I.S. Turgenev is known in the history of Russian literature in three forms:

As a playwright (1843-1850)

And, of course, to a greater extent, “as the creator of epic works (starting from 1847, when the story “Khor and Kalinich” was published - Turgenev’s first prose work from the series “Notes of a Hunter” - Turgenev wrote mainly in prose).

Accordingly, he can well be considered a “bilingual” author,1 that is, an author whose creative arsenal includes both poetry and prose. Turgenev, like some other writers of the 19th century (Pushkin, Lermontov, Gogol), mastered both prose and poetic languages ​​in the process of his literary activity. It is traditionally believed that the writer’s poetry was a laboratory in which his creative method matured and strengthened.2

Turgenev began as a lyricist, and later followed the path of prose. This transition is quite natural - it was determined by the general course of the literary process of the 19th century. This is what Yu.F. wrote, for example. Basikhin: “The nineteenth century in the history of Russian literature is a turning point. Romanticism is replaced by realism, poetry by prose, the classical novel arises and develops, gaining worldwide significance.”3 R. A. Papayan also pointed out the “fact of the general inclination of trends towards greater poetry or greater prosaicism,” who noted that in Russia “classicism and romanticism is

2 It should be noted: youthful poetry is usually considered a school of literary language, which is almost a prerequisite for achieving a certain mastery. Suffice it to recall the statement of I.V. Kireevsky: “. Do you want to be a good prose writer? - write poetry." See: Works by I.V.Kireevsky. - M., 1861. - SL. - P.15.

3 Basikhin Yu.F. Poems of Turgenev (The Path to the Novel). - Saransk, 1973. - P. 9. mainly the era of the heyday of poetry, meanwhile, the era of the heyday of Russian prose coincided with the development of Karamzinism and realism.”4

Turgenev lived and worked at a time when the dominant role shifted from poetry to prose, as romanticism gave way to a new literary movement - realism. Turgenev's work is transitional. In other words, “Turgenev’s art is like a bridge (hereinafter it is emphasized by me - N.Z.) between the two halves of the century, between the two main stages in the historical and literary process of this century.”5 However, having become a prose writer, creating a number of first-class stories and novels, Turgenev continued to be perceived as a master of the poetic word.6

F.M. Dostoevsky, in a letter to his brother Mikhail dated November 16, 1845, wrote, in particular: “The poet Turgenev returned from Paris the other day.”7 Turgenev’s contemporary poet and critic S.A. Andreevsky stated: “Turgenev always was and remained a poet.” In his review of Turgenev’s Faust, N.A. Nekrasov stated: “He poured a whole sea of ​​powerful, fragrant and charming poetry into this story from his soul.”9 Turgenev’s contemporaries really knew him mainly as the author of poems.

The perception of Turgenev as a lyricist is also characteristic of the 20th century, however, in such an assessment of Turgenev’s creative manner, as a rule, we are talking about the active presence of the lyrical principle in his works. I. Bunin, who to a certain extent denied the division of literature into poetry and prose and believed that these artistic elements are called upon, interpenetrating,

4 Papayan P.A. The structure of verse and literary direction (Towards the formulation of the problem) // Problems of poetry.

Yerevan, 1976. - P.76.

5 Basikhin Yu.F. Turgenev's poems. - P.9.

6 Identifying the lyrical basis of the writer’s entire work became the main criterion for selecting material. The literature review is presented not in chronological order, but as required by the logic of presentation of the material. Scientific-critical works affecting other aspects of Turgenev’s creative activity are not the subject of consideration. Of primary interest are studies that in one way or another reveal the relationship between poetry and prose, as well as various generic elements (epic, lyric, drama), characteristic of Turgenev’s work as a whole.

7 Basikhin Yu.F. Turgenev's poems. - P. 10.

8 Andreevsky S.A. Turgenev // Andreevsky S.A. Literary essays. - St. Petersburg, 1913. - P.231.

9 N.A. Nekrasov - Fetu. On July 31, 1856, to enrich each other,10 he admitted: “I was probably born a poet after all.”<.>Turgenev, too, was a poet first and foremost.”11 B. Eikhenbaum argued that “Turgenev, in general, has one style - the one that was developed and matured in Russian literature (more in poetry than in prose).”12 Yu. Basikhin, although and spoke about the clear priority of the novelistic principle in Turgenev’s work, yet noted the “interpenetration of poetry and prose”13 in it. He considers the prose of this author to be a kind of borderland between verse and prose and does not distinguish between the style of Turgenev the novelist and Turgenev the lyricist. For him, Turgenev is, first of all, the founder of Russian poetic prose, since this artist managed to find

14 poetic keys to prose."

K. Matiev wrote about lyricism as an important property of Turgenev’s prose. Lyricism in Turgenev’s work, in his opinion, “plays a decisive role in illuminating phenomena, in conveying the tone and color of nature.” To a certain extent, simplifying the function of the lyrical principle, although recognizing its ability to convey everything as “living, breathing, saturated with the colors of true existence,” Matiev considered the lyrical as an aesthetic category.15

Of particular interest for this dissertation research is the work of V. Zhirmunsky “Tasks of Poetics” (1919-1923).16 Discussing the features of Turgenev’s “poetic style” (Zhirmunsky’s term) using the example of a passage of artistic prose taken from the story “Three Meetings”, the scientist highlighted a number of techniques that create an “emotional

10 In particular, Bunin wrote: “Poetic language should approach the simplicity and naturalness of colloquial speech, and the prosaic syllable should acquire the musicality and flexibility of verse.” See: Bunin I.A. Collection cit.: In 6 volumes - M., 1987. - T.l. - P.36.

11 Ibid.-S. 431.

12 Eikhenbaum B.M. Turgenev's artistry // Eikhenbaum B.M. My temporary one. - L., 1929. - P.94.

13 Basikhin Yu.F. Turgenev's poems. - P.11.

14 Ibid.-S. 15.

15 See about this in more detail: Matiev K. Lyrical in art as an aesthetic phenomenon. - Frunze, 1971. - P. 104105. It should be clarified that in the work of K. Matiev there is no distinction between the concepts of “lyricism” and “lyrical”.

16 Zhirmunsky V. Tasks of poetics // Zhirmunsky V. Poetics of Russian poetry. - St. Petersburg, 2001. - P. 25-79. stylization of the landscape, those transparent and gentle lyrical tones that are so characteristic of Turgenev.” “The poetic animation of natural phenomena, their consonance with the mood of the human soul,” according to Zhirmunsky, is expressed by “emotional epithets,” “lyrical ellipses,” “lyrical hyperbole” and some other techniques that are characteristic of Turgenev’s prose and ultimately form the individual style of this writer.

In literary criticism, it is absolutely recognized that Turgenev’s novel belongs to a special type of novel. The writer not only used the experience of his predecessors - Karamzin and Gogol, but also created a unique genre in his own way: a realistic novel, distinguished

17 lyrical concentration" of the narrative. V. Markovich, while studying the typological characteristics of Turgenev's novel of 1856-1862, came to the conclusion that the epic structure of Turgenev's texts of this period is heterogeneous: it is colored by tragic and lyrical elements. Their function seems to the researcher to be very significant, for the tragic, being an “eternal condition of human existence”18, serves

19 20 the support of the epic,” and “lyrical revelation,” in turn, allows you to escape from the immediate, temporary and ultimately “see in everyday life

21 "being". We are thus talking about the "epic, tragic and lyrical elements of the novel" of Turgenev, which exist and "develop

22 only in mutual connection.” V. Markovich in his works speaks about Turgenev’s unique poetics, which is based on the penetration of other generic principles into the novel structure, and, accordingly, about Turgenev’s innovation in the field of genre form and its content.

17 Markovich V.M. I.S. Turgenev and the Russian realistic novel of the 19th century. - L., 1982. - P.203.

18 Ibid.-S. 144.

19 Ibid.-S. 134.

20Ibid.-S. 133.

21 Markovich V.M. Man in the novels of I.S. Turgenev. - L., 1975. - P. 5.

22 Markovich V.M. I.S. Turgenev and the Russian realistic novel. - P. 165.

Turgenev's innovative searches interested Yu.B. Orlitsky, who was studying the theory of interaction between verse and prose. In his dissertation research, he argued that Turgenev continued to write poetry, essentially, throughout his life. Indeed, Turgenev periodically turned to poetic form throughout his literary career,24

25 he even inserted poetic passages into works written in prose. It is precisely this circumstance that, according to Orlitsky, does not fit into the “classical scheme”, since poetry for Turgenev was not just a period of apprenticeship and organically entered into the artistic practice of this author. Turgenev’s prose interests Orlitsky from the point of view of its “measurement” and “lyricization.”26 The dissertation author also appreciated the fact that Turgenev, continuing to experiment in the field of verse and prose, at the end of his career created a cycle of miniatures entitled “Poems in Prose "(1877-1882), where a synthesis of lyrical and epic, poetic and prosaic principles is carried out. Turgenev, according to Orlitsky, “seems to be exploring the “permeability” of the verse structure simultaneously “from the inside” - as a poet “with experience” - and “from the outside” - as a prose writer, a master of harmonic, lyrically colored prose.”27 This is the artistic phenomenon this author, since the “permeability” of the verse structure” was proven by him in practice: having become a prose writer, Turgenev remained faithful to the poetic worldview until the end of his days.

The historical dynamics of verse and prose would be incomplete without Turgenev's experiments in this area. The assessment of the creative heritage would also be inaccurate

23 See: Orlitsky Yu.B. Interaction of verse and prose: typology of transitional forms. Abstract of dissertation. d. philol. N.-M., 1992.-S. 10.

24 Turgenev’s later poem “Croquet in Windsor” (1876), his poetic texts for Pauline Viardot’s romances (for example, “Tit” (1863), “At Dawn” (1868), “Forest Silence” (1871), etc. are widely known. ).

25 As an epigraph to the story “Forest and Steppe” (the “Notes of a Hunter” cycle), Turgenev placed the lyrical passage “From a poem committed to burning,” and in the novel “The Noble Nest” he included the quatrain “I gave myself up to new feelings with all my heart.” Turgenev’s poem “Dream” from the novel “Nov” deserves special attention. It is worth noting that if the theme of the lyrical cycle “Village” was reflected in the prose “Notes of a Hunter,” then the content of the poem “Dream” was influenced by the writer’s novelistic work.

26 Orlitsky Yu.B. Interaction of verse and prose: typology of transitional forms. - pp. 11-12.

27 Ibid. - P. 11.

Turgenev without recognizing that the “lyrical beginning” is a kind of “calling card” of this author, regardless of what formal - verse or prose - features Turgenev's text has.

D.P. Svyatopolk-Mirsky wrote about the uniqueness of Turgenev’s creative style, who believed that “only Turgenev, of all his contemporaries, had a living connection with the age of poetry.” 28 This connection, according to the researcher, was determined by the fact that Turgenev studied at the university with Professor Pletnev, a friend of Pushkin, that Turgenev published his first poems in 1838 in Pushkin’s Sovremennik, of which Pletnev was the editor at that time. Noting that by 1847 Turgenev “left poetry for prose,” Mirsky pointed to a certain synthesis that was the hallmark of Turgenev’s texts: “Everything in his works was true, and at the same time they were filled with poetry and beauty.”30 It is obvious that By “truth” Mirsky meant a realistic way of mastering reality. He repeatedly emphasized that, despite his loyalty to realism, “poetry” continues to live in Turgenev’s texts, which are purely prosaic in the way they organize speech. Assessing Turgenev’s narrative style, Mirsky, in particular, noted that “Notes of a Hunter” has many lyrical pages,” “A Trip to Polesie” is “strict and simple prose, reaching the level of poetry,”31 and the story “Three Meetings” is filled with “ poetic" passages."32 To some extent, Mirsky, in his assessment of Turgenev's prose creativity, insisted that "Turgenev always had a poetic<.>or a romantic streak (as you can see, Mirsky associated “poetry” with a romantic worldview - N.Z.),

28 Svyatopolk-Mirsky D.P. History of Russian literature from ancient times to 1925. - London, 1992. - P. 290.

29Ibid.-S. 291.

30 Ibid. - P. 292.

31 Ibid. - P.307.

32 Ibid. - P. 296. opposing the realistic atmosphere of his main works.”33 It is “subtle and poetic narrative skill”34 that distinguishes this author from his contemporaries. The basis of Turgenev’s “poetic narrative mastery,” according to Mirsky, is the “lyrical element.”35 As can be seen, the researcher, while rightfully recognizing the properties of Turgenev’s prose that distinguish it from traditional narrative, did not give an explanation of what he understands by the “lyrical element.” "and "lyrical atmosphere". In his work, in contrast to the studies of V. Zhirmunsky and V. Markovich, there was no place for the issue of the functional use of the lyrical principle in Turgenev’s prose.

M.K. Clement wrote about the experimental nature of I. S. Turgenev’s dramatic work, arguing that “Turgenev was looking for ways to renew the Russian theater.”36 Turgenev’s dramatic work is also of interest from the point of view of discovering in it the interaction of different generic elements. According to S.N. Patapenko, Turgenev is interested in working at the intersection of drama and epic, so he, “without going into theoretical explanations, found a dramaturgical equivalent to the content that was considered the destiny of the epic form of literature. Explaining to the readers of the play his invasion of “foreign territory,” he emphasized in the preface to the first magazine publication of “A Month in the Country”: “Actually not a comedy, but a story in dramatic form.”37

Other researchers have discovered the activity of the lyrical principle in Turgenev's plays. Thus, L.S. Zhuravleva believes that “in Turgenev’s comedy

33 Ibid. - P. 306.

34 Ibid. - P. 304.

35 Mirsky, completing his study of Turgenev’s heritage, summed up: “The lyrical element in him (in Turgenev - N.Z.) is always close. He not only began his literary journey as a lyrical poet and ended it with prose poems, but even in his most realistic ones, in civil things and designs, the atmosphere is mainly lyrical.” - P. 307.

36 Clement M.K. Turgenev I.S. // Classics of Russian drama. Popular science essays. - L.; M., 1940. - P. 161.

37 Patapenko S.N. The dramaturgy of I.S. Turgenev as a predecessor of the “new drama” // Dramaturgical quests of the Silver Age: Interuniversity. Sat. scientific works. - Vologda, 1997. - P. 56. and lyricism was surprisingly organically combined with caustic satire.”38 V. Frolov takes a different point of view, arguing that “in Turgenev’s plays there is a noticeable fusion of three motives generated by the author’s “attitude”: subtle lyricism with drama and with a sad, almost Gogolian comicism.”39 N.V. Klimova mentions Turgenev’s innovation in the field of psychologism, interest in revealing experiences, deep lyricism and rejection of theatrical effects.40 E.M. Aksenova also emphasizes the innovative nature of Turgenev’s dramaturgy and reveals the connection between Turgenev’s work and the drama of the turn of the 19th-20th centuries: “By creating his socio-psychological plays, Turgenev paved the way for Chekhov’s brilliant lyrical dramas.”4 “No matter how the opinions of researchers differ in details, they are all unanimous in one thing: the generic nature of Turgenev’s plays is not as clear as it seems at first glance.

Already at the very beginning of Turgenev’s creative activity, he found himself searching for new genre forms. In 1834, Turgenev’s very first work, “The Wall,” was published. The author himself, in the subtitle, declared the genre of this work as a “dramatic poem,” that is, according to Turgenev himself, “The Wall” “could have been a poem instead of a drama.”42 And the poem “Parasha” was defined by the author as “a story in verse " It is obvious that from the very first steps on his creative path, Turgenev was interested in the “dramatic form of poetry.”43 By the way, later it was the dramatic experience that helped Turgenev the novelist. It is no coincidence that the picture of noble life, recreated by Turgenev in the play “A Month in the Country,” later became so widespread in his prose, so that the theme of “noble nests”

38 Zhuravleva L.S. Drama by I.S. Turgenev. Diss. PhD in Philology - Saratov, 1952. - P. 299.

39 Frolov V. The fate of drama genres. Analysis of dramatic genres in Russia of the 20th century. - M., 1979. - P. 64.

40 See for more details: Klimova N.V. The skill of I.S. Turgenev the playwright. Diss. K. philoln. - M., 1960.

41 Aksenova E.M. Dramaturgy of I. S. Turgenev // Creativity of I. S. Turgenev: Collection. articles. - M., 1959. - P. 186.

42 Turgenev I.S. Works // Complete collection of works and letters. - M. - L., 1960. - T. 1. - P. 552.

43 See about this in more detail: Putintsev A. Turgenevo-Lutovinovsky serf theater. (On the dramatic activity of I.S. Turgenev.) // Rise. - Voronezh, 1997. - No. 10-11. - pp. 227-239. The impetus for the awakening of creativity in Turgenev in dramatic forms, according to the author of the article, was the production of the serf theater in the village. Spassky-Lutovinovo. firmly entered the history of Russian literature of the 19th century.44 Turgenev’s refusal of drama in favor of the story and novel was, as they say, “in the spirit of the times”: “dramatic experiments began to be constrained formally, seemed narrow,”45 therefore they began to take on an epic form. Without a doubt, Turgenev continued his search for new artistic forms throughout his entire creative life. “Poems in Prose” by Turgenev, his last work, is another evidence of this.

Summarizing the above, it should be said that in the work of Turgenev, various scientists noted the synthesis of generic principles. It is characteristic that there was a period when the still young Turgenev could not decide what to become - a poet, prose writer or playwright. “During the 40s, Turgenev developed as an artist with many talents.”46 From 1838 to 1844 he was a poet, however, a more mature work - the lyrical cycle “Village” - dates back to 1847, at the same time the prose cycle began to be published “ Notes of a Hunter". In the period from 1843 to 1846, Turgenev’s poems appeared (“Parasha”, “Conversation”, “Landowner”, “Andrey”), in which Turgenev’s “narrative style” developed.47 But “the end of the forties in the work of I.S. Turgenev was primarily a dramatic time.”48 From 1843 to 1850, Turgenev’s plays “Indiscretion”, “Freeloader”, “Lack of Money”, “Where it is thin, there it breaks”, “Bachelor”, “Breakfast at the Leader”, were born one after another. "A Month in the Country", Provincial. So, as you can see, from approximately 1843 to 1850, Turgenev tried himself in all literary genres. And only after 1850 he made a certain creative choice and definitely settled on

44 “The setting of Chekhov’s plays is reminiscent of the estate in Turgenev’s novels and dramas” - this is how the chapter “Turgenev, Chekhov, Pasternak” begins. On the problem of space in Chekhov's plays" monograph by B. Zingerman. See about this: Zingerman B. Chekhov’s Theater and its World Significance. - M., 1988. - P. 131-167.

45 Brodsky N.L. Turgenev the playwright. Intentions // Documents on the history of literature and the public. I.S. Turgenev. - M., 1923. - P. 9.

46 Ibid.-S. 183.

47 Yu.B. Basikhin: “. from romantic lyrics, Turgenev moves on to a story in verse, developing his narrative style” (emphasis added by the author - N.Z.). See: Basikhin Yu.B. Turgenev's poems. - P. 92.

48 Brodsky N.L. Turgenev the playwright. - P. 3. prosaic form of presentation of artistic material, including lyrical intonation.

The relevance of this dissertation research is due, on the one hand, to the special role of the lyrical principle in Turgenev’s artistic system, and on the other hand, to the lack of development and lack of clarity of this phenomenon in the writer’s work of the 1840-1850s. The lyricism of Turgenev’s work is generally recognized, but there is still no systematic structural and semantic understanding of the role of the lyrical principle in Turgenev’s works of different genre nature.

What has been done in this regard allows us to raise the question of the lyrical as the basis of a unique synthesis of various generic contents and formal elements in the writer’s work, a synthesis whose origins should be sought in the period under consideration of his biography and the history of Russian literature. In the synthesis of various generic elements in Turgenev’s works of this time, the priority role is given to the lyrical principle.49 Thanks to the active presence of the lyrical principle, it is not the plot side of the text that predominantly develops, not the event series as such, but the so-called “internal”, in the center of which “the soul with its subjective judgment, with its joys, amazement, pain and feeling.”50

Many researchers have repeatedly noted the fact of mutual influence of poetry and prose, leading to a shift in lyrical and epic forms, often giving rise to a new type of work, often unique in its generic nature. In the history of Russian literature, there is a phenomenon antonymous with “lyricization.” We are talking about the “proseization” of the lyrics. This concept, as a rule, is associated primarily with the name of N. Nekrasov. It is obvious that the study of the “lyricization” of various genre forms, identifying the reasons

49 “Lyrical beginning” is understood as a “generic idea”, mainly embodied in lyrics, but also characteristic of texts of a different genre nature. The theoretical aspects of the problem of the “lyrical” will be discussed in detail in Chapter 1 of the dissertation.

50 Hegel. Aesthetics: In 4 volumes - M., 1971. - T.Z. - P. 414. its constant presence in Turgenev’s texts will help to understand the opposite phenomenon, which is developing almost in parallel - the “proseization” of the lyrics.

The purpose of the dissertation research: to consider the role and manifestations of the lyrical in lyrical, lyric-epic and dramatic works; to prove that the above forms, despite all the obvious generic differences, are united with each other by a common lyrical tuning fork, they tend to interpenetrate and ultimately form the “poetic style” (Zhirmunsky’s term) of Turgenev.

To achieve this goal, it is necessary to solve the following tasks:

Consider the current state of the problem of interaction between the content and form of various generic elements - lyrics, epic, drama; determine the content of the terms “lyrical beginning”, “lyricization”, “lyricism”;

To trace how the process of interpenetration of the lyrical and epic was carried out in Turgenev’s work in accordance with the general trend in the development of Russian literature from romanticism to realism;

To identify in the structure of Turgenev’s poems, lyric-epic and dramatic works artistic techniques that create a “lyrical atmosphere” and were subsequently used by him in prose;

To explore the specifics of Turgenev’s dramaturgy, determined by the desire for a synthesis of generic principles.

Object of study: Turgenev’s early work.

Subject of research: the movement towards a synthesis of the lyrical, epic and dramatic in the writer’s work, which can be revealed by Turgenev’s poems, poems and plays of the period of the 1840-1850s.

The scientific novelty of the dissertation research lies in the fact that for the first time the poems, poems and plays of I.S. Turgenev are considered interpenetration as works of complex genre forms, which are characterized by “generic ideas” (generic synthesis) with a predominance of the lyrical principle.

Provisions for defense:

1. The early work of I.S. Turgenev is a unique synthesis of lyrical, epic and dramatic principles.

2. “Natural” and “social” are the structural and content components of I.S. Turgenev’s lyrical system.

3. In the early works of I.S. Turgenev, there is a “lyricization” of the epic and an “epicization” of the lyrical.

4. Turgenev’s dramaturgy is based on a combination of dramatic, lyrical and epic principles. This, in turn, to a certain extent anticipated the emergence of Chekhov’s drama and, more broadly, such a 20th-century phenomenon as “new drama.”

5. The lyrical poetics that developed in the pre-historical works of I.S. Turgenev determined the uniqueness of Turgenev’s legacy as a whole.

The methodological basis of the study consists of works on the theory of lyrics and its interaction with other types of literature (V.M. Zhirmunsky, R.O. Yakobson, B.V. Tomashevsky, B.M. Eikhenbaum, L.Ya. Ginzburg, V.E. Khalizev, V.V. Kozhinov, V.D. Skvoznikov, M.M. Girshman, Yu.B. Orlitsky, S.I. Kormilov), on the theory of genres (M.M. Bakhtin, Yu.N. Tynyanov), theory author (Yu.M. Lotman, B.O. Korman), drama theory (L.M. Lotman, B.I. Zingerman, E.G. Kholodov).

The research is based on the unity of historical and structural-comparative approaches to a literary text.

Approbation. The research materials were condemned at the annual scientific conferences of teachers and staff of SamSU, interuniversity scientific conferences of young scientists and specialists in 1997, 1999, 2002, 2003, 2005, as well as at the international conferences “Morphology of Fear” and “Codes of Russian Classics. Problems of detection, reading and updating” in 2005.

The main provisions of the dissertation are reflected in the following publications:

1. Zakharchenko N.A. “Parasha” by I.S. Turgenev as a realistic poem // Bulletin of SamSU. - Samara, 1998. - No. 3(9). - P. 56-64.

2. Zakharchenko N.A. Theoretical aspects of school study of the cycle “Poems in Prose” by I.S. Turgenev // Problems of studying the literary process of the 19th-20th centuries. Samara, 2000. - pp. 248-255.

3. Zakharchenko N.A. The lyrical component in I.S. Turgenev’s play “A Month in the Village” // Artistic language of the era: Interuniversity collection of scientific works. Samara, 2002. - pp. 88-107.

4. Zakharchenko N.A. The lyrical beginning as a form of manifestation of the author’s consciousness in I. S. Turgenev’s play “Where it is thin, there it breaks” // Artistic language of the era: Interuniversity collection of scientific works. Samara, 2002. - pp. 78-87.

The scientific and practical significance of the work lies in the fact that the dissertation materials can be used to teach the history of Russian literature of the 19th century in higher education, in textbooks and special courses on the works of I.S. Turgenev.

The structure of the dissertation consists of an introduction, four chapters, a conclusion and a bibliography. The total volume of the dissertation is 226 pages, including 21 pages of the list of used literature, containing 312 titles.

4.7. Conclusions to the chapter.

In Turgenev’s dramaturgy there is a combination of various “generic ideas”: in his plays the dramatic itself collaborates with the epic and lyrical. And it should be noted that such a synthesis turns out to be very fruitful and enriches Turgenev’s dramaturgy.

In connection with the problem of the interaction of various generic principles, it is necessary to talk about a certain evolution that Turgenev’s dramatic work undergoes. Attempts at the interpenetration of the lyrical, epic and dramatic can be seen in Turgenev’s first work - in the “dramatic poem” “Wall”, in the text of which the author’s movement from poetry to prose is noticeable. At the same time, despite the formation of novelistic thinking, Turgenev was still interested in the inner world of the heroes, in the development of which he actively used the lyrical principle. Subsequently, Turgenev continued to work in this direction. In his plays, the epic invariably continues to coexist with the lyrical. At the same time, each of the “generic ideas” is assigned a specific function. “Epic versatility” (L.M. Lotman’s term) of Turgenev’s dramatic texts, as a rule, is aimed at creating a social background for comedies and revealing the mores of noble society. The sphere of influence of the lyrical also seems obvious: with the help of lyricism, the internal motivation of the characters is provided. The peculiarity of the dramatic conflict in Turgenev's plays is that with external inaction, a calm flow of life, when nothing disturbs the stable routine of the estate life, a clash of the emotional states of the characters occurs. Living human feelings turn out to be the “engine” of stage action.

Turgenev was able to feel and embody in his work the unconventional that had already been formulated by Chekhov in another literary era - at the turn of the 19th-20th centuries. Chekhov's synthesis of poetry and prose, tragic and comic, based on the fact that “lyrical poetry does not allow prose to get bogged down in everyday life<.>and prose, sobriety, irony protect poetry from the danger of degenerating into rhetoric,”370 is also recognizable in Turgenev’s dramaturgy. Chekhov finally destroyed the boundaries of dramatic genres. Considering Chekhov's plays from the point of view of genre, it is very difficult to answer unequivocally which genre form they should be classified in - drama or comedy. Thanks to Chekhov, the genre of the so-called “new drama” - the “lyric play” - was formed. The origins of its origins, without a doubt, should be sought in Turgenev. It is in Chekhov's style, so to speak, that life is depicted in his plays: behind the external simplicity of everything that happens, the most complex internal psychological struggle of the main characters is clearly observed, invisible to other characters in the comedy and hidden for the time being from readers and spectators. Turgenev opened a new page in the history of Russian theater.

In Turgenev's plays, the lyrical principle plays a priority role in the setting of characters and in the development of action. Deep lyricism is a circumstance indicating the innovative nature of Turgenev's dramaturgy. The lyrical beginning manifests itself in different ways:

370 Zingerman B.I. Chekhov's Theater and its global significance. - P. 308.

In the monologues and dialogues of the characters;

At the level of “subtext”, when the remarks and gestures of a particular character carry an additional semantic load;

Through the inclusion of landscape sketches in the dramatic text (in this sense, the characters’ reactions to changes in nature are important);

At the level of organizing the artistic space;

In the direct inclusion by Turgenev into the text of his plays of elements of a different genre nature (songs, fairy tales, proverbs, etc.), organically woven into the general context of a particular work;

In the special organization of the finale (“A Month in the Country”),

I.S. Turgenev deprived his comedies of a pronounced plot-motivated eventfulness: his plays are not distinguished by fatal coincidences of circumstances influencing the course of action. However, this does not make them lose at all. The author's entire attention is focused on the psychological state of the characters. The lyrical beginning creates a special tonality, helps to focus on the so-called “internal” action, which, according to K.S. Stanislavsky, “infects, captures

D 71 our soul and owns it,” while the “external” can only entertain the viewer.

371 Stanislavsky K.S. Conversations by K.S. Stanislavsky in the studio of the Bolshoi Theater in 1918-1922. - M., 1952. - P.118.

CONCLUSION

The general trend of the time - the transition from poetry to prose - was reflected in the works of I.S. Turgenev in the 40s: in new historical conditions, his early philosophical lyrics, poems of the ballad genre, and romantic poems were replaced by poems of “reality” and the poetic cycle “Village”, which, in turn, prepared the appearance of Turgenev’s first prose work - “Notes” hunter", acting as a kind of poetic introduction to the latter. It is known that his realistic lyrical novel was a new turn in the development of artistic prose in Russia.

Thanks to the activation of the lyrical principle, Turgenev discovered a new type of dramatic action, which is based on the dynamics of the psychological states of the characters. In search of a way for the further development of Russian theater, this author, experimenting with the plot, without claiming recognition, long before Chekhov, anticipated the formation of the so-called “new drama”, significantly enriched the poetics of drama with phenomena that later received the name “internal action”, “subtext”, “ underwater current."

Turgenev's innovation in the field of genre is noteworthy. His works organically contain elements of different generic nature, hence the author’s definition of the genre characteristics of the texts: “dramatic poem” (“Wall”), “story in verse” (“Parasha”), “story in dramatic form” (“A Month in village"), finally, Turgenev’s last work, “Poems in Prose,” which is distinguished by its experimental

372 The lyrical-epic nature of “Prose Poems” is beyond doubt. See, for example, the works of: Grossman L.P. Turgenev's last poem // Wreath for Turgenev. - Odessa, 1918. - pp. 57-90, Ozerov L. Lad and storage of “Poems in Prose” // Russian Speech. - 1967. - No. 4. - P.9-16; Shansky N.M. Language of artistic works // Russian language at school. - 1988. - No. 6. - P. 48-52; Zeldhey-Deak J. Late Turgenev and the Symbolists (Towards the formulation of the problem) // From Pushkin to Bely. Problems of the poetics of Russian realism of the 19th - early 20th centuries: Interuniversity collection. - St. Petersburg, 1992. - pp. 146-165. form.

Turgenev's new ideological quests were necessarily accompanied by a search for a new form and, first of all, a genre. The old theory of literature strictly monitored the purity of type, gender, and genre. Partly thanks to Turgenev, in our time poetry, prose, and drama are much closer to each other than in the past. Turgenev opened up new possibilities for artistic expression. Turgenev's genre quests objectively reflected the evolution that Russian literature experienced in the middle of the 19th century.

Turgenev began his literary career as a lyricist and completed it, remaining true to himself to the end, with a cycle of lyrical and philosophical miniatures, “Poems in Prose.” Therefore, it seems fair to conclude by Yu.F. Basikhin that “Turgenev’s prose is perceived<.>as something that seems to be inside the poetry of Turgenev - in general, still a poet, first of all -

374 poets."

The study of the essence, role and significance of the lyrical principle in Turgenev’s work of the 1840-1850s allows us to see some techniques and tendencies of a peculiar synthesis of the lyrical and epic in the actual lyrical and lyric-epic works; lyrical, dramatic and epic in dramaturgy. The observations made also reveal either a more pronounced or barely noticeable attraction to a certain generic unity based on the interpenetration of both substantive and formal elements in the works of the period of the most intense genre searches of this writer.

The process of lyricization of prose at the end of the 19th century, in particular, the very fact of the emergence of Turgenev’s poems in prose, largely prepared

373 L. Ozerov argued that, by its generic nature, “Poems in Prose” is “not a mechanical combination of two literary elements, two units of verse with units of prose, brought together, but a new quality (emphasis added by me - N.Z.), a new kind of creativity." See: Ozerov L. Lad and warehouse “Poems in prose” // Russian speech. - 1967. - No. 4. - P.9

374 Basikhin Yu.F. Poems by I.S. Turgenev. - P.11. the basis for the future movement from realism to symbolism, and was also reflected in the literature of the 20th century. The prose of I. Bunin, V. Rozanov, M. Prishvin, K. Paustovsky, lyrical in nature, was created taking into account the principles of lyricization discovered by Turgenev in the middle of the 19th century. For the history of drama, it is also important to take into account innovations in the field of the theory of drama by Turgenev, whose ideas were continued by Ostrovsky, Chekhov, and Gorky.

375 For more information about this, see: Zeldhey-Deak J. Late Turgenev and the Symbolists (Towards the formulation of the problem) // From Pushkin to Bely. Problems of the poetics of Russian realism of the 19th - early 20th centuries: Interuniversity collection. - St. Petersburg, 1992.-S. 146-169.

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