factory, who has contributed to the development of Russian literature. Turgenev sought faithfulness and completeness of the reflection of reality. At the heart of his aesthetics lay the requirement of the "reality of life", he sought, according to his own words, "how much the strength had enough and decrease, in good faith and impartially to portray and embody in proper types and the fact that Shakespeare calls" the most image and pressure of time ", and That quickly changed the physiognomy of Russian people of the cultural layer, which mainly served as the subject of my observations. " He created his own style, his own manner of the narrative, in which the compressedness, the conciseness of the presentation did not contradict the reflection of complex conflicts and characters.
The work of Turgenev developed under the influence of Pushkin discoveries in prose. The poetics of Turgenev prose was distinguished by the Tanovka for objectivity, on the literature of the language, on a compressed expressive psychological analysis using with the defaults with EMA. A large role in his works is played by household background, given in expressive and concise sketches. Turgenev landscape is a generally accepted artistic opening of Russian realism. The lyrical Turgenev landscape, and manor poetry with the motives of the wilting of the "noble nests" had an impact on the work of writers of the XX century - I. Bunin, B. Zaitseva.

The ability to respond to the topic current for the era, the ability to create a psychologically reliable nature, the lyricism of the narrative manner and the purity of the language are the main features of the realism of Turgenev. The value of Turgenev is beyond the scope of the National Writer. He was a kind of mediator between the Russian and Western European culture. Since 1856, he almost constantly lived abroad (so developed the circumstances of his personal life), which did not bother him at all, as he was already emphasized, be in the thick of the events of Russian life. He actively promoted Russian literature in the West, and in Russia - European. In 1878, he was elected vicurerevent of the International Literary Congress in Paris, and in 1879, Oxford University assigned him a doctoral degree. At the end of the life of Turgenev wrote a poem in the "Russian language" prose, in which the power of his love for Russia and faith in the spiritual power of the people is expressed.
The creative path of I.S. Romegenev essentially began with the publication in the magazine "Contemporary" in 1847 the story of "Chorine and Kalinic". Although until that time he wrote poems and poems in the romantic spirit ("Evening", "wall", "Parasha"), stories and stories ("Andrei Kolosov", "Three Portrait"), only this publication marked the birth of Turgenev writer.
For his long life in the literature, Turgenev created significant works in different genres of epic genus. In addition to the mentioned anti-refresh stories, he became the author of the "Asya", "First Love" leader, and others, united the theme of the disadvantage of the noble intelligentsia, and the social novels Rudin, the "noble nest" and others.
Turgenev left a trace in Russian drama. His plays "at Khlebnik", "Month in the village" still enter the repertoire of our theaters. At the end of his life, he turned to a new genre for himself and created the cycle of "poem in prose".

The name of the Roman Turgenev is not connected with opposing heroes in the family-age plan. In the novel, the ideological struggle of the era: antagonism of the positions of the liberal nobles ("fathers") and democrats ("children").
Dobrolyubov back in 1859, reflecting on the public situation in Russia, ironically characterized the generation of forties as a "wise party of older people ... with high, but somewhat distracted aspirations." "Talking" the elderly, "the critic-democrat noticed," we will understand the people who lived their young forces and no longer know how to understand the current movement and the needs of the new time; Such people meet between twenty-five. " There, and Dobrolyubov reflects on the representatives of the "new" generation. They refuse to adhere to elevated, but abstract principles. "Their last goal is not perfect slave loyalty to the distracted top ideas, but bringing" possible greater benefits to humanity, "writes a critic. The polarity of ideological installations is obvious, the confrontation of the "fathers" and "children" has grumbled in the life itself. The Turgenev-artist could not respond to him. The collision of Pavel Petrovich Kirsanova as a typical representative of the generation of the 40s with Evgeny Bazarov, a carrier of new ideas, inevitably. Their main life and ideological positions are detected in dispute dialogues.
Dialogues occupy a great place in the novel: their composite domination emphasizes the ideological, ideological nature of the main conflict. Turgenev, as already noted, in his beliefs was Liberal, which did not prevent him from showing the insolvency of heroes in the novel - Liberals in all spheres of life. The writer definitely and rather evolved the generation of "fathers". In a letter to Sluchevsky, he noted: "My whole story is directed against the nobility as an advanced class. Press in the face of Nikolai Petrovich, Pavel Petrovich, Arkady. Weakness and lethargy or limitation. Aesthetic feeling forced me
96 Notify exactly good representatives of the nobility, so that it is more or rather to prove my topic: if the cream is bad, what milk? They are the best of nobles - and precisely because they are chosen by me to prove their inconsistency. " The father of the brothers Kirsanov - Combat General of 1812, a person is simple, even rude, "all his life pulled his strap." The victory is the life of his sons. Nikolai Petrovich, who came out of the university in 1835, began his father's protection service at the "Ministry of Returns". However, soon after the marriage left it. It is concise, but the author says about his family life: "The spouses lived very well and quietly, they almost never parted. Ten years passed as a dream ... and arkadium grew yes grew up - also good and quiet. " The narration is painted by a soft author's irony. Nikolai Petrovich has no public interest. The university youth of the hero took place in the era of the Nikolaev reaction, and the only sphere of the application was love, family. Pavel Petrovich, a brilliant officer, left a career and light because of romantic love for the mysterious Princess R. Lack of social activity, social tasks, the lack of economy skills leads heroes to ruin. Nikolai Petrovich, not knowing where to get money, the forest is selling. Being a man soft by nature, liberal beliefs, he is trying to reform the farm, facilitating the position of the peasants. But his "farm" does not give the expected income. The author notes about this: "Their farm has creaked, like a non-scaled wheel, cracked like homeplane furniture made of raw wood." Expressively and meaningful description of poor villages, whom heroes are passing at the beginning of the novel. Nature should be: "As beggars in the rags there were roadside raques with encouraged bodies and broken branches ...". There was a sad picture of Russian life, from which "heart shrinking". All this is a consequence of the disadvantage of the social device, the insolvency of the landlord class, including the subjectively very pretty brothers Kirsanov. Hope for the strength of the aristocracy, high principles, so expensive Paul Petrovich, will not help to change the socio-economic position of Russia. The disease went far. We need strong money, revolutionary transformations, believes "Democrat to the end of the nails" of bazaars.
Bazarov - the central character in the novel, it is he is a hero of time. This is a man of business, a materialist materialist, a democrat enlightener. Personality in all respects antagonistically opposed brothers Kirsanov. He is from the generation of "children." However, the contradictions of the worldview and creativity of Turgenev affected the formation of Bazarov.
Bazar's political views contain some features, with the leaders of the revolutionary democracy of the 60s. He denies the social foundations; hates "Barchuk damned"; Espiring "Place to clear" for future properly arranged life. But Nigilism was defining in its political views, which Turgenev identified with revolutionary. In a letter to Slochevsky, he wrote: "... and if it is called a nihilist, then you need to consider: revolutionary." Nihilism was an extreme course in revolutionary-democratic movement and uncertainty. But the absolute nihilism of the Bazarov in relation to art, love, nature, mental experiences was an author's exaggeration. There was no such degree of denial in the worldview of the sixties.
Bazarov attracts with their desire to practical activities, dreams of "breaking a lot of cases", the truth, what exactly we do not know. His ideal is a man of business. In the estate of Kirsanov, he is constantly engaged in natural science experiences, and having arrived at his parents, begins to treat the surrounding peasants. The essence of life is important for Bazarov, because he is so negligently refers to its outer side - its clothes, appearance, manner of behavior.
The cult of the case, the idea of \u200b\u200bbenefit sometimes turns from the Bazarov in naked utilitarianism. In the direction of the worldview, he is closer to Pisarev than to Chernyshevsky and Dobrolyubov.
Contradictory relations of Bazarov with a simple people. Undoubtedly, he is closer to him than sophisticated, Povel Petrovich, but the peasants do not understand his behavior or his goals.
Bazarov is shown by Turgenev in a foreign environment for itself, he, in fact, there are no like-minded people. Arkady is a temporary fellow traveler who fell under the influence of a strong friend, his beliefs is superficial. Kukshin and Sitnikov - epigions, parody of the "new man" and his ideals. Basaars are alone, which makes his figure tragic. But there is in his personality and inner dissonance. The bazaars proclaims integrity, but in Echo Nature, it is just not. The basis of his worldview is not only the denial of recognized authorities, but also confidence in the absolute freedom of their own feelings and sentiment, beliefs. It is this freedom that he demonstrates in the dispute with Pavel Petrovich after the evening tea, in the tenth chapter of the novel. But the meeting with one and love for her unexpectedly show him that this freedom has no freedom. It turns out to be powerless to cope with that feeling, the very existence of which he denied so easily and boldly. Being ideological maximalist, bazaars is not able to abandon their beliefs, but also to defeat their heart he is unable. This division causes huge suffering. Own feelings, the life of the heart inflicted a terrible blow to his slim worldview system. We have no longer confident person who is ready for the destruction of the world, but, as Dostoevsky said, "Restless, forgiving bazaars." His death is random, but a vitality manifested itself in it. The courage of Bazarov in death confirms the extraordination of his nature and even the heroic beginning in it. "To die as the bazaries died, it's like to make a feat," wrote Pisarev.
Turgenev romance about the hero of time, the "new man" Bazarov is written with impeccable skill. First of all, it was manifested in creating images of characters. An analytical portrait of the hero gives its capacious socio-psychological characteristic. So, "a beautiful hand with long pink nails, the hand, which seemed even more beautiful from the delicate whiteness of a mitten, fastened with a lonely large opal ..." emphasizes the aristocrat of Pavel Petrovich, along with other parts of the portrait pointing to the romantic nature of this character. "Long Balahon with brushes" and "Nude Red Hand", which Bazarov does not immediately file Nikolay Petrovich, - these portrait details are eloquently talking about the democratism of Bazarov and its independence.
With great skill, the author conveys the peculiarity of speech per

Formula beetle. Turgenev

"Fathers and children" - hardly the most noisy and scandalous book in Russian literature. Avdota Panayev, very not loved Turgenev, wrote: "I will not remember that some literary work makes so much noise and opened so much conversations as the story of Turgenev" fathers and children ". It can be positive to say that" fathers and children "have been read Even with such people who have not taken books in the hands with school benches. "
It is exactly the fact that from now on the book takes the book just on a school bench, and only occasionally after, deprived the Turgenevskaya thing a romantic halo on spectacle popularity. "Fathers and children" are perceived as a work social, service. And in fact, the product is novel and is. It should be simply apparently separated by the fact that there was due to the author's plan, and that - contrary to the very nature of the art, which desperately resists attempts to put it on the service of anything.
Turgenev his book quite lapidarously described a new phenomenon. The phenomenon is defined, concrete, today's. Such a mood is asked by the very beginning of the novel: "- What, Peter? Do not see even? - asked on May 20, 1859, leaving without a hat on a low porch ..."
For the author and for the reader, it was quite essential that this year was standing on the courtyard. Previously, Bazarov could not appear. Achievements of the 40s of the XIX century prepared its arrival. Natural scientific discoveries have made a strong impression on society: the law of conservation of energy, the cellular structure of organisms. It turned out that all phenomena of life can be reduced to the simplest chemical and physical processes, express the available and convenient formula. The book of Fokhta, the same, which Arkady Kirsanov gives to read his father - "Power and Matter" - taught: the brain allocates the thought as the liver - bile. Thus, the highest human activity itself - thinking - wrapped in a physiological mechanism that can be traced and described. The secrets did not remain.
Therefore, the bazarov easily and simply transforms the main position of the new science, adapting it for different cases of life. "You will shatter the anatomy of the eye: where did you get here, how do you say mysterious look? This is all romanticism, nonsense, rot, art," he says Arkady. And logically finishes: "Let's go better to watch the beetle."
(Bazarov quite rightly opposes two worldviews - Scientific and artistic. Only a clash will end out not as it seems to be inevitable. Actually, the book of Turgenev is more precisely, in this its role in the history of Russian literature.)
In general, the ideas of Bazarov and boil down to "watch the beetle" - instead of thinking over mysterious views. Beetle - the key to all problems. Biological categories are dominated in the Barosar perception of the world. In such a system of thinking, the beetle is simpler, man is more complicated. Society is also an organism, only even more developed and difficult than personality.
Turgenev saw a new phenomenon and scared him. In these unprecedented people felt an unknown force. To realize it, he began to record: "I drew all these faces, no matter how I painted mushrooms, leaves, trees; I made my eyes vozasoli - I began to draw."
Of course, do not quite trust the author's coquette. But it is true that Turgenev struggled to observe objectivity. And achieved this. Actually, it was just that a strong impression on the then society was made: it was not clear - for whom Turgenev?
The narrative fabric itself is extremely objectified. All the time felt uncharacteristic for the Russian literature zero degree letters there, where it is about social phenomenon. In general, from reading "fathers and children" there is a strange impression of the lack of sustaining the plot, the compositions of the composition. And this is also the result of the installation on objectivity: as if it is written not a novel, but notebooks, memories for memory.
Of course, it is not necessary to overestimate the value of the plan in elegant literature. Turgenev is an artist, and this is the main thing. Characters of the book are alive. Language is bright. How wonderful says the bazaars about Odintova: "Rich body. At least now in an anatomical theater."
But nevertheless, the scheme appears through the verbal fabric. Turgenev wrote an affair with a tendency. It does not matter that the author openly falls on someone's side, but is that a social problem is set at the head of the corner. This is a novel on the topic. That is, as they would say now - angued art.
However, there is also a clash of scientific and artistic worldviews, and then the most miracle happens, which completely denied the bazaars. The book is not exhausted by the scheme of confrontation of the old and new in Russia late 50s of the XIX century. And not because the talent of the author increased the speculative core quality artistic material with independent value. The rally "fathers and children" lies not above the scheme, but under it - in a deep philosophical problem overlooking the framework and century, and countries.
Roman "Fathers and Children" - about the collision of a civilization impulse with the order of culture. The fact that the world entered into the formula turns into chaos.
Civilization - vector, culture - scalar. Civilization develops from ideas and beliefs. Culture summarizes receptions and skills. The invention of the washed tank is a sign of civilization. The fact that every house has a worn tank - a sign of culture.
Bazarov is a free and squeezed carrier of ideas. This discrepancy is filed in the Turgenev novel with a mockery, but also with admiration. Here is one of the noteworthy conversations: "- ... However, we are pretty philosophized." Nature brings silence of sleep, "said Pushkin. - He never said nothing like that, - said Arkady." Well, I didn't say that I could have said so much. As a poet. By the way, he must have served in the military service. - Pushkin was never a military service! - Homes, he has on every page: "On the fight, on a fight! For the honor of Russia! ""
It is clear that the bazaars bears nonsense. But at the same time, something very precisely guess in reading and the mass perception of Pushkin by Russian society .. Such courage is the privilege of a free mind. Thinking fixed operates ready-made dogmas. Thinking is relaxed turns the hypothesis in the hyperbole, the hyperbola - in dogma. This is the most attractive in the bazaar. But the most frightening - too.
Such a Bazarov managed to show Turgenev wonderfully. His hero is not a philosopher, no thinker. When he says extensively, these are usually calculations from popular scientific papers. When briefly, it speaks sharply and sometimes witty. But the point is not in the ideas themselves that the bazaarov sets out, namely in the way of thinking, in absolute freedom ("Rafael a mertsha is not worth").
And the Bazarov is opponent not his main opponent - Pavel Petrovich Kirsanov - and the way, order, respect for which Kirsanov confesses ("without prinons adopted on faith, stepping, it is impossible to die."
Turgenev is ruined by Bazarov, confronting it with the very idea of \u200b\u200bthe Uklade. The author holds his hero on the book, consistently arranging his exams in all spheres of life - friendship, enmity, love, family bonds. Bazaarov consistently fails everywhere. A series of these exams and constitutes the story of the novel.
Despite the differences in circumstances, the bazaars suffer the defeat on the same reason: he invades in order, rushing, like a lawless comet, and burns.
The collapse ends his friendship with Arkady, so devoted and faithful. The attachment does not withstand the strength tests that are carried out so barbaric ways as Pushkin's dedication and other authorities. Accurately formulates the bride of Arkady Katya: "He is predatory, and we are hand with you." Manual
So living according to the rules that observe the order.
The way the bazaros is sharply hostile and in his love for one. In the book, it is persistently emphasized - even by simply repetition of the literally of the same words. "- What do you like the Latin names? - asked Bazarov." In all, I need order, "she answered."
And then it is even more clearly described by "the order that she started in his house and in life. She strictly adhered to him and forced others to subjoin him. Everything was committed during the day in a known time ... Basareas did not like this measured somewhat solemn correctness of every day Life; "How to roll on the rails," he assured. "
Odintsova scares the scope and uncontrollability of the Bazarov, and the worst charge in her lips sounds the words: "I begin to suspect that you are inclined to exaggeration." The hyperbole is the strongest and most effective trump card of Bazarovsky thinking - is considered a violation of the norm.
The collision of chaos with the norm is exhausted very important in the novel the topic of hostility. Pavel Petrovich Kirsanov - also, like the bazaars, is not a thinker. He is not able to oppose the Barazar dust of any articulated ideas and arguments. But Kirsanov acutely feels the danger of the very fact of the existence of Bazarov, oriented at the same time not at thought and not even for words: "You liberate to find funny my habits, my toilet, my tidy ..." Kirsanov protects these, it would seem, little things, because Instinctively understands that the amount of little things - and there is a culture. The same culture in which Pushkin, Rafael, clean nails and evening walk are naturally distributed. All this bazaar is threatened.
Bazarovsky civilizer believes that somewhere there is a reliable welfare formula and happiness that you just need to find and offer to humanity ("Correct society, and there will be no diseases"). For the sake of finding this formula, some insignificant trifles can be sacrificed. And since any civilizer is always dealing with the already existing world order, it goes by the method from nasty: without creating something again, but at first destroying already existing.
Kirsanov is convinced that the well-being
And happiness and consist in accumulation, summation and conservation. Unambiguities of the formula opposes the diversity of the system. New life can not start from Monday.
Paphos of destruction and reorganization is so unacceptable for Turgenev that he forces Bazarov in the end thinkable to lose Kirsanov.
The climax event is a thinly written duel scene. The ones depicted in general as ridiculousness, a duel, nevertheless, is not inspitable to Kirsanov. She is part of his heritage, his world, his culture, rules and "prisoners". The bazaars looks sorry in the duel, because the system itself, which threatened such phenomena as a duel. He is forced to fight here in someone else's territory. Turgenev even suggests that against Bazarov - something much more important and strong than Kirsanov with a gun: "Pavel Petrovich seemed to him with a large forest with whom he still had to fight." In other words, the barrier is the nature, nature, peaceorocom.
And finally, the bazaarov seeks when it becomes clear why Odintova rejected him: "She forced himself to reach the famous feature, forced himself to look for her - and he even saw her even the abyss, and emptiness ... or disgrace."
This is an important recognition. Turgenev refuses chaos, which carries the bazaars, even in magnitude, leaving only one naked disagreement.
Therefore, dies bazaars humiliating and sorry. Although the author maintains complete objectivity, showing the power of the Spirit and the courage of the hero. Pisarev even believed that his behavior in the face of the death of the bazaarov put on the scales the last girlet, which pulled, ultimately, in his direction.
But much more significant is the cause of the death of Bazarov - scratch on the finger. The paradoxicalness of the death of a young, blooming, outstanding person from such an insignificant occasion creates a scale that makes thinking. Killed Bazarov not scratching, but nature itself. He again invaded his gross lancet (this time literally) the converter into the head of the order of life and death - and fell by his victim. The little reason here only emphasizes the inequality of forces. This is aware
And the Bazarov himself: "Yes, let's try to deny death. She denies you, and Basta!"
Turgenev is not because killed Bazarov, which did not guessed how to adapt in Russian society this is a new phenomenon, but because he discovered that the only law that at least theoretically takes place to refute a nihist.
Roman "Fathers and Children" was created in the heat of controversy. Russian literature was rapidly democratized, the Popov sons were tested by the clouds resting on "prisoners". Confidently walked "literary robes", "Kuyaniki-vandals", seeking "to erase from the face of the Earth, elegant arts, all aesthetic pleasures and watering their seminar coarse principles" (all - words of Turgenev).
This, of course, exaggeration, hyperbole is, that is, a tool that, naturally, is more suitable for a civilizer's destroyer than a cultural conservator, which was Turgenev. However, he enjoyed this tool in private conversations and correspondence, and not in elegant literature. The publicist idea of \u200b\u200bthe novel "Fathers and Children" was transformed into convincing artistic text. There is not even an author's voice in it, but the culture itself, which denies the formula itself, and does not find a material equivalent for aesthetics. The civilizational pressure is divided into cultural orders, and the diversity of life cannot be reduced to the beetle on which you have to watch to understand the world.

Turgenev is one of the largest Writers of the XIX century. Not only Russia, but also Europe. He created a whole series of novels and as a writer of this genre was able to make his works attractive not only for readers of his homeland: the integrity of the plot (although the strict composition, the tie, the disconnection may be absent), clear deferences of the problem with a relatively minor number of characters, clear and, most importantly, Opened theme, non-invasion of one's own opinion and psychologism - all this is very intrigued.

Psychologist - It seems one of the most interesting features of Turgenev's novels. Consider its manifestation by the example of one of them - \\ "fathers and children \\". Here, as in the picture, the moods of the Russian society of the preforming period are displayed (for greater concrete, Turgenev accurately pointed out even the year - 1859). The need to take an unambiguous decision on the issue of serfdom was becoming more and more apparent. Not everyone considered it necessary to cancel him, many were simply afraid (whether the state loses whether the unbridled men were irrevocable). And at the same time, a group of people, predominantly young, who started their actions to change everything, to the complete destruction of the old and possible in the future, creating a new one. Naturally, both of these parties experienced displeasant to each other, which sometimes surrendered into open hostility. The reader, not even familiar with the time, but knowing how to analyze, thanks to the talent of Turgenev, could well guess about this situation in the course of the novel.

Turgenev acts in the novel by an impartial and unmistakable observer. He does the main emphasis on the identity of man - participant of events. For the image of real life, it is necessary to \\ "understand those laws by which it moves and which do not always protrude ... \\". That was the opinion of the writer. Therefore, it is likely that in the novel there are practically no biographies of characters (with the exception of Pavel Petrovich and Nikolai Petrovich). If with the nobility of Turgenev was directly familiar, being nobles (for this reason we know about the life of the Kirsanov brothers: they are the main representatives of this class, and, therefore, their detailed characteristic is required), then he could only see the nihilists, and therefore he It remained only to guess why they appeared from. As a result, the story of Bazarov's life is not given in the novel. It can be assumed that during his student, he was not well secured (because his parents of His are not familiar: they have only about twenty souls of peasants) and has learned to independence.

It is said that Turgenev opened the type of Nihilist. It is probably so, but this discovery was preceded by a complex analysis of suitable types of life. Seeing people, he tried to understand them, then transformed his understanding and eventually forced readers to be psychologists too. This is its so-called \\ "hidden \\" psychologist. He almost never depicted directly thoughts and senses of characters, but indicated their reaction to certain events, its external manifestation. Turgenev moved away from the tradition of Gogol, and there is no many details in his novel, but there are mentions \\ "casual \\" about involuntary movements, replicas of characters.

All Turgenev Heroes are one-piece, formed personals (even Arkady, because he drops the mask of nihilism, \\ "as an adult coat, put on a ten-year child \\", according to D.I. Pisarev), with its own worldview, \\ "Princepami \\" . Accordingly, nothing can change them from the inside (and the ability to keep yourself - an important criterion for the writer), i.e. Need some external influence. Such Turgenev found and exposed their heroes to the test of love. With each of them there are a small, but metamorphosis. Thus, Turgenev took a new role to a new role - to be an indicator of the consistency of the beloved (loving) man as a person. Each of the heroes meets a person of his level equal to itself on temperament, nature and other provisions. Pavel Petrovich unequivocally lost \\ "Battle \\". Describing his actions after the death of Knyagini R., Turgenev makes a merciless and unconditional verdict: the village that always meant loneliness and isorality from life. Even his sudden hobby is worth assessing as a single and last defill of the life of the former Pavel Petrovich - \\ "Lion's Lion's", as an unconscious desire for a quiet simple fortune, existence without acute susceptibility to changes in society, which his brother achieved.

Arkady, undoubtedly, only won from what was moving away from nihilism and returned to her usual for his ancestors and close to him in nature.

Re-appealing to situations of the manifestation of psychologism (analysis of the conditions for the formation of characters and the development of a psychologist in the reader), it is worth noting as an important way to create psychological portraits of characters. For this, Turgenev uses a description of their appearance, skillfully comparing facial features and character. This technique uses only for basic ideological rivals, in his opinion, the most important.

For example, the first appearance of the Bazarov on the pages of the novel is accompanied by its detailed \\ "review \\": it is dressed in a "long hoodie with brushes \\" (it is clear that this person is not chasing the fashion and appreciates the practicality); The face is thin, long, but at the same time a kind of head shape issues a non-free mind; His red hand testifies that it is used to work, and at the same time the bazaars do not immediately serve her Paul Petrovich for greetings - a sign of neglect, self-confidence.

A completely different, but also through the portrait is the character of Pavel Petrovich Kirsanova. Turgenev notes that, despite its forty years old, he retained the beauty and correctness of the features of the person (a typical aristocratic portrait), a boylaness, slimness and \\ "pioneering \\". A lot of attention is paid by the author and a suit of Pavel Petrovich, elegant and even fashionable, points to his \\ "beautiful hand with long pink nails \\", which subsequently became the subject of mockery of Bazarov.

Extremely interesting and such author's assessment of heroes, as their attitude towards nature. For the author - his famous connoisseur - she took no last place. Thus, the ratio of the character to nature determines the sympathy or antipathy of the author, puts it on a certain \\ "step \\" so, the bazaars does not perceive its spiritual, aesthetic beauty, seeing in it only \\ "workshop \\" in it; respect (but in fact indifference) to her Pavel Petrovich - this is a tribute to aristocratism; Nikolai Petrovich sincerely admires by nature (and everything is beautiful, it is inseparably: both poetry, music, and painting, and nature), she brings him memories, reflections; Arkady, although not shows the form, close, rather, to the Father (it probably wanted to say Turgenev, making a place of exploitation of Arkady from Katya Garden: Romantic situation, simple, wonderful Russian landscape) ...

The skill of Turgenev in any way \\ "look into the soul \\" of a person, to find out the origins of his worldview ensures the existence of all the attractive features of its novels in the beginning. Social conflict, Turgenev believed, should be viewed from the inside (and it begins with the birth of a new type of man), and understanding a person fully in a state only a good psychologist. Consequently, as Turgenev himself wrote, the writer \\ "must be a psychologist \\" and, besides the reader to teach this.