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

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.”

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.”

To the past class. The bourgeois and tradesman turned out to be stronger than his noble title in Chichikov himself. The closer to 1861, the more negatively the nobleman is depicted in Russian literature. The word Oblomovism has become a death sentence for the class, the nobles’ nests are barely alive, the ugliest features of the noble life will be revealed in a whisper... I. A. Goncharov’s novel “Oblomov” appears in 1859. A pedantic writer...

Nest", "War and Peace", "The Cherry Orchard". It is also important that the main character of the novel opens up a whole gallery of "superfluous people" in Russian literature: Pechorin, Rudin, Oblomov. Analyzing the novel "Eugene Onegin", Belinsky pointed out , that at the beginning of the 19th century the educated nobility was the class “in which the progress of Russian society was almost exclusively expressed,” and that in “Onegin” Pushkin “decided...

Composition

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 begun to be considered among the writers deserving the attention of the public.”

Other works on this work

Turgenev introduces the reader to the main characters of “The Noble Nest” and describes in detail the inhabitants and guests of the house of Marya Dmitrievna Kalitina, the widow of the provincial prosecutor, living in the city of O. with two daughters, the eldest of whom, Lisa, is nineteen years old. More often than others, Marya Dmitrievna visits St. Petersburg official Vladimir Nikolaevich Panshin, who ended up in the provincial city on official business. Panshin is young, dexterous, moves up the career ladder with incredible speed, while he sings well, draws and looks after Liza Kalitina Bilinkis N.S., Gorelik T.P. "Turgenev's noble nest and the 60s of the 19th century in Russia // Scientific reports of higher education. Philological sciences. - M.: 2001. - No. 2, pp. 29-37..

The appearance of the main character of the novel, Fyodor Ivanovich Lavretsky, who is distantly related to Marya Dmitrievna, is preceded by a brief background. Lavretsky is a deceived husband; he is forced to separate from his wife because of her immoral behavior. The wife remains in Paris, Lavretsky returns to Russia, ends up in the Kalitins’ house and imperceptibly falls in love with Lisa.

Dostoevsky in “The Nest of Nobles” 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 he 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 closeness is immediately expressed in their glances, in their friendly and quiet smiles, in themselves their movements" Turgenev I.S. Noble Nest. - M.: Publisher: Children's Literature, 2002. - 237 p.. 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.

From a French newspaper he learns about the death of his wife, this gives him hope for happiness. The first climax comes - Lavretsky confesses his love to Lisa in the night garden and finds out that he is loved. However, the next day after the confession, his wife, Varvara Pavlovna, returns from Paris to Lavretsky. The news of her death turned out to be false. This second climax of the novel seems to be opposed to the first: the first gives the heroes hope, the second takes it away. The denouement comes - Varvara Pavlovna settles in Lavretsky’s family estate, Lisa goes to a monastery, Lavretsky is left with nothing.

I. S. Turgenev. "Noble Nest". Images of the main characters of the novel

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 in 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 reserved and laconic; 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 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 living near her family, as he puts it, “on the edge of someone else’s nest,” is painful in a foreign land. 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, was 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 Tatyana, 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 of 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 the 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.”

Bibliography

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