Characteristics of the main characters of the noble nest. I. S. Turgenev. "Noble Nest". Images of the main characters of the novel. The meaning of the name “Noble Nest”

First mention of the novel "Noble Nest" found in a letter from I. S. Turgenev to the publisher I. I. Panaev in October 1856. Ivan Sergeevich planned to finish the work by the end of the year, but did not realize his plan. The writer was seriously ill all winter, and then he destroyed the first drafts and began to come up with a new plot. Perhaps the final text of the novel differs significantly from the original one. In December 1858, the author made the final edits to the manuscript. “The Noble Nest” was first published in the January issue of Sovremennik magazine in 1859.

The novel made a huge impression on Russian society. He immediately became so popular that not reading “The Noble Nest” was considered almost bad form. Even Turgenev admitted that the work was a very great success.

The novel is based on the writer's thoughts about the fate of the best representatives of the Russian nobility. The author himself belonged to this class and understood perfectly well that "noble nests" with their atmosphere of sublime experiences gradually degenerate. It is no coincidence that Turgenev cites the genealogies of the main characters in the novel. Using their example, the writer shows that in various historical periods there were significant changes in the psychology of the nobility: from "wild nobility" to the point of admiration for everything foreign. The great-grandfather of Fyodor Ivanovich Lavretsky is a cruel tyrant, his grandfather is a careless and hospitable hater of Voltaire, his father is an Anglomaniac.

Nest like symbol of the motherland, abandoned by its inhabitants. The writer’s contemporaries prefer to spend time abroad, speak French, and thoughtlessly adopt other people’s traditions. Lavretsky’s elderly aunt, obsessed with the style of Louis XV, looks tragic and caricatured. The fate of Fedor himself is unfortunate, whose childhood was crippled by a foreign "education system". The generally accepted practice of entrusting children to nannies, governesses, or even giving them away to someone else’s family breaks the connection between generations and deprives them of roots. Those who manage to settle down in the old family "nest", most often lead a sleepy existence filled with gossip, playing music and cards.

Such different attitudes between the mothers of Lisa and Lavretsky towards their children are not accidental. Marya Dmitrievna is indifferent to raising her daughters. Liza is closer to the nanny Agafya and the music teacher. It is these people who influence the formation of a girl’s personality. But the peasant woman Malasha (Fedor’s mother) "quietly fading away" after she is deprived of the opportunity to raise her son.

Compositionally The novel “The Noble Nest” is constructed in a straightforward manner. Its basis is the story of the unhappy love of Fyodor and Lisa. The collapse of their hopes and the impossibility of personal happiness echo the social collapse of the nobility as a whole.

Main character novel Fyodor Ivanovich Lavretsky has many similarities with Turgenev himself. He is honest, sincerely loves his homeland, and seeks rational use of his abilities. Raised by a power-hungry and cruel aunt, and then in a peculiar way "Spartan system" father, he acquired heroic health and a stern appearance, but a kind and shy character. Lavretsky finds it difficult to communicate. He himself feels the gaps in his upbringing and education, so he strives to correct them.

The calculating Varvara sees in Lavretsky only a stupid bumpkin whose wealth is easy to take possession of. The sincerity and purity of the hero's first real feeling is shattered by his wife's betrayal. As a result, Fyodor stops trusting people, despises women, and considers himself unworthy of true love. Having met Lisa Kalitina, he does not immediately decide to believe in the purity and nobility of the girl. But, having recognized her soul, he believed and fell in love with her for the rest of his life.

Lisa's character was formed under the influence of an Old Believers nanny. From childhood, the girl was sensitive to religion, “the image of the omnipresent, all-knowing God was pressed into her soul with some sweet power”. However, Lisa behaves too independently and openly for her time. In the nineteenth century, girls who wanted to get married successfully were much more docile than Turgenev’s heroine.

Before meeting Lavretsky, Lisa did not often think about her fate. The official groom Panshin did not cause any particular hostility in the girl. After all, the main thing, in her opinion, is to honestly fulfill one’s duty to family and society. This is the happiness of every person.

The climax of the novel is Lavretsky’s dispute with Panshin about the people and the subsequent scene of Lisa’s explanation with Fyodor. In the male conflict, Panshin expresses the opinion of an official with pro-Western views, and Lavretsky speaks from positions close to Slavophilism. It was during this argument that Lisa realizes how consonant her thoughts and judgments are with Lavretsky’s views, and realizes her love for him.

Among the “Turgenev girls” image of Lisa Kalitina– one of the brightest and most poetic. Her decision to become a nun is based not only on religiosity. Lisa cannot live contrary to her moral principles. In the current situation, there was simply no other way out for a woman of her circle and spiritual development. Lisa sacrifices her personal happiness and the happiness of her loved one because she cannot act "wrong".

In addition to the main characters, Turgenev created a gallery of vivid images in the novel that reflect the noble environment in all its diversity. Here there is a lover of government money, retired General Korobin, the old gossip Gedeonovsky, the clever dandy Panshin and many other heroes of provincial society.

There are also representatives of the people in the novel. Unlike the gentlemen, serfs and poor people are depicted by Turgenev with sympathy and sympathy. The ruined destinies of Malasha and Agafya, Lemm’s talent that was never revealed due to poverty, and many other victims of the lord’s tyranny prove that history "noble nests" far from ideal. And the writer considers serfdom to be the main reason for the ongoing social collapse, which corrupts some and reduces others to the level of dumb creatures, but cripples everyone.

The state of the characters is very subtly conveyed through pictures of nature, speech intonations, glances, pauses in conversations. With these means, Turgenev achieves amazing grace in describing emotional experiences, soft and exciting lyricism. “I was shocked... by the light poetry spilled in every sound of this novel,” Saltykov-Shchedrin spoke of “The Noble Nest.”

Artistic mastery and philosophical depth ensured Turgenev's first major work was an outstanding success for all time.

Having just published the novel “Rudin” in the January and February books of Sovremennik for 1856, Turgenev is conceiving a new novel. On the cover of the first notebook with the autograph of “The Noble Nest” it is written: “The Noble Nest”, a story by Ivan Turgenev, conceived in early 1856; For a long time he really didn’t think about it, he kept turning it over in his head; began developing it in the summer of 1858 in Spassky. She died on Monday, October 27, 1858 in Spassky.” The last corrections were made by the author in mid-December 1858, and “The Noble Nest” was published in the January 1959 Sovremennik book. “The Noble Nest,” in its general mood, seems very far from Turgenev’s first novel. At the center of the work is a deeply personal and tragic story, 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, first of all, 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 spirit of discussion was present in Turgenev's first novel. The heroes of “Rudin” resolved philosophical issues, the truth was born in their dispute.

The heroes of “The Noble Nest” are restrained and taciturn; Lisa is one of Turgenev’s most silent heroines. But the inner life of the heroes is no less intense, and the work of thought is carried out tirelessly in search of truth - only almost without words. They peer, listen, and ponder the life around them and their own, with the desire to understand it. Lavretsky in Vasilievsky “seemed to be listening to the flow of the quiet life that surrounded him.” And at the decisive moment, Lavretsky again and again “began to look at his life.” The poetry of contemplation of life emanates from the “Noble Nest”. Of course, the tone of this Turgenev novel was affected by Turgenev’s personal moods of 1856-1858. Turgenev’s contemplation of the novel coincided with the moment of a turning point in his life, with a mental crisis. Turgenev was then about forty years old. But it is known that the feeling of aging came to him very early, and now he says that “not only the first and second, but the third youth has passed.” He has a sad consciousness that life has not worked out, that it is too late to count on happiness for himself, that the “time of blossoming” has passed. There is no happiness away from the woman he loves, Pauline Viardot, but existence near her family, as he puts it, “on the edge of someone else’s nest,” in a foreign land, is painful. Turgenev’s own tragic perception of love was also reflected in “The Noble Nest.” This is accompanied by thoughts about the writer’s fate. Turgenev reproaches himself for an unreasonable waste of time and insufficient professionalism. Hence the author’s irony towards Panshin’s amateurism in the novel - this was preceded by a period of severe condemnation by Turgenev of himself. The questions that worried Turgenev in 1856-1858 predetermined the range of problems posed in the novel, but there they appear, naturally, in a different light. “I am now busy with another, big story, the main character of which is a girl, a religious being, I was brought to this character by observations of Russian life,” he wrote to E. E. Lambert on December 22, 1857 from Rome. In general, issues of religion were far from Turgenev. Neither a spiritual crisis nor moral quest led him to faith, did not make him deeply religious; he comes to the depiction of a “religious being” in a different way; the urgent need to comprehend this phenomenon of Russian life is connected with the solution of a wider range of issues.

In “The Noble Nest” Turgenev is interested in topical issues of modern life; here he reaches exactly upstream the river to its sources. Therefore, the heroes of the novel are shown with their “roots”, with the soil on which they grew up. The thirty-fifth chapter begins with Lisa's upbringing. The girl had no spiritual closeness either with her parents or with her French governess; she was brought up, like Pushkin’s Tatyana, under the influence of her nanny, Agafya. The story of Agafya, twice in her life marked by lordly attention, twice suffering disgrace and resigning herself to fate, could make up a whole story. The author introduced the story of Agafya on the advice of the critic Annenkov - otherwise, in the latter’s opinion, the end of the novel, Lisa’s departure to the monastery, would have been incomprehensible. Turgenev showed how, under the influence of Agafya’s harsh asceticism and the peculiar poetry of her speeches, Lisa’s strict spiritual world was formed. Agafya's religious humility instilled in Lisa the beginnings of forgiveness, submission to fate and self-denial of happiness.

The image of Lisa reflected freedom of view, breadth of perception of life, and the truthfulness of its depiction. By nature, nothing was more alien to the author himself than religious self-denial, rejection of human joys. Turgenev had the ability to enjoy life in its most varied manifestations. He subtly feels the beautiful, experiences joy both from the natural beauty of nature and from exquisite creations of art. But most of all, he knew how to feel and convey the beauty of the human personality, even if not close to him, but whole and perfect. And that is why the image of Lisa is shrouded in such tenderness. Like Pushkin's Tatiana, Liza is one of those heroines of Russian literature for whom it is easier to give up happiness than to cause suffering to another person. Lavretsky is a man with “roots” going back to the past. It is not for nothing that his genealogy is told from the beginning - from the 15th century. But Lavretsky is not only a hereditary nobleman, he is also the son of a peasant woman. He never forgets this, he feels the “peasant” traits in himself, and those around him are surprised at his extraordinary physical strength. Marfa Timofeevna, Liza's aunt, admired his heroism, and Liza's mother, Marya Dmitrievna, condemned Lavretsky's lack of refined manners. 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 Voltairianism, his father’s Anglomanism, and Russian university education. Even Lavretsky’s physical strength is not only natural, but also the fruit of the upbringing of a Swiss tutor.

In this detailed prehistory of Lavretsky, the author is interested not only in the hero’s ancestors; the story about several generations of Lavretsky also reflects the complexity of Russian life, the Russian historical process. The dispute between Panshin and Lavretsky is deeply significant. It appears in the evening, in the hours preceding the explanation of Lisa and Lavretsky. And 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.

Lavretsky proved to Panshin the impossibility of leaps and arrogant alterations from the heights of bureaucratic self-awareness - alterations that were not justified either by knowledge of their native land, or indeed by faith in an ideal, even a negative one; cited his own upbringing as an example, and demanded, first of all, recognition of “the people’s truth and humility before it...”. And he is looking for this people's truth. He does not accept Lisa’s religious self-denial in his soul, does not turn to faith as a consolation, but experiences a moral turning point. Lavretsky’s meeting with his university friend Mikhalevich, who reproached him for selfishness and laziness, was not in vain. Renunciation still occurs, although not religious - Lavretsky “really stopped thinking about his own happiness, about selfish goals.” His introduction to the people's truth is accomplished through the renunciation of selfish desires and tireless work, which gives the peace of duty fulfilled.

The novel brought Turgenev popularity among the widest circles of readers. According to Annenkov, “young writers starting their careers came to him one after another, brought their works and waited for his verdict...”. Turgenev himself recalled twenty years after the novel: “The Noble Nest” was the greatest success that has ever befallen me. Since the appearance of this novel, I have been considered among the writers deserving the attention of the public.”

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novel

Ivan Turgenev

Contemporary

The day before

A novel written by Ivan Sergeevich Turgenev in 1856-1858, first published in 1859 in the Sovremennik magazine.

Characters:

• Fyodor Ivanovich Lavretsky (taken from his mother - raised by his aunt Glafira)
• Ivan Petrovich (Fyodor’s father) - lived with his aunt, then with his parents, married Malanya Sergeevna, mother’s maid)
• Glafira Petrovna (Fedora's aunt) is an old maid whose character resembles that of a gypsy grandmother.
• Pyotr Andreevich (Fyodor’s grandfather, a simple steppe gentleman; Fyodor’s great-grandfather was a tough, daring man, his great-grandmother was a vengeful gypsy, in no way inferior to her husband)
• Gedeonovsky Sergey Petrovich, State Councilor
• Maria Dmitrievna Kalitina, a wealthy landowner widow
• Marfa Timofeevna Pestova, Kalitina's aunt, old maid
• Vladimir Nikolaevich Panshin, chamber cadet, official on special assignments
• Lisa and Lenochka (daughters of Maria Dmitrievna)
• Christopher Fedorovich Lemm, old music teacher, German
• Varvara Pavlovna Korobyina (Varenka), wife of Lavretsky
• Mikhalevich (Fyodor’s friend, “enthusiast and poet”)
• Ada (daughter of Varvara and Fyodor)

• 1 Plot of the novel
• 2 Accusation of plagiarism
• 3 Film adaptations
• 4 Notes

Plot of the novel

The main character of the novel is Fyodor Ivanovich Lavretsky, a nobleman who has many of the traits of Turgenev himself. Raised remotely from his paternal home, the son of an Anglophile father and a mother who died in his early childhood, Lavretsky is raised on the family country estate by a cruel aunt. Often critics looked for the basis for this part of the plot in the childhood of Ivan Sergeevich Turgenev himself, who was raised by his mother, known for her cruelty.

Lavretsky continues his education in Moscow, and, while visiting the opera, he notices a beautiful girl in one of the boxes. Her name is Varvara Pavlovna, and now Fyodor Lavretsky declares his love to her and asks for her hand. The couple gets married and the newlyweds move to Paris. There, Varvara Pavlovna becomes a very popular salon owner and begins an affair with one of her regular guests. Lavretsky learns about his wife’s affair with another only at the moment when he accidentally reads a note written from his lover to Varvara Pavlovna. Shocked by the betrayal of his loved one, he breaks off all contact with her and returns to his family estate, where he was raised.

Upon returning home to Russia, Lavretsky visits his cousin, Maria Dmitrievna Kalitina, who lives with her two daughters - Liza and Lenochka. Lavretsky immediately becomes interested in Liza, whose serious nature and sincere dedication to the Orthodox faith give her great moral superiority, strikingly different from Varvara Pavlovna's flirtatious behavior to which Lavretsky is so accustomed. Gradually, Lavretsky realizes that he is deeply in love with Lisa and, having read a message in a foreign magazine that Varvara Pavlovna has died, declares his love to Lisa. He learns that his feelings are not unrequited - Lisa also loves him.

Having learned about the sudden appearance of the living Varvara Pavlovna, Lisa decides to go to a remote monastery and lives the rest of her days as a monk. The novel ends with an epilogue, the action of which takes place eight years later, from which it also becomes known that Lavretsky returns to Lisa’s house, where her matured sister Elena has settled. There, after the passing years, despite many changes in the house, he sees the living room, where he often met with his beloved girl, sees the piano and the garden in front of the house, which he remembered so much because of his communication with Lisa. Lavretsky lives with his memories and sees some meaning and even beauty in his personal tragedy. After his thoughts, the hero leaves back to his home.

Later, Lavretsky visits Lisa in the monastery, seeing her in those short moments when she appears for moments between services.

Accusation of plagiarism

This novel was the reason for a serious disagreement between Turgenev and Goncharov. D. V. Grigorovich, among other contemporaries, recalls:

Once - it seems, at the Maykovs - he told the contents of a new proposed novel, in which the heroine was supposed to retire to a monastery; many years later, Turgenev’s novel “The Noble Nest” was published; the main female figure in it also retired to a monastery. Goncharov raised a whole storm and directly accused Turgenev of plagiarism, of appropriating someone else’s thought, probably assuming that this thought, precious in its novelty, could only appear to him, and Turgenev would not have had enough talent and imagination to reach it. The matter took such a turn that it was necessary to appoint an arbitration court composed of Nikitenko, Annenkov and a third party - I don’t remember who. Nothing came of this, of course, except laughter; but since then Goncharov stopped not only seeing, but also bowing to Turgenev.

Film adaptations

The novel was filmed in 1915 by V. R. Gardin and in 1969 by Andrei Konchalovsky. Soviet film starring Leonid Kulagin and Irina Kupchenko. See Nobles' Nest (film).

• In 1965, a television film based on the novel was made in Yugoslavia. Directed by Daniel Marusic
• In 1969, a film was made on GDR television based on the novel by I.S. Turgenev. Directed by Hans-Erik

Korbschmidt

Notes

1. 1 2 I. S. Turgenev The Noble Nest // “Contemporary”. - 1859. - T. LXXIII, No. 1. - P. 5-160.

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Nobles' Nest Information About

I.S. Turgenev is an unsurpassed master of landscape and portraiture, who created multifaceted artistic images.

In creating the image of his hero, the author uses many different techniques that reveal the character, inner world, individual characteristics, habits, and behavior of his characters. A portrait is one of the most important ways not only to show the appearance and character of a character, but also to show him as an integral part of the artistic world in which he lives, his interaction with other characters in the work, to make it bright and memorable for the reader.

Turgenev's heroes appear before the reader as individuals in all their uniqueness, as specific people with their own destinies, habits, and behavior. Turgenev managed to express the inner life of the human soul through a person’s appearance, explain the actions of the characters, and express the cause-and-effect relationship between a person’s character and his fate.

Let's look at the portrait characteristics of the characters using the example of the novel “The Noble Nest.”

One of the heroes of the novel is the music teacher Lemm. The author at different times shows us two portraits of this character, quite sharply different from each other.
Panshin, a young ambitious dandy courting Liza Kalitina, performs a romance of his own composition. At this moment Lemm enters the living room: “Everyone present really liked the work of the young amateur; but behind the door of the living room in the hallway stood a newly arrived, already old man, to whom, judging by the expression of his downcast face and the movement of his shoulders, Panshin’s romance, although very nice, did not bring pleasure. After waiting a little and brushing the dust off his boots with a thick handkerchief, this man suddenly narrowed his eyes, pursed his lips gloomily, bent his already stooped back and slowly entered the living room.”

In this description, every detail is significant: the way the hero wipes his dusty boots with a handkerchief, since he is poor and walks to his students, and the fact that this handkerchief is rough, made of thick fabric, cheap, and, most importantly, how Lemm holds himself what he feels. This is a serious, deep musician; he is not at all happy when a frivolous young man humiliates great art by creating salon crafts.

In the next chapter, telling the background story of the hero, Turgenev gives him a very detailed, lengthy description, which describes not the random external features of the hero, but those that reveal the deepest features of his character. At the end of this description, we see the author’s attitude towards the hero: “Old, inexorable grief put its indelible stamp on the poor musician, distorted and disfigured his already inconspicuous figure; but for someone who knew how not to dwell on first impressions, something kind, honest, something extraordinary was visible in this dilapidated creature.”

It is no coincidence that Lemm perfectly understands the feeling that Lavretsky begins to experience for Lisa, and creates great, beautiful music, listening to which Lavretsky understands how happy he is.

Lavretsky himself, the main character of the novel “The Noble Nest,” is portrayed more than once by the author, since each time some new traits appear in him that reflect his character. At the beginning of the novel, when all that is known about him is that he has an unsuccessful marriage (his wife, a calculating and vicious woman, abandoned him), the author gives the following portrait of Lavretsky: “Lavretsky really did not look like a victim of fate. His red-cheeked, purely Russian face, with a large white forehead, a slightly thick nose and wide, regular lips, exuded steppe health, strong, durable strength. He was beautifully built, and his blond hair curled on his head like a young man’s. Only in his eyes, blue, bulging and somewhat motionless, one could notice either thoughtfulness or fatigue, and his voice sounded somehow too even.” In this portrait, Turgenev’s main feature appears not to directly name a person’s feelings and experiences, but to convey them through expressions of the eyes, face, with the help of movement and gesture. This is a technique of “secret psychology”, which is reflected in portrait characteristics.

We see this technique especially clearly in the portrait of Liza Kalitina: “She was very sweet, without knowing it. Her every movement expressed an involuntary, somewhat awkward grace, her voice sounded with the silver of untouched youth, the slightest sensation of pleasure brought an attractive smile to her lips, gave a deep shine and some kind of secret tenderness to her glowing eyes.” The portrait reflects the spiritual beauty of a pure, noble, deeply religious girl. When she fell in love with Lavretsky, she immediately realized that “she fell in love honestly, not jokingly, became attached tightly, for life.” But the marriage of Lisa and Lavretsky was impossible, since the news of the death of Lavretsky’s wife turned out to be false. Lisa, having learned about this, goes to a monastery and becomes a nun. Many years later, Lavretsky visited that remote monastery and saw Lisa: “Moving from choir to choir, she walked close past him, walked with the even, hasty, humble gait of a nun - she did not look at him; only the eyelashes of the eye turned to him trembled a little, only she tilted her emaciated face even lower - and the fingers of her clenched hands, intertwined with rosaries, pressed even tighter to each other.” The details of Lisa’s portrait tell us how much she suffered, but over the years she has not been able to forget Lavretsky: her eyelashes tremble, her hands clench when she sees him. This is how, with the help of portrait details, Turgenev conveys to us the deepest, most intimate experiences of the heroes.

A portrait of a hero helps the reader to visually imagine the characters of the work, understand their connection with the surrounding society, see the inner world, feelings and thoughts, and understand the author’s attitude towards the characters. All this was masterfully used in creating portrait characteristics by I.S. Turgenev in the novel “The Noble Nest”.

The novel “The Noble Nest” was written by Turgenev in 1858 in a few months. As always with Turgenev, the novel is multifaceted and polyphonic, although the main plot line is the story of one love. It is undoubtedly autobiographical in its mood. Not by chance...

Fyodor Ivanovich Lavretsky is a deep, intelligent and truly decent person, driven by the desire for self-improvement, the search for useful work in which he could apply his mind and talent. Passionately loving Russia and aware of the need for rapprochement...

Turgenev's second novel was “The Noble Nest.” The novel was written in 1858 and published in the January book of Sovremennik for 1859. Nowhere did the poetry of a dying noble estate spill over with such a calm and sad light as in “The Noble Nest”....

1. New!

   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...

The novel “The Noble Nest” by Turgenev was written in 1858 and published in January 1859 in the Sovremennik magazine. Immediately after its publication, the novel gained great popularity in society, since the author touched upon deep social problems. The book is based on Turgenev's thoughts on the fate of the Russian nobility.

Main characters

Lavretsky Fedor Ivanovich- a rich landowner, an honest and decent person.

Varvara Pavlovna- Lavretsky’s wife, a two-faced and calculating person.

Lisa Kalitina- the eldest daughter of Marya Dmitrievna, a pure and deeply decent girl.

Other characters

Marya Dmitrievna Kalitina- widow, sensitive woman.

Marfa Timofeevna Pestova- Maria Dmitrievna’s dear aunt, an honest and independent woman.

Lena Kalitina- youngest daughter of Marya Dmitrievna.

Sergei Petrovich Gedeonovsky- State Councilor, friend of the Kalitin family

Vladimir Nikolaevich Panshin- a handsome young man, an official.

Christopher Fedorovich Lemm- old music teacher of the Kalitin sisters, German.

Ada- daughter of Varvara Pavlovna and Fyodor Ivanovich.

Chapters I-III

On “one of the outer streets of the provincial town of O...” there is a beautiful house where Marya Dmitrievna Kalitina lives, a pretty widow who “was easily irritated and even cried when her habits were violated.” Her son is being brought up in one of the best educational institutions in St. Petersburg, and her two daughters live with her.

Marya Dmitrievna’s company is kept by her own aunt, her father’s sister, Marfa Timofeevna Pestova, who “had an independent disposition and told everyone the truth to their faces.”

Sergei Petrovich Gedeonovsky, a good friend of the Kalitin family, says that Fyodor Ivanovich Lavretsky, whom he “personally saw,” returned to the city.

Due to some ugly story with his wife, the young man was forced to leave his hometown and go abroad. But now he has returned and, according to Gedeonovsky, he has begun to look even better - “his shoulders are even broader, and his cheeks are flushed.”

A handsome young rider on a hot horse gallops dashingly towards the Kalitin house. Vladimir Nikolaevich Panshin easily pacifies the zealous stallion and allows Lena to stroke him. He and Lisa appear in the living room at the same time - “a slender, tall, black-haired girl of about nineteen.”

Chapters IV-VII

Panshin is a brilliant young official, spoiled by the attention of secular society, who very quickly “gained the reputation of one of the most amiable and dexterous young men in St. Petersburg.” He was sent to the town of O. on service matters, and in the Kalitins’ house he managed to become his own man.

Panshin performs his new romance to those present, which they find delightful. Meanwhile, an old music teacher, Monsieur Lemme, comes to the Kalitins. His whole appearance shows that Panshin’s music did not make any impression on him.

Christopher Fedorovich Lemm was born into a family of poor musicians, and at the age of “eight years old he was orphaned, and at ten he began to earn a piece of bread for himself with his art.” He traveled a lot, wrote beautiful music, but was never able to become famous. Fearing poverty, Lemm agreed to lead the orchestra of a Russian gentleman. So he ended up in Russia, where he settled firmly. Christopher Fedorovich “alone, with an old cook he took from an almshouse” lives in a small house, earning a living by giving private music lessons.

Lisa accompanies Lemm, who has finished his lesson, to the porch, where she meets a tall, stately stranger. He turns out to be Fyodor Lavretsky, whom Lisa did not recognize after an eight-year separation. Marya Dmitrievna joyfully greets the guest and introduces him to everyone present.

Leaving the Kalitins' house, Panshin declares his love to Liza.

Chapters VIII-XI

Fyodor Ivanovich “descended from an old noble tribe.” His father, Ivan Lavretsky, fell in love with a courtyard girl and married her. Having received a diplomatic position, he went to London, where he learned about the birth of his son Fedor.

Ivan’s parents softened their anger, made peace with their son and accepted a rootless daughter-in-law and their one-year-old son into their home. After the death of the old people, the master almost did not do housework, and the house was managed by his elder sister Glafira, an arrogant and domineering old maid.

Having become closely involved in raising his son, Ivan Lavretsky set himself the goal of making a real Spartan out of a frail, lazy boy. They woke him up at 4 o'clock in the morning, doused him with cold water, forced him to do intensive gymnastics, and restricted him in food. Such measures had a positive effect on Fedor’s health - “at first he caught a fever, but soon recovered and became a young man.”

Fyodor's adolescence passed under the constant oppression of his oppressive father. Only at the age of 23, after the death of his parent, was the young man able to breathe deeply.

Chapters XII-XVI

Young Lavretsky, fully aware of the “shortcomings of his upbringing,” went to Moscow and entered the university in the physics and mathematics department.

His father’s unsystematic and contradictory upbringing played a cruel joke on Fyodor: “he didn’t know how to get along with people,” “he had never dared to look a single woman in the eye,” “he didn’t know a lot of things that every high school student has known for a long time.”

At the university, the withdrawn and unsociable Lavretsky made friends with student Mikhalevich, who introduced him to the daughter of a retired general, Varvara Korobina.

The girl’s father, a major general, after an ugly story with embezzlement of government money, was forced to move with his family from St. Petersburg to “Moscow for cheap bread.” By that time, Varvara had graduated from the Institute for Noble Maidens, where she was known as the best student. She adored the theater and tried to often attend performances, where Fyodor saw her for the first time.

The girl charmed Lavretsky so much that “six months later he explained himself to Varvara Pavlovna and offered her his hand.” She agreed because she knew that her fiancé was rich and noble.

The first days after the wedding, Fyodor “was blissful, reveling in happiness.” Varvara Pavlovna skillfully got Glafira out of her own house, and the empty position of estate manager was immediately taken by her father, who dreamed of getting his hands on the estate of his rich son-in-law.

Having moved to St. Petersburg, the newlyweds “traveled and received a lot, gave the most delightful music and dance parties,” at which Varvara Pavlovna shone in all her splendor.

After the death of their first-born, the couple, on the advice of doctors, went to the waters, then to Paris, where Lavretsky accidentally learned about his wife’s infidelity. The betrayal of a loved one greatly undermined him, but he found the strength to tear the image of Varvara out of his heart. The news of the birth of his daughter did not soften him either. Having assigned the traitor a decent annual allowance, he broke off any relationship with her.

Fedor “was not born a sufferer,” and four years later he returned to his homeland.

XVII-XXI

Lavretsky comes to the Kalitins to say goodbye before leaving. Having learned that Lisa is heading to church, she asks to pray for him. From Marfa Timofeevna he learns that Panshin is courting Liza, and the girl’s mother is not against this union.

Arriving in Vasilyevskoye, Fyodor Ivanovich notes that there is great desolation in the house and in the yard, and after the death of Aunt Glafira, nothing has changed here.

The servants are perplexed why the master decided to settle in Vasilyevskoye, and not in the rich Lavriki. However, Fyodor is not able to live on the estate, where everything reminds him of his past marital happiness. Within two weeks, Lavretsky put the house in order, acquired “everything he needed and began to live - either as a landowner or as a hermit.”

After some time, he visits the Kalitins, where he makes friends with the old man Lemm. Fyodor, who “passionately loved music, sensible, classical music,” shows sincere interest in the musician and invites him to stay with him for a while.

Chapters XXII-XXVIII

On the way to Vasilyevskoye, Fyodor invites Lemm to compose an opera, to which the old man replies that he is too old for this.

Over morning tea, Lavretsky informs the German that he will still have to write a solemn cantata in honor of the upcoming “marriage of Mr. Panshin and Lisa.” Lemm does not hide his annoyance, because he is sure that the young official is not worthy of such a wonderful girl as Lisa.

Fyodor offers to invite the Kalitins to Vasilyevskoye, to which Lemm agrees, but only without Mr. Panshin.

Lavretsky conveys his invitation, and, taking advantage of the opportunity, remains alone with Lisa. The girl is “afraid of making him angry,” but, plucking up courage, she asks about the reasons for separating from his wife. Fyodor tries to explain to her the baseness of Varvara’s act, to which Lisa replies that he must certainly forgive her and forget about the betrayal.

Two days later, Marya Dmitrievna and her daughters come to visit Fyodor. The widow considers her visit “a sign of great condescension, almost a good deed.” On the occasion of the arrival of his favorite student Lisa, Lemm composes a romance, but the music turns out to be “confusing and unpleasantly tense,” which greatly upsets the old man.

In the evening they gather “to go fishing with the whole community.” At the pond, Fyodor talks with Lisa. He feels “the need to talk to Lisa, to tell her everything that came into his soul.” This surprises him, because before this he considered himself a complete man.

As dusk falls, Marya Dmitrievna gets ready to go home. Fyodor volunteers to escort his guests. On the way, he continues to talk with Lisa, and they part as friends. During the evening reading, Lavretsky notices “in the feuilleton of one of the newspapers” a message about the death of his wife.

Lemme is going home. Fyodor goes with him and stops by the Kalitins, where he secretly gives the magazine with the obituary to Lisa. He whispers to the girl that he will pay a visit tomorrow.

Chapters XXIX-XXXII

The next day, Marya Dmitrievna meets Lavretsky with poorly concealed irritation - she doesn’t like him, and Pashin speaks of him not at all flatteringly.

While walking along the alley, Lisa asks how Fyodor reacted to the death of his wife, to which he honestly replies that he was practically not upset. He hints to the girl that meeting her has touched deeply dormant strings in him.

Lisa admits that she received a letter from Pashin proposing marriage. She doesn't know what to answer because she doesn't love him at all. Lavretsky begs the girl not to rush into an answer and not to rob “herself of the best, the only happiness on earth” - to love and be loved.

In the evening, Fyodor again goes to the Kalitins to find out about Lisa’s decision. The girl tells him that she did not give Panshin a definite answer.

As an adult, mature man, Lavretsky is aware that he is in love with Lisa, but “this conviction did not bring him much joy.” He does not dare hope for the girl’s reciprocity. In addition, he is tormented by the painful anticipation of official news of his wife’s death.

Chapters XXXIII-XXXVII

In the evening at the Kalitins’, Panshina begins to talk at length about “how he would have turned everything his way if he had power in his hands.” He considers Russia a backward country that should learn from Europe. Lavretsky deftly and confidently smashes all his opponent’s arguments. Fyodor is supported by Lisa in everything, since Panshin’s theories scare her.

A declaration of love takes place between Lavretsky and Lisa. Fedor does not believe his luck. He follows the sounds of unusually beautiful music and finds out that it is Lemm playing his work.

The next day after declaring his love, the happy Lavretsky comes to the Kalitins, but for the first time in all his time they do not accept him. He returns home and sees a woman in a “black silk dress with frills,” whom he recognizes with horror as his wife Varvara.

With tears in his eyes, his wife asks him for forgiveness, promising to “sever all ties with the past.” However, Lavretsky does not believe Varvara’s feigned tears. Then the woman begins to manipulate Fyodor, appealing to his paternal feelings and showing him his daughter Ada.

In complete confusion, Lavretsky wanders the streets and comes to Lemm. Through the musician, he passes a note to Lisa with a message about the unexpected “resurrection” of his wife and asks for a date. The girl replies that she can only meet him the next day.

Fyodor returns home and can hardly stand the conversation with his wife, after which he leaves for Vasilyevskoye. Varvara Pavlovna, having learned that Lavretsky visited the Kalitins every day, goes to visit them.

Chapters XXXVIII-XL

On the day of Varvara Pavlovna’s return, Lisa has a painful explanation with Panshin. She refuses an eligible groom, which greatly upsets her mother.

Marfa Timofeevna comes into Lisa’s room and declares that she knows everything about a night walk with a certain young man. Lisa admits that she loves Lavretsky, and no one stands in the way of their happiness, since his wife is dead.

At a reception with the Kalitins, Varvara Pavlovna manages to charm Marya Dmitrievna with stories about Paris and appease her with a bottle of fashionable perfume.

Having learned about the arrival of Fyodor Petrovich’s wife, Lisa is sure that this is a punishment for all her “criminal hopes.” The sudden change in fate shocks her, but she “didn’t shed a tear.”

Marfa Timofeevna manages to quickly see through the deceitful and vicious nature of Varvara Pavlovna. She takes Lisa to her room and cries for a long time, kissing her hands.

Panshin arrives for dinner, and Varvara Pavlovna, who was bored, instantly perks up. She charms a young man while singing a romance together. And even Lisa, “to whom he had offered his hand the day before, disappeared as if in a fog.”

Varvara Pavlovna does not hesitate to try her charms even on old man Gedeonovsky in order to finally win the place of the first beauty in the district town.

Chapters XLI-XLV

Lavretsky does not find a place for himself in the village, tormented by “incessant, impetuous and powerless impulses.” He understands that everything is over, and the last timid hope of happiness has slipped away forever. Fedor tries to pull himself together and submit to fate. He harnesses the carriage and sets off for the city.

Having learned that Varvara Pavlovna went to the Kalitins, he hurries there. Climbing the back stairs to Marfa Timofeevna, he asks her for a date with Liza. The unhappy girl begs him to make peace with his wife for the sake of his daughter. Parting forever, Fyodor asks to give him a scarf as a souvenir. A footman enters and conveys to Lavretsky Marya Dmitrievna’s request to urgently come to her.

Kalitina, with tears in her eyes, begs Fyodor Ivanovich to forgive his wife and bring Varvara Petrovna out from behind the screen. However, Lavretsky is relentless. He sets a condition for his wife - she must live in Lavriki without a break, and he will observe all external decency. If Varvara Petrovna leaves the estate, this agreement can be considered terminated.

Hoping to see Lisa, Fyodor Ivanovich goes to church. The girl doesn’t want to talk to him about anything and asks him to leave her. The Lavretskys go to the estate, and Varvara Pavlovna vows to her husband to live quietly in the wilderness for the sake of a happy future for her daughter.

Fyodor Ivanovich goes to Moscow, and the very next day after leaving, Panshin appears in Lavriki, “whom Varvara Pavlovna asked not to forget her in solitude.”

Lisa, despite the pleas of her family, makes a firm decision to enter a monastery. Meanwhile, Varvara Pavlovna, “having stocked up on money,” moves to St. Petersburg and completely subjugates Panshin to her will. A year later, Lavretsky learns that “Lisa took monastic vows in the B……M monastery, in one of the most remote regions of Russia.”

Epilogue

After eight years, Panshin successfully built a career, but never married. Varvara Pavlovna, having moved to Paris, “has grown older and fatter, but is still sweet and graceful.” The number of her fans has noticeably decreased, and she completely devoted herself to a new hobby - theater. Fyodor Ivanovich became an excellent owner and managed to do a lot for his peasants.

Marfa Timofeevna and Marya Dmitrievna died long ago, but the Kalitin house was not empty. He even “seemed to have become younger” when carefree, blooming youth settled in him. Lenochka, who had grown up, was getting ready to get married; her brother came from St. Petersburg with his young wife and her sister.

One day the Kalitins are visited by the aged Lavretsky. He wanders around the garden for a long time, and is filled with “a feeling of living sadness about the disappeared youth, about the happiness that he once possessed.”

Lavretsky nevertheless finds a remote monastery in which Lisa hid from everyone. She walks past him without looking up. Only by the movement of her eyelashes and clenched fingers can one understand that she recognized Fyodor Ivanovich.

Conclusion

At the center of the novel by I. S. Turgenev is the story of the tragic love of Fyodor and Lisa. The impossibility of personal happiness, the collapse of their bright hopes echoes the social collapse of the Russian nobility.

A brief retelling of “The Noble Nest” will be useful for the reader’s diary and in preparation for a literature lesson.yu

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