Analysis of the work “The White Guard” (M. Bulgakov). "White Guard" M.A.

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" opens with a majestic image of 1918: "Great was the year and terrible year after the birth of Christ, 1918, from the beginning of the second revolution. It was full of sun in summer and snow in winter, and two stars stood especially high in the sky: the shepherd star - evening Venus and red, trembling Mars. This introduction seems to warn of the trials that await the Turbins. Stars are not just images, they are symbolic images. Having deciphered them, you can see that already in the first lines of the novel the author touches on the topics that most concern him: love and war. Against the backdrop of the cold and fearless image of 1918, the Turbins suddenly appear, living in their own world, with a sense of intimacy and trust. Bulgakov sharply contrasts this family with the entire image of 1918, which carries horror, death, and pain. The Turbin House is warm and cozy, with an atmosphere of love and friendliness. Bulgakov with extraordinary precision describes the world of things that surrounds the Turbins. This is “a bronze lamp with a lampshade, the best cabinets in the world with books that smell of mysterious ancient chocolate, with Natasha Rostova, the captain’s daughter, gilded cups, silver, portraits, curtains...” These are the “famous” cream curtains that create coziness. All these things are signs for the Turbins old life , forever lost. Describing in detail the situation surrounding the Turbins since childhood, Bulgakov sought to show the atmosphere of the life of the intelligentsia, which had developed over decades. For Alexey, Nikolka, Elena and their friends, the house serves as a reliable and durable shelter. Here they feel protected. “And then... then it’s disgusting in the room, like in any room, where the arrangement is chaos, and it’s even worse when the lampshade is pulled off the lamp. Never. Never pull the lampshade off a lamp! The lampshade is sacred.” Cream curtains stronger than a stone wall will protect them from enemies, “...and their apartment is warm and cozy, especially wonderful are the cream curtains on all the windows, thanks to which you feel cut off from the outside world... And he, this world, this external world

... you must agree, it’s dirty, bloody and senseless.” The turbines understand this, and therefore they try with all their might to protect the family that unites and unites them. Turbines for Bulgakov are the ideal of a family. They reflected all the best necessary for human qualities: kindness, simplicity, honesty, mutual understanding and, of course, love. But heroes are dear to Bulgakov also because, under any conditions, they are ready to defend not only their cozy home, but also their hometown, Russia. This is why Talberg and Vasilisa cannot be members of this family. For the Turbins, the house is a fortress, which they protect and defend only together. And it is no coincidence that Bulgakov turns to the details of church rituals: the funeral service of their mother, Alexei’s appeal to the image of the Mother of God, the prayer of Nikolka, who is miraculously saved from death. Everything in the Turbins’ house is imbued with faith and love for God and for their loved ones, and this gives them the strength to withstand the outside world.

1918 became turning point year in our history - “not a single family, not a single person could escape suffering and blood.” This fate did not escape the Turbin family either. Representatives of the intelligentsia, the best layer in the country, found themselves facing difficult choice: to run away - this is what Talberg does, leaving his wife and close people - or go over to the side of hostile forces, which is what Shervinsky will do, appearing in the finale of the novel before Elena in the form of a two-color nightmare and recommended by the commander of the rifle school, Comrade Shervinsky. But the Turbines choose the third path - confrontation. Faith and love unite the family and make it stronger. The trials that befell the Turbins bring them even closer together.

In such scary time they decided to accept into their family a stranger - Talberg's nephew Lariosik. Despite the fact that the strange guest disturbs the peace and atmosphere of the Turbins (broken tableware, a noisy bird), they take care of him as a member of their family, trying to warm him with their love. And, after some time, Lariosik himself understands that he cannot live without this family. The openness and kindness of the Turbins attract Myshlaevsky, Shervinsky and Karas. As Lariosik correctly notes: “...and our wounded souls seek peace precisely behind such cream-colored curtains...”

One of the main motives of the novel is love. And the author shows this already at the beginning of the story, contrasting Venus with Mars. It is love that gives the novel its uniqueness. Love becomes the main thing driving force all the events of the novel. For her sake everything is done and everything happens. “They will have to suffer and die,” says Bulgakov about his heroes. And they really suffer and die. Love affects almost every one of them: Alexey, Nikolka, Elena, Myshlaevsky and Lariosik. And this bright feeling helps them to survive and win. Love never dies, otherwise life would die. But life will always be, it is eternal. To prove this, Bulgakov turns to God in Alexei's first dream, where he saw the Lord's paradise. “For him God is eternal truths: justice, mercy, peace...”

Bulgakov says little about the relationships between Alexei and Yulia, Nikolka and Irina, Elena and Shervinsky, only hinting at the feelings that arose between the characters. But these hints say more than any details. Readers cannot hide Alexey's sudden passion for Yulia, Nikolka's tender feeling for Irina. Bulgakov's heroes love deeply, naturally and sincerely. But each of them has a different love.

The relationship between Alexey and Yulia is not easy. When Alexey runs away from the Petliurists and his life is under threat, Yulia saves him and takes him to her place. She not only gives him life, but also brings the most wonderful feeling. They experience spiritual closeness and understand each other without words: ““Lean towards me,” he said. His voice became dry, weak, and high. She turned to him, her eyes wary in fear and deepened into the shadows. Turbin threw right hand on her neck, pulled her towards him and kissed her on the lips. It seemed to him that he had touched something sweet and cold. The woman was not surprised by Turbin’s action.” But the author doesn’t say a word about how the characters’ relationships develop further. And we can only guess how their fate turned out.

The love story of Nikolka and Irina develops differently. If Bulgakov talks at least a little about Alexei and Yulia, then practically nothing about Nikolka and Irina. Irina, like Yulia, enters Nikolka’s life unexpectedly. The younger Turbin, overcome by a sense of duty and respect for officer Nai-Turs, decides to inform the Turs family about the death of their relative. It is in this family that Nikolka finds his future love. Tragic circumstances bring Irina and Nikolai closer together. It is interesting that the text of the novel describes only one of their meetings, and there is not a single reflection, recognition or mention of love. It is unknown whether they will meet again. Only a sudden meeting and conversation between the brothers clears up the situation a little: “Apparently, brother, Poturra threw us with you onto Malo-Provalnaya Street. A! Well, let's walk. And what will come of this is unknown. A?"

Turbines know how to love and are rewarded for this with the love of the Almighty. When Elena turns to him with a plea to save her brother, love wins and death retreats from Alexei. Praying for mercy in front of the icon Mother of God, Elena passionately whispers: “You are sending too much grief, intercessor mother... Intercessor mother, won’t you take pity? Maybe we are bad people, but why punish us like that?” Elena makes a great sacrifice of self-denial: “Let Sergei not return... If you take it away, take it away, but don’t punish this with death.” And the disease subsided - Alexey recovered. This is how Love wins. Good triumphs over death, hatred, and suffering. And I really want to believe that Nikolka and Irina, Alexey and Yulia, Elena and Shervinsky and everyone else will be happy. “Everything will pass, but Love will remain,” because it is eternal, just as the stars above our heads are eternal.

In his novel, Bulgakov shows us the relationship completely different people: These are both family ties and love ties. But whatever the relationship, it is always driven by feelings. Or rather, one feeling - love. Love brought the Turbin family and their close friends together even more. Rising above reality, Mikhail Afanasyevich compares the images of stars with love. The stars, like love, are eternal. And in connection with this final words take on a completely different meaning: “Everything will pass. Suffering, torment, blood, famine and pestilence. The sword will disappear, but the stars will remain, when the shadows of our bodies and the work will not remain on the earth. There is not a single person who does not know this. So why don't we want to turn our gaze to them? Why?"

M. Bulgakov’s novel “The White Guard,” written in 1925 about the Civil War, covers the period from December 1918 to February 1919. Old world collapses, and the heroes of the novel, Russian intellectuals, shocked by events that change the usual way of life, drawn into the struggle between the Whites, Reds, Germans and Petliurists, are forced to make decisions that affect their later life. The author focuses on the Turbin family living in the City on Alekseevsky Spusk, symbolizing those spiritual, moral ideals, which are very difficult to preserve under these conditions.

What does the Turbins’ house represent, what are its traditions, what is the atmosphere in the house, which not only influences the relationships of the Turbins themselves and the people close to them, but also their thoughts, feelings, experiences and decisions?

After the death of the mother, two brothers remain in the family - Alexey, a doctor, sixteen-year-old cadet Nikolai and sister Elena. The author makes the reader think about whether this house will collapse, whether its foundations will disappear, as Russia collapsed after the abdication of the emperor. And the artist with great love and describes with warmth the Turbino house as an island of home warmth, comfort, harmony and understanding, despite the terrible, bloody events raging around it, in order to show in the name of what a person should live and what values ​​are important to him.

Civil War twisted, crushed and distorted the destinies of people, but failed to destroy the atmosphere of the Turbino house: the lampshade on the lamp, the white starched tablecloth, cream curtains, the green lamp above the table, the measured movement of the clock, the Dutch tiled stove, flowers, music and books.

Larion, the Zhytomyr cousin of the Turbins, very correctly noted that in this cozy house you don’t feel war, because nice people live here, intelligent people, caring for each other, trying to preserve the peaceful traditions of their home. And it becomes clear why Myshlaevsky, Studzinsky, Malyshev, and Nai-Tours are so drawn to this house. Red-haired Elena with a head “like a cleaned theatrical crown” radiates warmth, Nikolka with an eternal “whirl” hanging on right eyebrow, and Alexey, aged since October 25, 1917.

The furious hurricane of the revolution failed to disrupt good relations these sincere and honest people who despise cowardice, lies and self-interest.

According to Nikolka, “not a single person should break his word of honor, because otherwise it will be impossible to live in the world.” Therefore, we understand Alexei’s tossing and turning in the coming times of dishonor and deception, when it was necessary to decide how to live further, what and whom to protect, with whom to go. The writer conveys the sincere feelings of his characters in connection with the change of power in the City. At the Turbins' party, the same question is being decided: to accept or not to accept the Bolsheviks. And Turbiny, and Myshlaevsky, and Studzinsky, and even Lariosik are hesitating, suggesting, especially since it appears on the horizon new power in the person of Petlyura. They see that any seizure of power (whether by the Germans, Whites, Bolsheviks or Petliurists) leads to destruction peaceful life, families, homes, to the death of people. Therefore, the heroes are disappointed in their leaders. Solving the problem of a new life, they do not abandon the truth, which is higher than everything temporary, they force one to believe in the existence of enduring moral values. After all, the Turbins were able to accept and warm Lariosik with their kindness and sympathy, Nikolka was able to take care of the Nai-Tours and earn their gratitude. These people have responsibility for others. And in accordance with the truth, their good is paid for with good: an unknown woman, risking her own life, saves Alexei Turbin. But with what contempt Bulgakov treats Talberg, Elena’s husband, for his unprincipledness and lack of character: “A damn doll, devoid of the slightest concept of honor.” With what undisguised hatred he writes about those commanders who, before Petliura’s arrival in the city, abandoned the army, which, by the way, consisted of cadets, cadet boys and students. There were also such... But there were also Colonel Malyshev, Myshlaevsky and Nai-Tours. Nobles brought up on a code of honor. The scene when Colonel Malyshev learns about the hetman’s escape and the betrayal of the command was written with great skill. He finds out, and the first thing he does is disband his division. The instant reaction of the cadets was “treason.” They are trying to arrest Malyshev, and the question is asked (one of the main ones in the novel): “Who do you want to protect?” Real human drama is revealed in this small episode. The cadets are crying. It's not just the boys who are not allowed to shoot who cry. The "White Guard" is crying. Here is the tragedy of personality that all true intellectuals in the novel experience, and the war for white officers becomes a kind of purgatory. Who's running? Hetman, Talberg, the command that abandoned the guard. Who stays? Turbines “with the ever-open score of Faust,” Myshlaevsky, Shervinsky. The best remain. They cannot part with their Motherland, with their people. And the Motherland for them, first of all, is a home where goodness, love, peace and comfort reign.

There is so much humanity, simplicity and wisdom in the final lines of the novel: “Everything will pass. Suffering, torment, blood, famine and pestilence. We will disappear, but the stars will remain, when the shadow of our bodies and deeds will not remain on earth. There is not a single person who does not know this. So why don't we want to turn our gaze to them? Why?" The stars, according to Bulgakov, are the truth, these are the moral values, which people should strive to understand and preserve. The house will be preserved when its traditions are preserved, when there is no war that destroys these traditions, because there cannot be a justified war, since it not only takes the lives of people, but also destroys what a person is born for: procreation , creating a home, family and creativity.

E. Mustangova: “At the center of Bulgakov’s work is the novel “The White Guard”... Only in this novel does the usually mocking and sarcastic Bulgakov turn into a soft lyricist. All chapters and places related to the Turbins are presented in a tone of a little condescending admiration...

All will pass. Suffering, torment, blood, famine and pestilence. The sword will disappear, but the stars will remain, when the shadow of our deeds and bodies will not remain on the earth. M. Bulgakov In 1925, the first two parts of the novel by Mikhail Afanasyevich Bulgakov were published in the magazine “Russia”...

The novel “The White Guard” was first published (incompletely) in Russia in 1924. Completely in Paris: volume one - 1927, volume two - 1929. "White Guard" - in many ways autobiographical novel, based on the writer’s personal impressions of Kyiv...

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   All will pass. Suffering, torment, blood, famine and pestilence. The sword will disappear, but the stars will remain, when the shadow of our deeds and bodies will not remain on the earth.

M. Bulgakov In 1925, the first two parts of Mikhail’s novel were published in the magazine “Russia”...

The principle of the revolution is the principle of the locust (for the field), the ax (for the forest), the principle of Louis XV: after me - even a flood! Marina Tsvetaeva Revolution and culture - this is the theme with which Mikhail Bulgakov entered literature and to which he remained faithful in his work. For a writer, destroying the old means destroying first of all cultural values

. He believes that only culture, the world of the intelligentsia, brings harmony into the chaos of human existence.

At the center of the novel is the Turbin family: brothers Alexey and Nikolka, their sister Elena. The Turbins' house is always full of guests and friends. Following the will of her deceased mother, Elena maintains an atmosphere of warmth and comfort in the house. Even during the terrible time of the civil war, when the city lies in ruins, there is an impenetrable night outside the windows with shooting, a lamp is burning in the Turbins’ house under a warm lampshade, there are cream curtains on the windows, protecting and isolating the owners from fear and death.

Old friends still gather near the tiled stove. They are young, cheerful, all a little in love with Elena. There is no honor for them empty word. And Alexey Turbin, and Nikolka, and Myshlaevsky are officers. They act as the officer tells them debt. Times have come when it is difficult to understand where the enemy is, from whom to defend and who to protect. But they are faithful to the oath, as they understand it. They are ready to defend their beliefs to the end.

In a civil war there is no right and wrong. When brother goes against brother, there can be no winners. People are dying in the hundreds. Boys, yesterday's high school students, are taking up arms. They give their lives for ideas - true and false. But the strength of the Turbins and their friends is that they understand: even in this whirlwind of history there are simple things that you need to stick to if you want to save yourself. This is loyalty, love and friendship. And the oath - even V this moment - remains an oath, betrayal of it is betrayal of the Motherland, and betrayal remains betrayal.

“Never run like a rat into the unknown from danger,” - announces author. It is precisely this rat, running from a sinking ship, that Elena’s husband Sergei Talberg is presented with. Alexey Turbin despises Talberg, who is leaving Kyiv with the German headquarters. Elena refuses to go with her husband. For Nikolka, it would be a betrayal to leave the body of the deceased Nai-Tours unburied, and he, at the risk of his life, kidnaps him from the basement.

Turbines are not politicians. Their political beliefs sometimes seem naive. All the characters - Myshlaevsky, Karas, Shervinsky, and Alexey Turbin - are partly similar to Nikolka. who is outraged by the meanness of the janitor who attacked him from behind. “Everyone, of course, hates us, but he’s a real jackal! Take my hand from behind,” Nikolka thinks. And this indignation is the essence of a person who will never agree that “all means are good” to fight the enemy. Nobility of nature - characteristic Bulgakov's heroes.

Loyalty to one's main ideals gives a person an inner core. And this is what makes the main characters of the novel unusually attractive. As if for comparison, M. Bulgakov draws another model of behavior. Here is the owner of the house in which Turbina rents an apartment, engineer Vasilisa. For him, the main thing in life is to preserve this life at any cost. He is a coward, according to the Turbins, “bourgeois and unsympathetic,” and will not stop at direct betrayal, and perhaps even murder. He is a “revolutionary”, an anti-monarchist, but his beliefs turn into nothing in the face of greed and opportunism.

The proximity to Vasilisa emphasizes the peculiarity of the Turbins: they strive to rise above circumstances, and not to justify their bad actions with them. IN During a difficult moment, Nai-Tours can rip off the cadet's shoulder straps in order to save his life, and covers him with machine gun fire, and he himself dies. Nikolka, regardless of the danger to herself, is looking for Nai-Tours’ relatives. Alexei continues to be an officer, despite the fact that the emperor, to whom he swore allegiance, abdicated the throne. When Lariosik comes “to visit” amid all the confusion, the Turbins do not refuse him hospitality.

This idea takes on a tragic sound in the novel “The White Guard”. The Turbins’ attempt with a sword in their hands to defend a way of life that has already lost its existence looks like quixoticism. With their death, everything dies. Art world The novel seems to be bifurcated: on the one hand, this is the world of the Turbins with an established cultural way of life, on the other hand, this is the barbarism of Petliurism. The world of the Turbins is perishing, but Pstlyura is also perishing. The battleship “Proletary” enters the city, bringing chaos to the world of human kindness.

It seems to me that Mikhail Bulgakov wanted to emphasize not the social and political preferences of his heroes, but the eternal universal humanity that they carry within themselves: friendship, kindness, love. In my opinion, the Turbin family embodies the best traditions of Russian society, the Russian “Intelligentsia.

The fate of Bulgakov's works is dramatic. The play “Days of the Turbins” was performed on stage only because Stalin explained: “These “Days of the Turbins” are a demonstration of the all-crushing power of Bolshevism, for even people like the Turbins are forced to lay down their arms and submit to the will of the people, recognizing their cause as completely lost.” . However, Bulgakov showed the opposite in the play: destruction awaits the force that kills the soul of the people - culture and people, bearers of spirituality.

In the novel “The White Guard,” the original Russian intelligent family of the Turbins suddenly becomes involved in great events, becomes a witness and participant in terrible and amazing deeds. The days of the Turbins absorb the eternal charm of calendar time. Memories of the mother and her former life contrast with the real situation of the bloody 1918. The great misfortune - the loss of the mother - merges with another terrible disaster- the collapse of the old, seemingly strong and beautiful world.

You can’t sit out a difficult time by closing yourself off from it, like the homeowner Vasilisa, “an engineer and a coward, a bourgeois and unsympathetic.” Turbines face a threatening time differently. They do not betray themselves in anything. Every day friends gather in their house and are greeted by light, warmth, and a laid table.

Some time will pass, and Nai-Tours, realizing that he and his cadets have been treacherously abandoned by the command, that his guys are destined for the fate of cannon fodder, at the cost own life will save her boys. Everything honest and pure is attracted to the House like a magnet. Here, in this comfort of the House, the mortally frozen Myshlaevsky comes from the terrible World. A man of honor, like Turbins, he did not leave his post near the city, where in the terrible frost forty people waited for a day in the snow, without fires, for a shift that would never have happened.
came if Colonel Nai-Tours, also a man of honor and duty, could not, despite the disgrace happening at the headquarters, bring two hundred cadets, thanks to the efforts of Nai-Tours, perfectly dressed and armed.

The lines of the Turbins and Nai-Tours will intertwine in the fate of Nikolka, who witnessed the last heroic minutes of the colonel’s life. Admired by the colonel's feat and humanism, Nikolka will do the impossible - she will be able to overcome the seemingly insurmountable in order to give Nai-Turs his last duty - to bury him with dignity and become a loved one for the mother and sister of the deceased hero.

The world of the Turbins contains the fates of all truly decent people, be it the courageous officers Myshlaevsky and Stepanov, or deeply civilian by nature, but not shying away from what befell him in the era of hard times, Alexey Turbin, or even the completely, seemingly absurd Lariosik. But it was Lariosik who managed to quite accurately express the very essence of the House, opposing the era of cruelty and violence. Lariosik spoke about himself, but many could subscribe to these words, “that he suffered a drama, but here, with Elena Vasilievna, his soul comes to life, because this is a completely exceptional person, Elena Vasilievna, and in their apartment it is warm and cozy, and especially the cream curtains on all the windows are wonderful, thanks to which you feel cut off from the outside world... And this outside world... you must admit, it’s menacing, bloody and meaningless.”

There, outside the windows, is the merciless destruction of everything that was valuable in Russia. Here, behind the curtains, there is an unshakable belief that everything beautiful must be protected and preserved, that this is necessary under any circumstances, that it is feasible.

Family and revolution
(based on the novel “The White Guard”)

The novel by M. A. Bulgakov was written in 1923-1924, but the time frame of the novel is December 1918 - February 1919, that is, the very time when in the capitals (Petrograd and Moscow) the Revolution and the world began to change irreversibly. The wheel of history, about the ruthlessness and irreversibility of whose movement Alexander Blok wrote, has turned.

It is about them - about people who fell under the wheel of history, carried away by the wind of revolutions and wars are coming speech at the White Guard.

The main object of attention in the novel " White Guard» - Family Turbins, and specifically the family, as something whole and indivisible, as a special world of people, which contains all the best and brightest. Family It is considered as a permanent phenomenon: it cannot disappear suddenly, suddenly, on its own, no, it. can only be destroyed from the outside, by a brute external destructive force, which in Bulgakov’s understanding are wars and revolutions.

But only Family, bonded not so much by blood kinship as by love, sympathy and compassion, is able to withstand the destructive influence of time.

« White Guard"begins with retrospective memories of the death and funeral of the mother and the family events preceding this (the writer, as it were, introduces us to all members of the Turbin family, and at the most difficult moment for them).

It was the mother who was the center, the core of this family; with her death, innumerable troubles befell the remaining Turbins.

According to the novel, Alexei Turbin, the eldest, is 28 years old (Bulgakov himself was 27 in 1918). He returned to hometown"after the terrible blow that shook the mountains above the Dnieper", "aged and gloomy since October 25, 1917." The author's characteristics quite clearly paint a portrait of one of the main characters of the novel, in which autobiographical features are easily visible, but Alexei Turbin cannot be completely identified with the author of The White Guard, especially their views.

Alexey Turbin returned to his hometown to try to restart the ordinary human life. He was not a professional military man, like Karas, and Myshlaevsky, and many others. But during the Civil War, he, like hundreds of thousands of other people, was faced with a choice: who to be with? who and what to serve? He could not stand aside, cowardly watching as everything that was once dear to him perishes, as his friends go to fight for their beliefs and their idea of ​​​​happiness. And he makes his choice: he joins the emerging mortar division in order to defend his city, his family not only from Petliura’s gangs, but also from the Bolsheviks. This choice was not accidental: it was suggested to Alexey Turbin not so much by his mind as by his heart.

ABOUT future fate Alexey can only guess (as well as about the fate of all other members of the family)

Myi Turbinykh), since Bulgakov’s plan was not fully realized.

Alexei Turbin's younger brother Nikolka is a cadet; he is only seventeen and a half years old, but he, like his older brother, chooses the difficult and thorny path of the defender of the faith and the Fatherland. It is known that two people became the prototype of Nikolka - younger brothers Bulgakov Nikolai and Ivan, who in 1920 found themselves abroad with the wave of white emigration.

Nikolka Turbin is one of those whom the Civil War primarily mobilized into its ranks as ordinary but necessary “cannon fodder.” Often, such Nikolki were only a tool in someone’s more experienced and dirty hands, and often therefore died a senseless death. At a time when a person’s life was worth so little (and sometimes cost nothing at all!), about fate younger generation didn't think about it.

The poetic image of the “golden-haired” Elena is a visible embodiment of the traditions of Russian classics in Bulgakov’s work. She is a worthy continuation of her mother, the “bright queen”, the keeper of a clean, cozy world in the house “with cream curtains” on the windows. Captain's daughter and Natasha Rostova are not accidentally mentioned in the text of the novel: it is from them that Bulgakov’s Elena takes the baton of kindness and mercy.

Elena is completely independent in her beliefs and actions, and at the same time she appears in the novel as an assistant, comforter and savior of her brothers. The heroine chooses her own path in life, but this path coincides with the one her brothers follow. “It’s in vain, gentlemen, that you console me, I’m not afraid of anything, on the contrary, I approve,” says Elena to her brothers and friends leaving to defend the city.

This choice is deliberate, because she grew up and was brought up in the same family as the rest of the Turbins, in the same moral atmosphere. Therefore, Elena understands and internally agrees with the brothers’ view of the actions of her husband, Captain Thalberg.

Elena admits to herself that maybe she still loves, but she no longer respects Talberg, who abandoned not only her, her family, but also the besieged city, that is, her Motherland, which needs protection. The heroine internally turns to her husband: “I know, I know... there is no respect. You know, Seryozha, I have no respect for you...”

The heroine suffered a bitter fate: a break with a loved one, the loss of loved ones... Her fate is a typical fate of many women of that bloody era, who lost the most important thing in life - their family, but continued to live, keeping the memory of the departed and with unclear hopes for the future . People like the Turbins (and especially Elena) have a magical gift of attracting people to themselves, and specifically good people who, during the wars and revolutions, hungry for human warmth, family comfort, simply compassion, are drawn in soul and body closer to the Turbin family hearth and there, by the hearth, among spiritually close people, thaw, warm up, come to their senses and become again people.

This is what it's all about main value family, home - to be an island of hope, an island of salvation among the stormy sea of ​​life, an island where you are always welcome, where you are always welcome, where you are simply loved, loved just for the fact that you exist in this world.

And Mikhail Bulgakov perfectly understood and realized this highest value of the family, therefore Family was probably fundamental force in the life of the writer himself and turned into the main character of the novel “ White Guard».