The novel “The Noble Nest” by I. Turgenev: themes and issues. The meaning of the title and problems of the novel by I. S. Turgenev “The Noble Nest The Noble Nest Problems”

The favorite setting in Turgenev’s works is “noble nests” with the atmosphere of sublime experiences reigning in them. Turgenev worries about their fate and one of his novels, which is called “The Noble Nest,” is imbued with a feeling of anxiety for their fate. This novel is imbued with the awareness that the “nests of the nobility” are degenerating. Turgenev critically illuminates the noble genealogies of the Lavretskys and Kalitins, seeing in them a chronicle of feudal tyranny, a bizarre mixture of “wild lordship” and aristocratic admiration for Western Europe. Turgenev very accurately shows the change of generations in the Lavretsky family, their connections with various periods of history. development. A cruel and wild tyrant landowner, Lavretsky’s great-grandfather; his grandfather, who once “flogged the whole village,” a careless and hospitable “steppe gentleman”; full of hatred for Voltaire and the “fanatic” Diderot - these are typical representatives of the Russian “wild nobility”. They are replaced by claims to “Frenchness” and Anglomanism, which have become part of the culture, which we see in the images of the frivolous old Princess Kubenskaya, who at a very old age married a young Frenchman, and the father of the hero Ivan Petrovich. Starting with a passion for the “Declaration of the Rights of Man” and Diderot , he ended with prayers and a bath. “A freethinker began to go to church and order prayer services; a European began to take a bath and have dinner at two o’clock, go to bed at nine, fall asleep to the chatter of the butler; a statesman - he burned all his plans, all his correspondence, was in awe of the governor and fussed with the police officer.” This was the story of one of the Russian clans. nobility. An idea of the Kalitin family is also given, where parents do not care about their children, as long as they are fed and clothed. This whole picture is complemented by the figures of the gossip and jester old official Gedeonovsky, the dashing retired captain and famous gambler - Father Panigin, the lover of government money - retired General Korobin, the future father-in-law of Lavretsky, etc. Telling the story of the families of the characters in the novel, Turgenev creates a picture very far from the idyllic image of “noble nests”. He shows a ragtag Russia, whose people are facing all kinds of hardships, from a full course to the West to literally dense vegetation on their estate. And all the “nests”, which for Turgenev were the stronghold of the country, the place where its power was concentrated and developed, are undergoing a process of disintegration and destruction. Describing Lavretsky's ancestors through the mouths of the people (in the person of the courtyard man Anton), the author shows that the history of noble nests is washed by the tears of many of their victims. One of them is Lavretsky's mother - a simple serf girl, who, unfortunately, turned out to be too beautiful, which attracts the attention of the nobleman, who, having married out of a desire to annoy his father, went to St. Petersburg, where he became interested in another. And poor Malasha, unable to bear the fact that her son was taken away from her for the purpose of raising her, “meekly faded away in a few days.” The theme of the “irresponsibility” of the serf peasantry accompanies Turgenev’s entire narrative about the past of the Lavretsky family. The image of Lavretsky’s evil and domineering aunt Glafira Petrovna is complemented by the images of the decrepit footman Anton, who has aged in the lord’s service, and the old woman Apraxya. These images are inseparable from the “noble nests”.
In addition to the peasant and noble lines, the author is also developing a love line. In the struggle between duty and personal happiness, the advantage is on the side of duty, which love is unable to resist. The collapse of the hero’s illusions, the impossibility of personal happiness for him are, as it were, a reflection of the social collapse that the nobility experienced during these years.
“Nest” is a house, a symbol of a family where the connection between generations is not interrupted. In the novel "The Noble Nest" this connection is broken, which symbolizes the destruction and withering away of family estates under the influence of serfdom. We can see the result of this, for example, in N. A. Nekrasov’s poem “The Forgotten Village.”
But Turgenev hopes that all is not lost, and in the novel, saying goodbye to the past, he turns to the new generation, in which he sees the future of Russia

14. The ideological and artistic concept of I.S. Turgenev’s novel “On the Eve” and Dobrolyubov’s assessment of the novel.
Ivan Sergeevich Turgenev gave an artistic understanding of the problem of the active principle in man in the novel “On the Eve”. The work contains “the idea of the need for consciously active natures” for the movement of society towards progress. Insarov, on the other hand, towers over all the characters in the novel (excluding Elena. He is on a par with her). He rises as a hero, whose whole life is illuminated by the thought of heroism. The most attractive feature of Insarov for the author is his love for his homeland - Bulgaria. Insarov is the embodiment of fiery love for the fatherland. His soul is full of one feeling: compassion for his native people, who are in Turkish bondage. “If you only knew what a blessed land ours is!” says Insarov to Elena. “And yet they trample it, they torment it... everything was taken away from us, everything: our churches, our rights, our lands; the filthy Turks are driving us like a herd , we are being slaughtered... Do I love my homeland? - What else can you love on earth, what is above all doubts, what cannot you help but believe after God? And when this homeland needs you..." The entire work of I? . S. Turgenev is imbued with the “greatness and holiness” of the idea of \u200b\u200bliberating the suffering homeland. Insarov is a kind of ideal of self-denial. It is characterized to the highest degree by self-restraint, the imposition of “iron chains of duty” upon oneself. He humbles all other desires, subordinating his life to serving Bulgaria. However, his self-denial differs from the humility before the duty of Lavretsky and Lisa Kalitina: it is not of a religious and ethical nature, but of an ideological nature. In accordance with the principle of objective reflection of reality, Turgenev did not want and could not obscure those qualities (even if not always attractive) that he saw in the hero - not in an abstract image, but in a living person. Any character is too complex to be painted with only one paint - black or white. Insarov is no exception. Sometimes he is too rational in his behavior, even his simplicity is deliberate and complex, and he himself is too dependent on his own desire for independence. The writer is attracted to Insarov by quixoticism. There are no other heroes around him capable of action. “We don’t have anyone yet, there are no people, no matter where you look,” says Shubin. “Everything is either sweethearts, rodents, hamlets... from empty to empty pourers and drum sticks! And then there are some others: to the shameful subtlety of themselves They studied themselves, constantly feel the pulse of each of their sensations and report to themselves: this is what I feel, this is what I think. No, if there were good people among us, this girl, this sensitive one, would not have left us. the soul would not have slipped away like a fish into water.” "Hamletiki"... The word has been spoken! Isn’t the author’s self-condemnation heard in these words of Shubin? In "On the Eve" more clearly than in Turgenev's other novels, the presence of the author himself, his thoughts and doubts, are too clearly reflected in the thoughts of many characters, in their thoughts and interests. Turgenev even expressed himself in quiet and bright envy of the love of the main characters. Is it by chance that, bowing before this love, Bersenev says to himself the very words that appear more than once in the author’s letters. “What kind of desire is there to cling to the edge of someone else’s nest?” There is one hidden plot in the novel "On the Eve" that has nothing to do with the socio-political struggles in pre-reform Russia. In the actions, thoughts, and statements of the characters, the author’s thoughts about happiness gradually develop. ""Thirst for love, thirst for happiness, nothing more,” Shubin praised... “Happiness!” Happiness! Before life is over... We will win happiness for ourselves!" Bersenev raised his eyes to him. "As if there is nothing higher than happiness?" he said quietly..." It is not for nothing that these questions were asked at the very beginning of the novel, they require an answer. Then each of the heroes will find their own happiness. Shubin - in art, Bersenev - in science. Insarov does not understand personal happiness if the homeland is in sorrow. "How come

Then each of the heroes will find their own happiness. Shubin - in art, Bersenev - in science. Insarov does not understand personal happiness if the homeland is in sorrow. “How can you be content and happy when your fellow countrymen are suffering?” - Insarov asks, and Elena is ready to agree with him. For them, the personal should be based on the happiness of others. Happiness and duty thus coincide. And it is not at all the separating well-being that Bersenev talks about at the beginning of the novel. But later the heroes realize that even their altruistic happiness is sinful. Just before Insarova's death, Elena feels that for earthly happiness - whatever it may be - a person must be punished. For her, this is Insarov's death. The author reveals his understanding of the law of life: "...the happiness of each person is based on the misfortune of another." But if so, then happiness is truly a “dividing word” - and therefore, it is unacceptable and unattainable for a person. There is only duty, and you must follow it. This is one of the most important thoughts of the novel. But will there ever be selfless quixotes in Russia? The author does not give a direct answer to this question, although he hopes for a positive solution. There is no answer to the question posed in the very name of the rum on the eve. On the eve of what? - the appearance of the Russian Insarovs? When will they appear? "When will the real day come?" - Dobrolyubov asks this question in his article of the same name. What is this if not a call for revolution? The genius of Turgenev lies in the fact that he was able to see the current problems of the time and reflect them in his novel, which has not lost its freshness for us. Russia needs strong, courageous, purposeful individuals at all times.

Turgenev's novel "The Noble Nest". SOCIO-HISTORICAL AND ETHICAL-Aesthetic Issues

The favorite setting in Turgenev’s works is “noble nests” with the atmosphere of sublime experiences reigning in them. Turgenev worries about their fate and one of his novels, which is usually called “The Noble Nest,” is imbued with a feeling of anxiety for their fate. This novel is imbued with the awareness that the “nests of the nobility” are degenerating. Turgenev critically illuminates the noble genealogies of the Lavretskys and Kalitins, seeing in them a chronicle of feudal tyranny, a bizarre mixture of “wild lordship” and aristocratic admiration for Western Europe. Turgenev very accurately shows the change of generations in the Lavretsky family, their connections with various periods of historical development. A cruel and wild tyrant landowner, Lavretsky’s great-grandfather (“whatever the master wanted, he did, he hung men by the ribs... he didn’t know his elders”); his grandfather, who once “flogged the whole village,” a careless and hospitable “steppe gentleman”; full of hatred for Voltaire and the “fanatic” Diederot - these are typical representatives of the Russian “wild nobility”. They are replaced by claims to “Frenchness” and Anglomanism, which have become part of the culture, which we see in the images of the frivolous old Princess Kubenskaya, who at a very old age married a young Frenchman, and the father of the hero Ivan Petrovich. Starting with a passion for the “Declaration of the Rights of Man” and Diderot , he ended with prayers and a bath. "A freethinker - began to go to church and order prayer services; a European - began to take a bath and have dinner at two o'clock, go to bed at nine, fall asleep to the chatter of the butler; a statesman - burned all his plans, all correspondence, was in awe of the governor and fussed with the police officer ". This was the history of one of the families of the Russian nobility. An idea is also given of the Kalitin family, where parents do not care about their children, as long as they are fed and clothed. This whole picture is complemented by the figures of the gossip and jester of the old official Gedeonov, the dashing retired captain and famous gambler - Father Panigin, the lover of government money - retired General Korobin, the future father-in-law of Lavretsky, etc. Telling the story of the families of the characters in the novel, Turgenev creates a picture very far from the idyllic image of “noble nests”. He shows a rugged Russia, whose people suffer from all kinds of hardships, from a full course to the west to literally dense vegetation on their estate. And all the “nests”, which for Turgenev were the stronghold of the country, the place where its power was concentrated and developed, are undergoing a process of disintegration and destruction. Describing Lavretsky's ancestors through the mouths of the people (in the person of the courtyard man Anton), the author shows that the history of noble nests is washed by the tears of many of their victims. One of them is Lavretsky's mother - a simple serf girl, who, unfortunately, turned out to be too beautiful, which attracts the attention of the nobleman, who, having married out of a desire to annoy his father, went to St. Petersburg, where he became interested in another. And poor Malasha, unable to bear the fact that her son was taken away from her for the purpose of raising her, “meekly faded away in a few days.” The theme of the “irresponsibility” of the serf peasantry accompanies Turgenev’s entire narrative about the past of the Lavretsky family. The image of Lavretsky’s evil and domineering aunt Glafira Petrovna is complemented by the images of the decrepit footman Anton, who has aged in the lord’s service, and the old woman Apraxya. These images are inseparable from the “noble nests”. In addition to the peasant and noble lines, the author is also developing a love line. In the struggle between duty and personal happiness, the advantage is on the side of duty, which love is unable to resist. The collapse of the hero’s illusions, the impossibility of personal happiness for him are, as it were, a reflection of the social collapse that the nobility experienced during these years. “Nest” is a house, a symbol of a family where the connection between generations is not interrupted. In the novel "The Noble Nest" this connection is broken, which symbolizes the destruction, the withering away of family estates under the influence of serfdom. We can see the result of this, for example, in the poem "Forgotten Village" by N. A. Nekrasov. But Turgenev hopes that not everything is still lost, and turns in the novel, saying goodbye to the past, to a new generation in which he sees the future of Russia.

8. Ideological dialogue-argument in the novel “Fathers and Sons”

Turgenev used all methods of characterizing heroes, but preferred mainly dialogue and portraiture. Dialogue in Turgenev's novel plays such a large role that it would be wrong to reduce it to a simple technical device of the writer. The increased role of dialogue is determined by the theme and ideological content of the work. In a socio-psychological novel, dialogue makes it possible to develop current political problems, illuminating them from different points of view; finally, the characteristic features of the heroes are revealed in the dialogue.

The dialogues in the novel “Fathers and Sons” are, first of all, passionate debates on political and philosophical topics. Unlike his opponents, Bazarov is short and laconic in the dispute. He convinces and defeats the enemy not with long arguments and philosophical triads, as Rudin did, but with laconic, meaningful remarks, well-aimed, extremely capacious, well-spoken aphorisms. Bazarov does not strive to speak beautifully. At the same time, he comes out victorious in almost all disputes, since his remarks, dropped as if in passing in a dispute, are full of deep meaning and testify to the colossal erudition of the hero, his knowledge of life, resourcefulness and wit. Bazarov's remarks can be expanded into a whole system of views. For example, the words: “Our peasant is happy to rob himself just to get drunk on dope in a tavern”, or “The people believe that when thunder roars, it is Ilya the Prophet riding in a chariot across the sky” - clearly expresses the educational program of “Sovremennik”, formulated in the articles of Chernyshevsky and Dobrolyubov at the end 50s and was embodied in many of N. Uspensky’s stories about the people, which usually opened issues of Sovremennik. Turgenev forces Bazarov to use proverbs and sayings and ideological expressions more often than other heroes. These signs of Bazarov’s linguistic manner reveal a true democrat in him.

The writer’s artistic skill in the novel “Fathers and Sons” was also manifested in the creation of portraits.

9. The image of Bazarov “Fathers and Sons”

Written at a turning point in the historical development of Russia, the novel “Fathers and Sons” showed the acute problems of our time, which worried Russian society for a long time after the appearance of this work. This novel by I. S. Turgenev is a reflection of the social conflict of the 60s of the 19th century, the depth of which is shown by the example of the eternal conflict between fathers and children. In the novel we see a typical representative of commoners, for whom, despite all their differences in socio-political views, deep democracy was characteristic. The main conflict of the novel is based on the opposition and collision of democracy and aristocracy and consists in the problem of fathers and children. Bazarov is a commoner democrat. These people, often of non-noble origin, worked their way into life and did not recognize the class division of society. Striving for knowledge, they valued a person not by his nobility and wealth, but by his deeds and benefit to the people around him. “My grandfather plowed the land,” says Bazarov about his origins. At the same time, he is silent about his ancestor on his mother’s side, thereby showing a lack of any interest in his noble grandfather. Democratism is characteristic not only of Bazarov’s beliefs, but also of his appearance. The appearance of the hero of the novel among the nobility in a “hoodie” is in itself a challenge to conventions, a deliberate disregard for them. We also pay attention to Bazarov’s “naked red hand” - this is the hand of a man who is not alien to physical labor. It is too different from the well-groomed hand of a nobleman to be overlooked. In general, in Bazarov’s appearance, Turgenev emphasizes his intellectual beginning: intelligence and self-respect. We see that the life of an idle aristocratic society passes in idleness, which cannot be said about Bazarov. Continuous work is the content of his life. Turgenev reveals the nature of his work: “Bazarov brought a microscope with him and spent hours fiddling with it,” he conducts “physical and chemical experiments,” that is, he continues his natural science studies in Maryin. What is the attitude of the main characters of the novel towards Bazarov? Nikolai Petrovich is a kind and gentle person, in connection with this he treats Bazarov somewhat aloof, with misunderstanding and even fear: “Nikolai Petrovich was afraid of the young “nihilist” and doubted the benefits of his influence on Arkady.” Pavel Petrovich’s feelings are stronger and more definite: “...Pavel Petrovich hated Bazarov with all the strength of his soul: he considered him proud, impudent, cynic, plebeian.” He finally confirmed his hostility towards Bazarov and “in his own way. .. an aristocrat no worse than Pavel Petrovich” old Prokofich. He called him a flayer and a scoundrel and assured that he “with his sideburns is a real pig in the bush.” But ordinary people are drawn to Bazarov with all their souls. Shy and timid Fenechka “got so comfortable with him that one night she ordered him to wake him up” when her son fell ill. And “the yard boys ran after the “do-khtur” like little dogs.” Both the maid Dunyasha and Peter sympathized with him; they felt that he was “after all his brother, not a master.” The clash between Bazarov and Pavel Petrovich, as representatives not only of different generations, but also people of different beliefs, was inevitable. Pavel Petrovich “was only waiting for an excuse to attack the enemy.” Bazarov considered it useless to waste gunpowder on verbal battles, but it was impossible to evade the fight. Bazarov speaks the terrible words that he denies everything with “inexpressible calm.” Mental strength, confidence in his rightness, deep conviction are heard in his very voice, in short, fragmentary remarks. The image of Evgeny Bazarov is more fully revealed precisely in comparison with Pavel Petrovich. There is a sense of aristocracy in the latter’s words. He constantly uses expressions that emphasize the good manners of a true aristocrat (“I am deeply obliged to you,” “I have the honor to bow”...). The abundance of foreign expressions in the speech of this hero irritates Bazarov: “Aristocracy, liberalism, progress, principles... just think, how many foreign and useless words! Russian people don’t need them for nothing.” Bazarov’s own speech is distinguished by wit, resourcefulness, excellent knowledge of the folk language and the ability to master it. Bazarov’s speech reveals his characteristic mentality - sober, sound and clear. In the frequent disputes between “Mr. Nihilist” Bazarov and “feudal lord” Kirsanov, almost all the main issues were touched upon on which commoner democrats and liberals disagreed: about the ways of further development of the country, about materialism and idealism, about knowledge of science, understanding of art and about attitude towards the people. We see that all of Pavel Petrovich’s principles essentially boil down to defending the old order, and Bazarov’s views amount to denouncing this order. When the argument turned to the people, they seemed to see eye to eye. Bazarov agrees with Pavel Petrovich that the people “sacredly honor traditions, they are patriarchal, they cannot live without faith.” But if Kirsanov is convinced of the value of these qualities, then Bazarov is ready to devote his whole life to ensuring that this is not so. The main character of the novel seems to speak disparagingly about Russian men. But he speaks not against them themselves, but against affection for their backwardness, superstition, and ignorance. Sometimes the position of Bazarov, “who approaches everything from a critical point of view,” is extreme. This can be said about his aesthetic views. Thus, Bazarov mocks Pushkin and denies painting and poetry. He does not notice the beauty of the surrounding nature, although he loves it in his own way, believing that it contains enormous resources that can be used for the benefit of man (“nature is not a temple, but a workshop”). When you write about Evgeny Bazarov, you cannot help but say the main thing - that this person is extremely lonely. In Maryinka, Bazarov is a guest, sharply different from the host landowners. For both servants and masters it belongs there. In the village of his father, Bazarov is a gentleman in the eyes of the serfs. In fact, he is far from both the landowners and ordinary people. He's lonely. He is also lonely because in the novel we do not see a single like-minded person of Bazarov. There are only his imaginary students. This is, first of all, the “little liberal gentleman” Arkady. At the same time, his passion for Bazarov is nothing more than a tribute to his youth. At the same time, he is still the best of Bazarov’s students depicted in the novel. His other “followers” are depicted satirically. Sitnikov and Kukshina see in nihilism the negation of all old moral norms and enthusiastically follow this “fashion”. Bazarov is lonely not only in friendship, but also in love. In his bitter feeling for Odintsova, he reveals himself as a deep, strong nature. Turgenev himself admitted that this hero “still stands on the threshold of the future.” The author of “Fathers and Sons” admits: “I wanted to make him a tragic face... I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, evil, honest, and yet doomed to destruction.” . It seems to me that Turgenev managed to create just such an image. And he took his rightful place among the literary heroes of the 19th century. D.I. Pisarev gave the following assessment to the main character of “Fathers and Sons”: “... the Pechorins have will without knowledge, the Rudins have knowledge without will; The Bazarovs have both knowledge and will, thought and deed merge into one solid whole.” The image of Bazarov (based on Turgenev’s novel “Fathers and Sons”)

Turgenev's novel "The Noble Nest". SOCIO-HISTORICAL AND ETHICAL-Aesthetic issues - concept and types. Classification and features of the category “Turgenev’s novel “The Noble Nest”. SOCIO-HISTORICAL AND ETHICAL-Aesthetic Issues” 2017, 2018.

June 22 2011

This one is imbued with the awareness that the “nests of the nobility” are degenerating. Turgenev critically illuminates the noble genealogies of the Lavretskys and Kalitins, seeing in them feudal tyranny, a bizarre mixture of “lordship” and aristocratic admiration for Western Europe.

Turgenev very accurately shows the change of generations in the Lavretsky family, their connections with various periods of historical development. A cruel and wild tyrant landowner, Lavretsky’s great-grandfather (“whatever the master wanted, he did, he hung men by the ribs... he didn’t know his elders”); his grandfather, who once “flogged the whole village,” a careless and hospitable “steppe gentleman”; full of hatred for Voltaire and the “fanatic” Diderot - these are typical representatives of the Russian “wild lordship”. They are replaced by claims to “Frenchness” and Anglomanism, which have become part of the culture, which we see in the images of the frivolous old Princess Kubenskaya, who at a very old age married a young Frenchman, and the father of Ivan Petrovich. Starting with a passion for the “Declaration of the Rights of Man” and Diderot, he ended with prayer services and a bath. “A freethinker, he began going to church and ordering prayer services; the European - began to steam and have dinner at two o'clock, go to bed at nine, fall asleep to the chatter of the butler; state - burned all his plans, all correspondence,

I was in awe of the governor and fussed with the police officer.” This was one of the families of the Russian nobility

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

This whole picture is complemented by the figures of the gossip and jester of the old official Gedeonov, the dashing retired captain and famous gambler - Father Panigin, the lover of government money - retired General Korobin, the future father-in-law of Lavretsky, etc. By telling the story of the families of the characters in the novel, Turgenev creates the picture is very far from the idyllic image of “noble nests”. He shows a rag-tag Russia, whose people are going through all sorts of hardships, from heading completely west to literally vegetating wildly on their estate.

And all the “nests”, which for Turgenev were the stronghold of the country, the place where its power was concentrated and developed, are undergoing a process of disintegration and destruction. Describing Lavretsky's ancestors through the mouths of the people (in the person of the courtyard man Anton), he shows that the history of the noble nests is washed by the tears of many of their victims.

One of them is Lavretsky's mother - a simple serf girl, who, unfortunately, turned out to be too beautiful, which attracts the attention of the nobleman, who, having married out of a desire to annoy his father, went to St. Petersburg, where he became interested in another. And poor Malasha, unable to bear the fact that her son was taken away from her for the purpose of raising her, “meekly died away in a few days.”

The theme of the “irresponsibility” of the serf peasantry accompanies Turgenev’s entire narrative about the past of the Lavretsky family. Lavretsky’s evil and domineering aunt Glafira Petrovna is complemented by the images of the decrepit footman Anton, who has grown old in the lordly service, and the old woman Apraxya. These images are inseparable from the “noble nests”.

In addition to the peasant and noble lines, the author is also developing a love line. In the struggle between duty and personal happiness, the advantage is on the side of duty, which love is unable to resist. The collapse of the hero’s illusions, the impossibility of personal things for him are, as it were, a reflection of the social collapse that the nobility experienced during these years.

“Nest” is a house, a symbol of a family where the connection between generations is not interrupted. In the novel The Noble Nest, this connection is broken, which symbolizes the destruction and withering away of family estates under the influence of serfdom. We can see the result of this, for example, in the poem “Forgotten Village” by N. A. Nekrasov.

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

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

The love of Lavretsky and Lisa Kalitina does not manifest itself immediately, it approaches them gradually, through many thoughts and doubts, and then suddenly falls upon them with its irresistible force. Lavretsky, who has experienced a lot in his life: hobbies, disappointments, and the loss of all life goals, at first simply admires Liza, her innocence, purity, spontaneity, sincerity - all those qualities that are absent from Varvara Pavlovna, Lavretsky’s hypocritical, depraved wife who left him. Lisa is close to him in spirit: “Sometimes it happens that two people who are already familiar, but not close to each other, suddenly and quickly become close within a few moments - and the consciousness of this

The rapprochement is immediately expressed in their glances, in their friendly and quiet smiles, in their very movements. This is exactly what happened to Lavretsky and Lisa.” They talk a lot and realize that they have a lot in common. Lavretsky takes life, other people, and Russia seriously; Lisa is also a deep and strong girl with her own ideals and beliefs. According to Lemm, Lisa’s music teacher, she is “a fair, serious girl with sublime feelings.” Lisa is being courted by a young man, a metropolitan official with a wonderful future. Lisa's mother would be happy to give her in marriage to him; she considers this a wonderful match for Lisa. But Liza cannot love him, she feels the falseness in his attitude towards her, Panshin is a superficial person, he values \u200b\u200bthe external shine in people, not the depth of feelings. Further events of the novel confirm this opinion about Panshin.

Only when Lavretsky receives news of the death of his wife in Paris does he begin to admit the thought of something personal. Turgenev, in his favorite manner, does not describe the feelings of a person freed from shame and humiliation; he uses the technique of “secret psychology,” depicting the experiences of his heroes through movements, gestures, and facial expressions. After Lavretsky read the news of his wife’s death, he “got dressed, went out into the garden and walked back and forth along the same alley until the morning.” After some time, Lavretsky becomes convinced that he loves Lisa. He is not happy about this feeling, since he has already experienced it, and it only brought him disappointment. He is trying to find confirmation of the news of his wife's death, he is tormented by uncertainty. And his love for Liza is growing: “He did not love like a boy, it did not suit him to sigh and languish, and Liza herself did not excite this kind of feeling; but love for every age has its sufferings, and he experienced them fully.” The author conveys the feelings of the characters through descriptions of nature, which is especially beautiful

According to their explanation: “Each of them had a heart growing in their chest, and nothing was missing for them: the nightingale sang for them, and the stars burned, and the trees quietly whispered, lulled by sleep, and the bliss of summer, and warmth.” The scene of the declaration of love between Lavretsky and Lisa was written by Turgenev in an amazingly poetic and touching way; the author finds the simplest and at the same time the most tender words to express the feelings of the characters. Lavretsky wanders around Lisa’s house at night, looking at her window in which a candle is burning: “Lavretsky thought nothing, did not expect anything; he was pleased to feel close to Lisa, to sit in her garden on a bench, where she had sat more than once...” At this time, Lisa goes out into the garden, as if sensing that Lavretsky is there: “In a white dress, with unbraided braids on her shoulders, she quietly walked up to the table, bent over it, put a candle on it and looked for something; then, turning her face to the garden, she approached the open door and, all white, light, slender, stopped on the threshold.” There is a declaration of love, after which Lavretsky

Happiness fills him: “Suddenly it seemed to him that some wondrous, triumphant sounds filled the air above his head; he stopped: the sounds thundered even more magnificently; they flowed like a melodious, strong stream, and in them, it seemed, all his happiness spoke and sang.” This was the music that Lemm composed, and it completely corresponded to Lavretsky’s mood: “Lavretsky had not heard anything like it for a long time: a sweet, passionate melody captured the heart from the first sound; she was all shining, all was languishing with inspiration, happiness, beauty, she grew and melted; it touched on everything that is dear, secret, and holy on earth; she breathed immortal sadness and went to die in heaven.” The music foreshadows tragic events in the lives of the heroes: the news of the death of Lavretsky’s wife turns out to be false, Varvara Pavlovna returns to Lavretsky, as she is left without money.

Let us turn to the “key” moments of the analysis of “The Noble Nest”. It is necessary to begin with the fact that, undoubtedly, this was a public, acutely topical novel, in which Turgenev again addresses the problem of the nobility, its role in a difficult period in the life of Russia. The death of Nicholas I, defeat in the Crimean War, and the rise of the peasant movement unusually activated Russian society. What position can a noble take under such circumstances? How to live further? Panshin directly poses this question to Lavretsky: “...What do you intend to do?” “Plow the land,” Lavretsky replies, “and try to plow it as best as possible.”

“The Noble Nest” is a “personal novel”, the hero of which, with his inner nobility, decency, patriotism and many other worthy qualities, will remind of himself in Pierre Bezukhov, Andrei Bolkonsky, and Chekhov’s intellectual heroes.

In “The Noble Nest,” Turgenev turned not only to the personal fate of the protagonist, but also panoramicly depicted the history of the Lavretsky family in order to be able to present a generalized portrait of the Russian nobility in the aspect of the novel’s problems. The author is especially cruel in assessing the separation of the most advanced class of Russia from its national roots. In this regard, the theme of the homeland becomes one of the central, deeply personal and poetic. The homeland heals Lavretsky, who returned from abroad, just as the people’s feeling for life helps him survive his tragic love for Liza Kalitina, endowing him with wisdom, patience, humility - everything that helps a person live on earth.

The hero passes the test of love and passes it with honor. Love revives Lavretsky to life. Let us remember the description of the summer moonlit night he saw. Following the principle of “secret psychology,” Turgenev reveals through the landscape the awakening of the hero’s soul - the source of his moral strength. But Lavretsky also has to experience a state of self-denial: he comes to terms with the loss of love, comprehending the highest wisdom of humility.

"The Noble Nest" as a "testing novel" involves testing the hero's life position. Unlike Liza, Mikhalevich, Lem, who are marked by the height of their chosen goal, Lavretsky is ordinary in his earthly aspirations and in his imaginable ideals. He wants to work and work as best as possible, remaining true to himself to the end. Finding himself without hope for his own happiness, the hero finds the strength to live, to accept the laws of the natural course of existence, reflected in the popular worldview, such as the ability to suffer and endure, and at the same time recognize it as a person’s moral duty not to isolate oneself, but to remember those around you , and try to work for their benefit.

Lavretsky, and with him Turgenev, consider this state to be the only worthy one, although not without bitter internal losses. It is no coincidence that in the finale the hero feels like a lonely homeless wanderer, looking back at his life - a burning candle.

Thus, in “The Noble Nest” two time plans characteristic of Turgenev’s novel organically merged: historical and timeless, resulting in a philosophical and symbolic finale - a feature of all Turgenev’s novels - with his thought about accepting the laws of fast-flowing life with its eternal contradictions, gains and losses. And here comes Turgenev’s reflection on the broken connection between generations in Russian history, which will become the main theme of the novel “Fathers and Sons.”

In 1859, “The Noble Nest” was published. The central problem of the story was the problem of moral duty. Forgetting about moral duty. In “The Noble Nest” the problem of moral duty receives a socio-historical justification. This story is Turgenev's last attempt to find a hero of his time among the nobility. Turgenev understood that the Russian nobility had come to a turning point, to a certain point, beyond which it would be clear whether it could maintain its role as a leading historical force.

At the center of the work is the love story of Lisa and Lavretsky. The heroes meet, they develop sympathy for each other, then love, they are afraid to admit it to themselves, because Lavretsky is bound by marriage. In a short time, Lisa and Lavretsky experience both hope for happiness and despair - with the knowledge of its impossibility. The heroes of the novel are looking for answers to the questions that their fate poses to them - about personal happiness, about duty to loved ones, about self-denial, about their place in life.

The main character of the work, around whom the entire narrative is built, is Lavretsky. This is a hero who embodied the best qualities of the patriotically and democratically minded Russian nobility. He appears in the novel not alone, but together with the history of his kind. In “The Noble Nest” Turgenev is interested in topical issues of modern life; the heroes of the novel are shown with their “roots”, with the soil on which they grew up. We are talking not only about Lavretsky’s personal fate, but also about the historical fate of an entire class. It is not for nothing that the hero’s genealogy is told from the very beginning - from the 15th century. Turgenev criticizes the nobility's groundlessness, its separation from the people, from its native culture, from its Russian roots. The hero is close to the people both by origin and personal qualities. But at the same time, the formation of his personality was influenced by both his father’s Anglomanism and his Russian university education. Even Lavretsky’s physical strength is not only natural, but also the fruit of the upbringing of a Swiss tutor. In terms of strength of character, in terms of severe demands on oneself, in terms of the ability to self-sacrifice - Liza Kalitina.

In my opinion, the dispute between Panshin and Lavretsky is deeply significant. It appears in the evening, before the explanation between Lisa and Lavretsky. It is not for nothing that this dispute is woven into the most lyrical pages of the novel. For Turgenev, here the personal destinies, the moral quests of his heroes and their organic closeness to the people, their attitude towards them as “equals” are fused together. For Panshin and others like him, Russia is a wasteland where any social and economic experiments can be carried out. Lavretsky cites his own upbringing as an example, demanding, first of all, recognition of “the people’s truth and humility before it...”. And he is looking for this people's truth. Lavretsky “really stopped thinking about his own happiness, about selfish goals.” Proclaiming in his novel the idea of uniting the advanced intelligentsia with the “people, with the “land,” Turgenev saw the truth in an optimistic look into the future. “The Noble Nest” ends with mournful motifs about a useless life, about a lonely old age, but at the same time an expression of faith in the younger generation , which can resolve tragic contradictions and find the path to happiness. “Play, have fun, grow young strength... you have life ahead, and it will be easier for you to live: you won’t have to, like us, find your way, fight, fall and get up. among the darkness," says Lavretsky, addressing the youth. Lavretsky sits on the same bench on which he once sat with Lisa. Around him, the same familiar and unchanging nature. And years and grief have changed him so much... With sad lyricism, Turgenev develops in this scene one of his favorite thoughts about the contrast between eternal and powerful nature and mortal, weak man, unable to achieve happiness, find the truth and doomed to the merciless, destructive action of time.