“The tragic meaning of love in the story of I.S. Turgenev "Faust" (creative essay)

THE STORY OF I. S. TURGENEV "FAUST":
(SEMANTICS OF THE EPIGRAPH)

LEA PILD

I. S. Turgenev's story "Faust" (1856) has been repeatedly analyzed by researchers. Numerous interpretations of this work, on the one hand, reveal the Schopenhauer layer of the story, on the other hand, it is noted that Turgenev here equally distrusts both rational and irrational methods of comprehending reality and relies on Schiller's ethics of duty and renunciation, which in its origins goes back to philosophy of Kant. Despite the fact that the story precedes the epigraph from the first part of Goethe's Faust, the very appearance of Goethe's work in the title, epigraph and plot of the story is traditionally regarded as an indication of the symbol of art. The author of the article "The Spell of Goetheanism" G. A. Time joins the latter point of view. The same work says that the story "Faust" lends itself to a variety of interpretations. This idea is close to us, so let's start by defining the aspect of the analysis of Turgenev's story. Our goal is to determine how the work is connected with one of the most important motives of the tragedy "Faust" and the memoirs "Poetry and Reality" by Goethe, and also to show how the story relates to Turgenev's attempt to build himself as a "cultural personality" in the second half of the 1850s. .

The story "Faust" was written in a difficult period for Turgenev, both biographically and psychologically. It is known that in this work some facts of the writer's biography and essential features of his worldview were reflected in a refracted form. However, the nature of the artistic transformation of Turgenev's biographical facts and philosophical ideas in "Faust" is rather indirect: along with the fact that the writer treats the characters of the story as a like-minded person, he also argues with them in many respects. The latter is clearly evidenced by Turgenev's correspondence in the second half of the 1850s. In a letter to M. N. Tolstoy dated December 25, 1856, Turgenev remarks: “... I am very pleased that you liked Faust, and what you say about the double person in me is very fair, only you, be maybe you don't know the reason for this duality." Tolstoy's letter to Turgenev has not been preserved, however, as can be understood from the context of Turgenev's reasoning, his correspondent treated Turgenev as a balanced, harmonious personality, and only after reading Faust did she guess about his "second essence". Turgenev defines his psychological "duality" as a collision of mind and soul. He relates the insolubility of this collision to the recent past ("the mind and soul were moping about starting"), but at the present time he considers the situation to have changed: "All this has now changed." The psychological complexity of existence for Turgenev at this time is associated with entering adulthood: "I must say goodbye to the dream of so-called happiness, or, to put it more clearly, to the dream of gaiety, which comes from a sense of satisfaction in the life order" (III, 11) . According to A. Schopenhauer, whom Turgenev intensively studied precisely in the 1850s, in adulthood a person gradually moves from a youthful desire for happiness to an impartial attitude to things. A number of questions arise before Turgenev: how to build one's life, how to organize one's own personality, how to avoid the destructive impact of feelings, an overly acute sense of the tragedy of life. In the second half of the 1850s, Turgenev contrasted the consciousness of the impossibility of achieving happiness with “knowledge” and “understanding” of one’s life goal and the surrounding objective reality: “I’m soon forty years old, not only the first and second, the third youth has passed - and it’s time for me to become, if not a sensible person, then at least a person who knows L.P.> where he is going and what he wants to achieve "(III, 269). In general, in Turgenev's letters of the second half of the 1850s, a picture of the author's internal struggle with himself appears. "Feeling", according to Turgenev, resists the need for rejection, renunciation of youth, of dreams aimed at achieving happiness. "Mind", on the contrary, "objectifies" the comprehension of reality. It seems to us that the opposition of "mind" and "soul" singled out by Turgenev can be defined as a conflict between the "spontaneous" and "cultural" personality of the writer.

Thus, the problem of self-limitation, rejection, renunciation of the most important life values ​​becomes extremely relevant for Turgenev at this time. The same problem is the key point of the life contradictions of the characters in the story "Faust". Considering the epigraph of the story in relation to the fate of the characters, researchers usually talk about the absence of a direct connection between the thought expressed in the epigraph and the ethics of the characters' renunciation. At the same time, it is emphasized that Goethe's "Faust" renounces his life (concludes an agreement with Mephistopheles) for the sake of the most complete and comprehensive comprehension of the world. However, "entbehren" in the mouth of Goethe's Faust has another meaning, very important for the author of the tragedy and for Turgenev. Turgenev extracts it from Faust's monologue, which he utters while talking with Mephistopheles ("Entbehren sollst du! sollst entbehren! / Das ist der ewige Gesang, / Der jedem an die Ohren klingt, / Den, unser ganzes Leben lang, / Uns heiser jede Stunde singt."). The words about renunciation are a quotation tinged with irony in Faust's mouth. Faust sneers at the conservative (philistine) consciousness, at the setting of self-limitation. Faust seeks to overcome this point of view of the world. His desire to know the world as fully and broadly as possible is opposed to the principle of "renunciation". Renunciation is also one of the most important motifs in Goethe's memoir Poetry and Reality. In the fourth part, Goethe considers "renunciation" as one of the most important essential laws of human life. Goethe's explanation of this regularity is of a dual nature. On the one hand, according to Goethe, almost all spheres of application of the human spirit require a particular person to refuse, to renounce many thoughts, feelings and habits dear to him: what we need from the outside in order to understand our essence, is taken away from us, in return it imposes on us a lot that is alien to us, even painful. On the other hand, each renunciation is continuously replenished by a person either with “strength, energy and perseverance”, or “... light-mindedness comes to his aid ... a moment to grab a new one, so we unconsciously restore ourselves all our lives" (Ibid.).

Thus, according to Goethe, there are different types of psychological reactions to the need for renunciation. This thought of Goethe is obviously close to Turgenev, and in his story he depicts characters who react differently to the vicissitudes of fate, who renounce in different ways. Yeltsova Sr., of course, belongs to the type of people who, from the point of view of Goethe, "strength, energy and perseverance" restore themselves. The heroine comes to the conclusion about the tragedy of life, the incomprehensibility of its secrets, and after that becomes a rigidly rational person, choosing the latter between pleasant and useful. "I think we must choose in advance in life either useful or pleasant, and so decide, once and for all" (V, 98). She makes this choice by saying goodbye to her youth and starting to raise her daughter. She seeks to protect her daughter from the awakening of emotional life, educates her according to the "system". The internal orientation of Eltsova Sr. can be correlated with the spiritual orientation of Turgenev himself at the beginning of the second half of the 1850s. Like the writer himself, his heroine realized the tragedy of life and, having entered adulthood, through reason and will, she tries to save her existence and the existence of her daughter from catastrophe. Turgenev at this time, as already mentioned, also prefers the "useful" to the "pleasant." However, there are significant differences between Turgenev and his heroine. Apparently, it is no coincidence that the word "system" appears in the text of the story. In Turgenev's ideas of this period, "system" is a synonym for limitedness, intellectual narrowness. In a letter to Leo Tolstoy dated January 3, 1857, Turgenev writes: "God grant that your horizons expand every day. Systems are valued only by those who cannot get the whole truth into their hands, who want to catch it by the tail" (III, 180 ).

Eltsova Sr.'s "system" does the most harm to her daughter Vera, as it robs her of her youth. Turgenev repeatedly emphasizes in his letters that youth has its own patterns, and everyone should understand and accept these patterns. "Yeltsova's system violates the pattern of conformity of culture to age. In a review of the translation of Goethe's Faust (1844), Turgenev wrote "The life of every nation can be compared with the life of an individual<...>every person in his youth experienced an era of genius "(Works. T. 1. S. 202). Under the era of genius, Turgenev means the era of romanticism. According to Turgenev, a meeting with romantic culture in the life of every person should occur in youth. This reflects the patterns of the existence of a separate individuality Eltsova Sr. does not take into account the fact that a person learns the truth in parts, she tries to give her daughter a ready-made truth, to fit her experience of a mature person into a picture of the world that is just beginning to take shape.

Yeltsova, according to Turgenev, overestimates the role of reason and will in human life. Although the heroine understands that reality is tragic, and man is subject to the "secret forces" of nature, she nevertheless believes that life's laws can be controlled to a certain extent. In this, she is close to the hero, who only a few years later will appear in the work of Turgenev - Insarov from the novel "On the Eve" (1861). Eltsova Sr.'s "renunciation" is too absolute: she tries to suppress Vera's innate tendency to beauty and seeks to educate a woman who in life will be guided only by the criterion of "useful". In a letter to Countess E. E. Lambert dated September 21, 1859, Turgenev speaks of the absence of a poetic beginning in the character of his daughter Polina: “Actually, for my daughter, all this is very good - and she fills in what she lacks with other, more positive and useful qualities, but for me, she - between us - is the same Insarov. I respect her, but this is not enough "(IV, 242). Unlike Vera Eltsova, the lack of sensitivity to beauty is inherent in Polina Turgeneva by nature. Therefore, Turgenev only regretfully states his spiritual alienation from his daughter. Yeltsova brings up her daughter in many respects contrary to her natural data. In letters from the second half of the 1850s, Turgenev speaks quite a lot about "doing oneself" in his youth. At this time, he trusts reason and will. However, according to Turgenev, the conscious "doing of oneself", firstly, is the function of the person himself, experiencing youth. Secondly, according to Turgenev, one can educate oneself only in accordance with the data of nature: "The desire for impartiality and the whole Truth is one of the few good qualities for which I am grateful to Nature, which gave them to me" (III, 138). Eltsova Sr. not only deprives her daughter of youth, suppresses her genetic impulses, but also deprives her of the vital dynamics of development. Vera is a man without age: “When she came out to meet me, I almost gasped: a seventeen-year-old girl, and nothing more! calmness, the same clarity, the same voice, not a single wrinkle on her forehead, as if she had lain all these years somewhere in the snow" (V, 101). The "catastrophe" that happened to Vera is largely due to her alienation from art. It was in the 1850s that Turgenev became convinced that art and poetry are all ways of improving life: “Read, read Pushkin: this is the most useful, most healthy food for our brother, a writer. .." (III, 162). In correspondence with E. E. Lambert, even before the publication of Faust, the topic of the need to read Pushkin arises. At the same time, Countess Lambert defends a point of view close to that of Eltsova Sr. adulthood - a harmful occupation, it excites "anxiety" - that is, an unnecessary influx of emotions. Turgenev opposes this point of view with another: "Take Pushkin during the summer - I will also read him, and we can talk about him. Excuse me, I still don't know you very well - but it seems to me that you are intentionally, maybe out of Christian humility - trying to narrow yourself down" (III, 93).

Turgenev is sure that a person always needs art, but the perception of art changes depending on age. If in youth it is associated with pleasure, then in adulthood the perception of art should be accompanied by a calm objective analysis. The latter was not understood by the heroine of Turgenev - Eltsova, having withdrawn art not only from her life, but also from the life of her daughter. Truth for her, like the process of renunciation itself, is immovable, inflexible.

Finally, the third character in Faust is the narrator, the most superficial and frivolous person (at least before the catastrophe). He is just one of those who, from Goethe's point of view, overcomes "renunciation" with frivolity. Before Vera's death, the narrator is sincerely convinced that he can live for his own pleasure, despite the fact that his youth has already passed. The narrowness, inferiority of his personality is manifested in the fact that he has not yet comprehended the tragedy of life. In addition, this person is extremely selfish, the concept of "another" person in ethical terms is completely alien to him. According to Turgenev, one of the reasons for the moral inferiority of the narrator is that he never loved a woman with a high soul (falling in love with the young Vera Eltsova remained an unfinished episode in his life). However, the conclusion that the narrator comes to after the "catastrophe", although partly corresponds to Turgenev's thoughts, nevertheless, in his opinion, far from exhausts the possible attitude to the tragedy of existence: "... I learned one conviction from experience recent years: life is not a joke or fun, life is not even enjoyment<...>life is hard work. Renunciation, constant renunciation - this is its secret meaning, its solution, not the fulfillment of beloved thoughts and dreams, no matter how lofty they are - the fulfillment of duty, that's what a person should take care of ... "(V, 129).

The idea of ​​a sense of duty and renunciation appears in Turgenev's correspondence only in 1860. From his reasoning, it follows that humility in the face of life's hardships and the fulfillment of duty are necessary things, but this is far from the only thing that Turgenev opposes to the feeling of the exhaustion of life. The performance of duty makes a person dispassionate, and therefore limited. In the passage quoted above from Goethe's "Poetry and Reality" we are talking not only about frivolous people and people who, with energy and perseverance, restore themselves after the necessary self-denial. Goethe speaks here of a third type of reaction to renunciation. It is inherent in philosophers "They know the eternal, the necessary, the lawful, and they strive to form indestructible concepts for themselves, which not only will not fall apart from the contemplation of the mortal, but rather find support in it." It is obvious that the objective, impartial position of the philosophers is in many respects close to Goethe himself. At that time, Turgenev also strives for objectivity, impartiality, while the very understanding of "objectivity" goes back, as we will try to show, to Goethe.

In his letters of the 1950s, Turgenev correlates the Schopenhauerian layer of his worldview (more precisely, his interpretation of Schopenhauer's ontology) with his spontaneous properties. Schopenhauer's doctrine of the essence of the world and Turgenev's natural propensity for melancholy are recognized by him as factors that directly impede the formation of an objective artistic method and an objective perception of reality. Reflecting on the impossibility of achieving happiness and harmony, as well as the tragic fate of the existence of all people, Turgenev emphasizes that the works he creates must arise on a different basis: "... I can only sympathize with the beauty of life - I can no longer live myself. The "dark" cover fell on me and wrapped around me: do not shake it off my shoulders. I try, however, not to let this soot into what I do, otherwise who will need it? (III, 268). That is why an attempt to build oneself as a "cultural personality" arises at this time. After a period of romantic life-building in the late 1830s-early. The 1840s is the second attempt by Turgenev to consciously influence the change in his worldview and practical behavior. The origins of life-building go back to Schopenhauer. Turgenev defines life as a disease: "Life is nothing but a disease, which either intensifies or weakens" (IV, 103). In this regard, the idea arises of the improvement of life, the psychotherapeutic function of cognition. In his main philosophical work, The World as Will and Representation, Schopenhauer, speaking about gifted and ordinary people, says that a gifted person, through disinterested intellectual knowledge, is able to overcome sorrow as an eternal pattern of life. The existence of such a person is painless. Turgenev is close to this idea of ​​Schopenhauer, however, unlike the philosopher, he does not consider intellectual knowledge as uninterested. According to Schopenhauer, the disinterestedness of contemplation is the only way to achieve objectivity. According to Turgenev, objectivity, impartiality must be achieved through love. Here Turgenev already quite clearly refers to Goethe, to his not only artistic, but also philosophical, as well as natural science heritage. Goethe, as you know, did not consider himself a philosopher, but all his life he was engaged in questions of the theory of knowledge and, in particular, the problem of overcoming abstractness, the a priori nature of knowledge. The way to overcome the abstractness of knowledge lies, according to Goethe, through experience, feelings. In one of his famous aphorisms, Goethe says: "You can only learn what you love, and the deeper and more complete the knowledge should be, the stronger, more powerful and more alive should be love, moreover, passion." Turgenev wrote about the need for knowledge, understanding "through love" already in 1853. We find this idea in the review of S. Aksakov's Notes of a Rifle Hunter, it is developed in Journey to Polissya (1857) and, finally, Turgenev writes quite a lot about this to his various correspondents in the 1850s. So, for example, in a letter to Countess Lambert Turgenev refuses to evaluate the activities of French writers, because he does not feel love for them: “But what you don’t love, you won’t understand, and what you don’t understand, you shouldn’t talk about it. That’s why I tell you about the French I will not interpret" (III, 214).

Objectivity, realized through love, is necessary for Turgenev not only in order to avoid subjectivity in assessments and melancholy in mood, but also in order to overcome the abstractness of Schopenhauer's philosophy to a certain extent. Despite the fact that Turgenev accepts the ontological characterization of reality given by Schopenhauer, he cannot but see that Schopenhauer is the continuer of the tradition of German classical philosophy, which in Russian cultural tradition perceived as a system divorced from reality. Turgenev devoted many works to the artistic solution of the problem of reflective consciousness, divorced from reality. In the second half of the 1850s, Turgenev was worried that the ontological interpretation of reality created by Schopenhauer and accepted by him would color the perception of the most diverse aspects of reality. In addition, it was precisely after 1855 that Turgenev could not but feel the schematism and one-sidedness in relation to literature of writers of a radical trend, who were gradually gaining the leading trend in Sovremennik. In a letter to V. Botkin in 1856, Turgenev says that modern writers have too little contact with reality, read too little and think abstractly (III, 152). In the same letter, as if in opposition to what was said, the words of the German critic Johann Merck are quoted about Goethe as a writer who translates into reality artistic image, while other writers try in vain to embody the imaginary in a work of art. Goethe, thus, becomes for Turgenev at this time the standard of concreteness and objectivity, an artist who has overcome abstract thinking. Turgenev still, as in the early 1850s, faces the problem of an objective artistic method. Turgenev's unwillingness to think abstractly (both artistically and intellectually), as well as the fear of deep melancholy, intensified under the influence of Schopenhauer's ontology, were, in our opinion, the main reasons for the attempt to organize one's own personality during this period. The search for concreteness and objectivity in comprehending the world is associated for Turgenev with Goethe, however, Turgenev's idea of ​​the ideal of the human personality also includes the idea of ​​the need to perceive the world not only in the sphere of phenomena, but also in the sphere of entities, the ability to comprehend the tragedy of existence.

MOSCOW ^ ORDER OF LENIN, ORDER OF OCTOBER REVOLUTION AND ORDER OF LABOR RED BANNER LOMONOSOV STATE UNIVERSITY

PHILOLOGICALLY! FACULTY

As a manuscript

SHN DZYANYUN PROBLEM AND POETICS OF I.S. TURGENEV'S NOVEL "FAUST"

Specialty 10.01.01-Russian literature

MOSCOW - 1991

The work was done at the Department of the History of Russian Literature, Faculty of Philology, Moscow State University. M.V. Lomonsoava Scientific adviser: Doctor of Philological Sciences, Professor

Specialized Council D 053.05.11 at Moscow State University. M.V. Lomonosov.

Address: 119899, ​​Moscow, Leninskiye Gory, Moscow State University, 1st building of humanities faculties, Faculty of Philology.

The dissertation can be found in the library of the Faculty of Philology of Moscow State University.

P. G. Pustovoit Official opponents: Doctor of Philology

M.G. Pinaev candidate of philological sciences

T.Yu.Ripma. Leading organization: Moscow Regional Pedagogical Institute Protection will be held on January 24, 1992 at a meeting

Scientific Secretary of the Specialized Council, Candidate of Philology A.M. Peskov

(gst."and;.. ■ (

. .. "The story "Faust" by K.S. Turgenev, which is the subject of research, is an epistolary prose of the 50s from | works about the "superfluous man"; in this cycle, "Zaust" occupies an important place not only because it acts as the previous link to the novel "The Nest of Nobles", but also because it closely correlates with Turgenev's first appeal to the tragedy "Faust" by Goethe, about which 11 years ago before his "Faust" Turgenev wrote a review. We can say that the story "Faust" served a kind of interpretation of the world literary work in the work of the Russian writer. The concept expressed by the author in this story is controversial and at the same time relevant: it excites representatives of various areas of social thought of the last century as much as it attracts the attention of modern Turgenevologists. The themes and problems of Turgenev's story are connected with the perception great tragedy Goethe, and also reflects the egico-philosophical worldview of Turgenev and his aesthetic ideal. It can be viewed from different angles. Firstly, it may be of interest as a material for studying the theme of Faust in the history of perception by Russian literature. Secondly, it can be considered as an ideological and philosophical whole, as a complete statement of the moral and spiritual quests, philosophical doubts and reflections of the writer. Thirdly, it can be traced as an autobiographical description of the writer's life. Fourthly, it can be a material for studying the creative style of the writer in the epxtolary genre, which Turgenev supplemented with a short story composition with the usual inclusion of all elements of narrative, landscape and portrait painting, everyday sketches.

In connection with the consideration of the concept of the story "Faust" in Russian

criticism, which paid great attention to Turgenev's moral idea of ​​duty and happiness, our work is a wide range of research on the problems of the relationship between man and love, man and society, man and natural life in the concept of Turgenev's personality, in his moral-philosophical and aesthetic system. generally. Basing our research on the comparative method, we are trying to analyze the problems and artistic specifics of this work.

The task of the work is to study the problems of the story "Faust" as a reflection of the ethical and philosophical worldview of Turgenev, as well as to study the epistolary form, the structure of the story and the analysis of the writer's artistic skills.

In connection with the multidimensional study, the main task appears as a series of specific tasks:

Definition of the theme of Faust in the work of Turgenev;

Revealing the influence of Schopenhauer's teachings on Turgenev's moral and philosophical worldview;

Creation of a typology of epistolary prose, description of the poetics of its genre and development of the composition of Turgenev's story;

Confirmation of the continuity of Pushkin's tradition and creative community with Tyutchev's philosophical poetry in Turgenev's work.

The structure of the dissertation is determined by its objectives. The work consists of introduction, four chapters, conclusion, notes and bibliography. The content of the first two chapters is the consideration of the ideological and philosophical aspect of the story in the light of the moral and philosophical worldview of the writer, the content of the next two chapters is the study of the poetics of this work.

The relevance of the work is due to the paucity of works that explore the problems of the work of interest to us, is determined by the interest in Schopenhauerism and dualism in the approach to the moral and aesthetic view of the writer, as well as the lack of monographic works representing a systematic analysis of the structure of the story, its style and linguistic, expressive means.

The novelty of the work lies primarily in the new formulation of research questions, in a new approach to the consideration of Turgenev's moral and philosophical worldview. In this case, the focus of our study will be an explanation of the influence of the ethical and philosophical teachings of Schopenhauer on Turgenev and confirmation of its reflection in the writer's work of art. For the first time, an attempt is made to reveal Schopenhauer's attitude to Chinese philosophical teaching- Taoism and compare individual ethical views of the German philosopher with Taoism. For the first time, a systematic analysis of the genre and structure of the story "Faust", its stylistic originality and techniques is given. artistic speech.

The practical value of the dissertation lies in the possibility of using its conclusions in developing the problems of the relevant sections of the history of Russian literature, and the materials - in the practice of university teaching.

The introduction contains the statement of the research problem and the rationale for its topic; it also gives a brief summary of the history of the study of the story "Faust" by Turgenev, determines the subject and direction of research in general scientific works. Based on a generalization of observations on the history of the study of the story "Faust", the main features of the study of our work are characterized.

In the first chapter, "The Tradition of Goethe in the Works of Turgenev," first of all, the significance and role of reminiscences from Goethe's tragedy is noted.

"Faust", used by Turgenev in his story of the same name. At the same time, the significance of the literary role of these reminiscences in the plot and images of the story, the uniqueness of the mediated disclosure of the complex philosophical content of one literary work through another is emphasized. Based on the biographical material of the writer's letters and the memoirs of his contemporaries, the history of the creation of Turgenev's story is briefly described. In confirmation of the autobiographical nature of the story, the question of the prototype of the heroine of the story - M.N. Tolstoy - and the relationship between her and the writer is considered.

A synthetic review of different opinions and views of researchers related to the ideological content of the work and the position of its author is considered established. In many works, the points of view of Soviet researchers agree that Turgenev argued with Goethe in his approach to human life. One cannot but agree with this, but one must see that the position of the writer in the story is much broader than the positions of the main characters. Therefore, the author specifically claims that Turgenev in his story aims to be an educator in awakening a person’s love for art, the desire for personal happiness in spite of the “yoke of legends, scholasticism and in general any authority”, to be the defender of “everything human, earthly”, but at the same time to be preacher of the morality of renunciation for the sake of moral duty. In fact, Faustian egoism, which he considered in his critical article as an ayatheosis of romanticism.

In developing the concept of the story "Faust" we turn to the theme of Faust as perceived by Turgenev.

The theme of Faust has a long history in European and Russian literature. It has become widespread in fiction. The tragedy "Faust" by Goethe is the pinnacle of artistic

treatment of this topic in the history of world literature. In his tragedy, Goethe gave this world image a new ideological meaning from the point of view of bourgeois culture, its enlightening philosophy. The character of Faust, according to Goethe, is the character of a man who impatiently fights within the framework of earthly existence and considers higher knowledge, earthly goods and pleasures insufficient to satisfy his aspirations, a man who, rushing from side to side, cannot find the desired anywhere. happiness...". The significance of the image of Faust lies in the fact that it marks the emancipation of the individual from the ascetic worldview of the church in the name of life's joys, sensual pleasures, denotes a break with the scholastic science of the Middle Ages for the sake of genuine knowledge, the search and struggle of human thought for its liberation.

The perception of the tragedy "Faust" by Goethe in Russian literature leads to the rise of mass interest among Russian writers in German idealistic philosophy and literature. Naturally, there are different interpretations of this tragedy. Among them, of course, is Turgenev, who, carried away by Goethe's Faust, in 1845 spoke about Vronchenko's translation of Goethe's Faust. "Faust" was almost the most favorite book writer. Turgenev constantly re-read it, turned to the inexhaustible sources of his images and types, which were for the writer a familiar and adequate form of his own experiences and thoughts. Turgenev organically reinforced his ideological and artistic decisions with the wisdom of Goethe's discoveries, transformed them in accordance with the new life material that was put forward by a new period of historical development. In the development of the literary tradition of Faust, Turgenev, for whom Goethe's Faust served as a pretext for

development of the original independent stitch, takes its own -¿1-/606

figurative place. In this regard, in accordance with the perception of Goethe's "Faust" in Turgenev's story, the echo of Turgenev's "Faust" is considered not so much with the connection of Hegev's "Faust", but with the thoughts that sounded: in the writer's article about Goethe's "Faust".

Considering Turgenev's critical article on Goethe's Faust and Vronchevko's translation, we summarize the main thoughts of the writer, expressed in four points. Firstly, Turgenev appreciated in Goethe's work the sublime pathos of denial, the desire to free himself from "the yoke of legends, scholasticism and in general any authority", believed that Goethe "was the first to stand up ... for the right of an individual, passionate, limited person", in which " there is an unstoppable force." Secondly, Turgenev considered "Faust" as a work "purely egoistic?, closed in the sphere of the human personality, "alien to public interests." Faust, as Turgenev defined it, is "a theoretical egoist, conceited, learned, dreamy egoist." Thirdly, Turgenev saw in the image of Mephistopheles - the demon of every person in whom reflection was born, he is the embodiment of that denial that appears in the soul, exclusively occupied with its own doubts and perplexities, he is the demon of lonely and distracted people, people who are deeply embarrassed by some a small contradiction in their own lives..." Turgenev believed that the presence of an element of denial, "reflection" in every living person is characteristic of his modernity, that all strength and all weakness, all death and all salvation are contained in one "reflection". Fourthly, Turgenev saw the true meaning of human life in uniting individuality with common humanity, in serving public interests. "The cornerstone of man," says Turgenev, "is not himself, as an indivisible unit, but humanity, society." Straight

I find analogues of these thoughts in the story "Faust", tracing the characters of the characters, the system of their consciousness and thinking. Thus, the ideological connection of the theoretical perception of Goethe's "Faust" by Turgenev with his artistic reproduction in the story is proved. At the same time, we came to the conclusion that Turgenev, both in a theoretical article and in a work of art, absolutely does not accept the Faustian concept of life, criticizes egoism, individualists who care only about themselves, about their personal happiness. This criticism, in our opinion, was not only theoretically continued in Turgenev's article "Hamlet and Don Quixote", but also found artistic embodiment in many of the writer's further works, in the characters depicted in them.

The problem of Russian Hamletism in Turgenev's work is the most common property of each of the main characters of his stories and novels of the 1940s and 1950s. This property, in the words of Herzen, is "a disease of intermediate eras." In Turgenev, the character of Hamlet is perceived as the character of a man of reflection, skepticism, separation of thought and will, in which he resembles "superfluous people." Beginning with "Andrei Kolosov", and in subsequent stories and novels, the man of reflection acts as the main character, and everyone, experiencing deep dissatisfaction as a result of an inert life and social and moral loneliness, comes to a moral judgment on himself, to the condemnation of his individualistic personality, and therefore, his individualism is not a triumphant force; on the contrary, it has been crushed under the influence of internal moral protest. In the works of Turgenev, a man of reflection is always depicted as a loser in his personal life, in love. This is explained precisely by the fact that he cannot tear himself away from the romantic perception of life, from the consciousness of emotional reflection.

The second chapter "Turgenev's Moral-Philosophical Conception and the Problem of Schopenhauer's Principle in the Writer's Works" is devoted to consideration of Turgenev's ethical-philosophical ideological system. The focus here is on the concept of the writer's personality and Schopenhauer's principle in the socio-philosophical and ethical concepts of Turgenev.

The essence of Turgenev's concept of personality lies in the separation of the individual and the general, centripetal and centrifugal forces, thought and will, and this general separation of self-sustaining existences ultimately turns into an objective unity both in the social life of mankind and in nature. The basis of this unity is the eternal struggle and eternal reconciliation of two antagonistic forces.

Turgenev's political attitude to the social type of personality is manifested in his article "Hamlet and Don Quixote". In it, Turgenev considers two fundamental directions of the human spirit, one of which is most fully represented in Don Quixote, the second - in Hamlet. The Don Quixote type embodies the centrifugal force of nature, he lives entirely for others, in the name of a moral duty that is accepted without a doubt. Hamlets are the centripetal principle of nature. They are selfish, constantly engaged in their own personality. Hamlet is corroded by reflection, doubt, he does not have faith, and therefore he does not have a clear path of activity, willpower, the ability to surrender to direct active action, Hamlets cannot truly love anyone, they are primarily occupied with themselves and therefore lonely.

Don Quixotes embody an effective principle. Hamlets - mind. "Deeds need will, deeds need thought; but thought and will have become separated." This, according to Turgenev, is the tragedy of man.

vetstva. But at the same time, this is also the seed of his development, so, from the point of view of Turgenev, life moves and develops precisely through the action and interaction of those opposite principles that were embodied in the images of Don Quixote and Hamlet. So Turgenev condemns people of the Hamlet type, but appreciates people of a quixotic warehouse, enthusiasts of public service, bearers of a high consciousness of moral duty.

The dualistic understanding of the fundamental law of all human life in the worldview and work of Turgenev as eternal reconciliation and the eternal struggle of two disconnected and merging principles comes from the Hegelian dialectic about the struggle and unity of opposites, and is partially attributed to the influence of Schopenhauer. Turgenev's interest in Schopenhauer has been formed for a long time. The philosophy of Schopenhauer had a strong influence on Turgenev and became a similar expression of his philosophical reasoning and one of the sources that he often used in the works of the later period of creativity. The question of Schopenhauer's influence on Turgenev and his reflection in the writer's work is very complex, so we consider it necessary to consider the main provisions of Schopenhauer's philosophy.

The fundamental premise of Schopenhauer's teachings is Kant's fundamental distinction between the phenomenal world /perceptible phenomena/ and the world of things in themselves. Borrowing this difference, Schopenhauer goes further than Kant, declaring the nature of things in themselves to be known through a special illogical method - intuition, direct feeling, which reveals to us the "world will" as the true basis of the universe. Since space and time are just forms of subjective perception of phenomena, the world will as a thing in itself is devoid of space-

temporal characteristics and sweat is one, eternal and unchanging in its own-3-/606

her essence..

This feature of the will, according to Schopenaguer, is of decisive importance for the formulation and solution of all ethical problems. If true reality is irrational, then it would be in vain to look for any meaning of being or the ultimate goal of human aspirations. Life has no meaning, no purpose, or, in other words, it is an end in itself.

Schopenhauer divides the motivation of the empirical will of a person into three classes: "egoism", "malice" and "compassion", of which only the latter can serve as the basis of morality, since compassion, firstly, is rooted in essential conditions being itself, and not in the theoretical calculations of an abstract thinker, and, secondly, it is only in it that a living being goes beyond the limits of his "I" and overcomes the limitations of individual existence. And yet there is something mystical in it: compassion is "an amazing and, moreover, mysterious process. This is truly a great mystery of ethics, its ggarvophenomeya and boundary pillar ... We see that in this process the partition is removed, which from the point vision of the natural light of the mind ... completely separates one being from another, and that not-I somehow becomes I."1

The mysticism of Schopenhauer's ethics reaches its apogee in the doctrine of the moral ideal. The egoistic element of human existence can be finally defeated only by giving up the will to live. 7 Schopenhauer's renunciation of self-affirmation in the world presupposes inaction, i.e., a purely contemplative life. The highest degree of intensity of contemplation means overcoming the boundaries of individual existence and expiation of the "original sin" of isolation.

1. Schopenhauer A. World as will and representation. T. 1. pp. 298, 209

Together with the fullness of being comes true freedom: "The fundamental error of all times is to attribute necessity to being, and

freedom - action. On the contrary, freedom is found only in being.

Schopenhauer's ethical teaching on the denial of self-affirmation, i.e., non-action, is in a sense closely connected with ancient Chinese philosophy and ethics, it took its origin from the ethics of Taoism. There are data on the basis of which it can be assumed that Schopenhauer at one time got acquainted with ancient Chinese philosophy, read the works of Lao Tzu, the founder of Taoism. In Schopenhauer's "additions to the fourth book" there is an epigraph borrowed from the writings of Lao Tzu: "All people want one thing: to be freed from death; they do not know how to free themselves from life."

For comparison, we characterize the basic concept of ethics in Chinese philosophy, pointing to the social and anthropological, as well as the epistemological and ontological meaning of its sphere. According to this philosophy, the main types of knowledge differed in their moral significance, and the fundamental parameters of being were interpreted in ethical categories, such as "good" /shan/# /, "grace-virtue" /de/*|- /, "authenticity-sincerity "/cheng/y? /, "humanity" /zhen/1- / etc.

According to Taoism, the life of nature and society is subject to Tao, and therefore all human misfortunes and disasters are caused by deviation

2. Schopenhauer A. World as will and representation. T. 2. p. 576.

3. din. p.473. A special study of Chinese philosophy is set forth by Schopenaguer in Sinology, see: T. 3. pp. 130-139.

him from the dao. People can merge with Tao if they refuse material world from sensual pleasures. People must acquire "ti de - virtues", and for this they must "be simple and modest, reduce personal / desires / and free themselves from passions."

Taoism proclaimed the highest principle of people's behavior "uzy" / non-action /; £, # /, passivity, and the highest blessing is the suppression of all, ■ passions and desires. The Daodezig Ying/Book of the Way and Virtue states that "no desire brings peace", that "one must practice non-action, keep calm and taste insipid things". "the natural course of things." Taoism teaches complete submission and suppression of pain to action. " " "

Thus, Taoism and the ethics of Schopenhauer found themselves on the common path of glorifying self-negation of the will in man, complete indifference to life and recognition of his moral dignity, the highest good. The two philosophers also united in understanding the principle of solution, the problem of freedom and necessity. Doi Schopenhauer free will. - this is only the lot of intelligible wira, in the sensually concrete world everything obeys the law of universal natural causality. the need for human behavior. Depending on the attribute of nature's causality, all human strivings are assumed to be subject to this necessity. In case of deviation from this law, suffering is inevitably born. Lao Tzu's statement that "all people want one thing: to be freed from death, they do not know how to free themselves from life" left an imprint on the understanding

according to Schopenhauer of freedom: "The fundamental error of all times is kr" to write the necessity of being, and freedom - to action. On the contrary, only in being is freedom inherent.

In the very philosophy of Schopenhauer and Turgenev, ethics, based, as you know, on the principle of compassion and non-action, had an essential meaning. In Schopenhauer, compassion as the basis of morality is determined by the fact that all individuals, separated by time and space, are united by being one in them! essence: "the difference between the one who causes suffering and the one who must endure it is only a phenomenon and does not concern the thing in itself, which is the will living in both, which /.../ does not recognize itself by seeking in". one of its manifestations of enhanced well-being, produces great suffering in another, and thus, in the heat of passion, sinks its teeth into its own body. "^ For Turgenev, the question of compassion is connected with the tragedy of love, with the idea of ​​duty. According to Turgenev, the moral goal of a person should the fulfillment of his social duty, which involves self-sacrifice for the sake of a lofty moral principle. The fulfillment of this moral duty seems to the writer to be hard work, almost always severe, causing physical and mental suffering to a person. The idea of ​​duty was understood by Turgenev as the need for sacrifice, as following a certain law, which is always the law of renunciation. In the story "Faust" the motive of compassion appears as longing and sorrow for the past life, as sympathy and pity for people and for oneself. The story is imbued with pessimism and sadness, characteristic of Turgenev.

The tragedy of love and the morality of compassion in Turgenev are always predicted

4. Schopenhauer A. T. 1. p. 392.

are connected, inevitably included in the goal of causes and effects. From the point of view of a man wise by the experience of his life, Turgenev understood that love, understood as a means of merging a person with the absolute, suffers from artificiality and becomes in practice a fruit of the imagination, and not a heart desire. In the story "Faust" the hero's love for Vera is portrayed tragically. The hero introduces Faith to romantic world arts, awakens her dead soul from the ossified system of education of Mrs. Yeitsova, enlightens her dream of life, of happiness. However, in the process of this enlightenment, the dream of personality happiness in the soul of the hero comes into conflict with the morality of duty, which two people perceive as a ban, as a necessity for the norm of human behavior. Contrary to this prohibition, the thirst for happiness is tantamount to a crime, a sin.

The tragedy of the perception of life brings Turgenev closer to the pessimism of Schopenhauer. The German philosopher attracted the Russian writer with his specific observations on human life and human society, their thoughts on the natural world. In his approach to the concept of happiness, Schopenhauer holds a negative and passive opinion. The concept of happiness is generally alien to him, he is more inclined to renounce personal natural desire: "Everyone thinks that it would be much more correct to see the goal of our life in labor, deprivation, need, and sorrows crowned with death ...". Turgenev is inclined to consider happiness and duty as mutually exclusive greatness. Happiness, from the point of view of Turgenev, separates people, while the moral goal of a person is to seek sacrificial merging with others. In the story "Faust" Turgenev, depicting the inconsistency of happiness and duty, calls for the strict fulfillment of the moral law, which in this case is carried out in the struggle

with human nature. Turgenev's acceptance of the idea of ​​renunciation is confirmed by the ideological and artistic content of the work, which is expressed in its epilogue / "life is not a joke or fun, life is not even pleasure ... life is hard work. Renunciation, constant renunciation - this is its secret meaning, its solution" ./

The philosophical meaning of Turgenev's call for renunciation in the story "Zaust" is to humble the element of passion in oneself, otherwise one cannot "reach without falling to the end of one's career." Yatseyu duty Turgenev explained as the need for humility and sacrifice, and the natural desire for the happiness of love - as a manifestation of the selfish element. Turgenev's concept of duty to some extent reflects Schopenhauer's doctrine of the self-negation of the will to live, according to which the highest bliss is the complete ascetic repayment of the will in oneself, contemplative inaction, passive indifference to life. But Turgenev develops the same philosophy of Schopenhauer's self-negation, sees the ideal of life in a harmonious fusion between personal happiness and public duty in humility and subordination of the will of man to the forces of nature.

In the third chapter - "The structure of the story" Faust "- the structure of the story "Faust" is analyzed in the context of the epistolary as a literary genre. In considering the main features of epistolary prose, its artistic function and the history of development in Russian literature of the 18th - 19th centuries, as well as in the literature of the era Enlightenment, we are trying to note the typological connection between Goethe's novel in the letters "The Suffering of Young Werther" and Turgenev's story "Faust", its role in the structure of the work. Analysis of the composition of the work is correlated with the study of methods of depicting portraits, characters, psychology and landscape.

Turgenev's "Faust" is an artistic prose in the form of an epis-

Tolyaria / story in 9 letters /. In this story, in the words of V.M. Markovich, "Turgenev, as in" Correspondence ", uses the epistolary form, not this time the polyphony inherent in it is reduced to nothing: the reader gets acquainted only with the letters of one person. But the range of this single confession expanded in comparison with "Correspondence" and includes elements of a short story: there are portraits, and a description of everyday life, and dramatic scenes, and a landscape, recreated with an abundance of details rare for an epistolary narrative. ^ Letters from the main character of Faust to a friend convey memories the hero about his intimate life during his stay in his native estate after returning from abroad, about a love story with the heroine Vera Nikolaevna, which began in his youth, then interrupted and resumed again nine years later. The leading line of the development of the event is the theme of Faust, which is revealed in the course of the enlightening awakening of the sleeping soul of Vera from the ossified system of Mrs. Eltsova. In the course of the narrative, a number of motifs are outlined, originating in realistic images, but acquiring personified and symbolic meaning. The functioning of such images as “mirror”, “houses”, “garden”, “portrait of Eltsova”, “thunderstorm”, built on such motifs as “aging”, “youth”, “life”, “isolation”, “anxiety” ", forms a contrapuntal structure in the description of heroes and characters, in deepening the ideological meaning of the work. For example: "I went up to him / the mirror / ... I saw how old I was and changed into Lately". The feeling of aging is enhanced by the description of the house and the image of portraits of domestic servants: "the house ... has long been dilapidated. .. holds on a little ... grimaced, rooted into the ground, "Vasilievna, the housekeeper," completely dried up and hunched over, "old man Terenty" twists his legs, put into the same ... knickers and shod in the same

sachet shoes. "How now these pantalos hang on his thin legs!" But this sad and bleak atmosphere is counterpointed by the melody of eternal young nature, the tonality of lordship. This is primarily emphasized by the symbolic image of a blooming garden contrasting with the "old nest": "but the garden has surprisingly prettier ... the bushes have grown ... everything ... stretched out and spread out" and the description of trees, birds, painted with the author's emotion: "gorlinkas they cooed incessantly, occasionally the oriole whistled, ^., the cuckoo echoed in the distance; suddenly, like a madman, a woodpecker screamed piercingly.

In revealing the mental states of the characters, Turgenev more often resorts to the method of depiction. One of the most symbolic images that appears in the story is a thunderstorm. For example, before reading Goethe's Faust, Turgenev depicts two parallel pictures of a moonlit evening. The mood of joyfulness of the hero is expressed by the image of the wonderful weather: Right above the clearing, a large pink cloud stood lightly and low, ... at the very edge of it, now showing up, now disappearing, an asterisk trembled, and a little further away one could see the white crescent of the month on a slightly reddened azure. "With this in a contrasting way, a symbolic image of a thunderstorm breaks in, accompanied by a motive of anxiety with the designation of Vera’s state of mind: “Closing the setting sun, a huge dark blue cloud rose, with its appearance it looked like a fire-breathing mountain, its top was spread in a wide sheaf in the sky, its ominous crimson in one place, in the very middle, pierced through its heavy bulk, as if escaping from a red-hot vent ... ". After reading, Turgenev again. returns to the description

5. Markovich B. V. "Tales of Turgenev 1854 - 1860. - Turgenev" I. O. Collected works in 12, T. 6. I., 1978.

thunderstorm, symbolizing the beginning of an outbreak of elemental irrational forces in the life of Vera. For example, "The storm approached and broke out ... the sound of the wind, the knocking and clapping of rain ... through the noise of the leaves, suddenly shaken by a gust of wind that had flown in and made Vera shudder, and "weakly, far flashed lightning, mysteriously reflected on Vera's face", after then - to a thunderstorm with its culmination - a picture of the church, which in the light of lightning, "suddenly appeared black on a white background, then white on black, then again absorbed into darkness. " This feverish, delusional flickering of colors makes it a symbol not only of the spiritual storms, but also terrible in nature, revealing the mysterious, associated with the elements of the abyss of human consciousness.

An important role in the structure of the development of the action is played by the symbolic portrait of Mrs. Yeltsova, which is constantly introduced into the course of the action, is one of the actual centers of the conflict of the event - the clash between the old closed system of Yeltsova and the enlightening emancipation of the hero. For example, the next morning after reading Goethe's Faust, the hero, in front of Eltsova's portrait, with a secret feeling of mocking triumph, thought about his triumph: soul, who can blame me? Eltsova's old woman is nailed to the wall and must be silent," to elsewhere: "She wanted to insure her daughter ... We'll see." The symbolic image of Mrs. Yeltsova here acquires a special coloration, shimmering from a fantastic sacrament into a real action, and activates its essential function in the development of the next action: “Suddenly it seemed to me ... at the viewer ... but this time it really seemed to me that the old woman was reproachfully

turned them on me". And, finally, in creating the denouement of the action, the portrait of Ms. Yeyatsova again enters the scene of a fatal meeting between the hero and Vera in a Chinese dowel, which essentially performs an artistic function in the plot of the story: "Faith suddenly escaped from my hands and , with an expression of horror in widened eyes, staggered back ...

Look around,” she said to me in a trembling voice, “do you see anything?

I quickly turned around.

Nothing. A. Do you see anything?

I don't see it now, but I did.

She breathed deeply and infrequently.

Whom? What?

My mother,” she said slowly and trembled all over.

The fourth chapter "Style" Faust "is devoted to the study of style and

Faust language. The originality of Turgenev's prose is seen in the organic combination of narrative and lyricism, prose and poetry. Turning to the new creative style of Turgenev the prose writer, we emphasize the continuity of Pushkin's tradition and the borrowing of Tyutchev's motif in the story "Faust". Particular attention is paid to language visual means artwork, features of speech expression, dialogues, ways of artistic representation - tropes and syntactic figures.

Considering the poetry of the story "Faust", we trace in it the motives of Pushkin and Tyutchev, as well as those features that bring prose closer to verse. * We affirm that Turgenev's successive connection with Pushkin is strongly felt in harmony and measure, in the aesthetic angle of view of the depicted, in lyricism, which allows a glance

to push through the historical contours of events to some eternal sides, and most importantly - "cherishing the soul of humanity" / Belinsky /. In the story, Turgenev's lyricism shines with the most diverse shades of the writer's feelings and, accordingly, forms of expression. Turgenev's lyricism is predominantly melancholy. In some cases, the writer surrounds his favorite heroes with a lyrical atmosphere, in others, lyricism arises in scenes of memories of youth, past and lost happiness. Lyricism acquires a different tone as an expression of a sense of history. In detailed descriptions of the ancient environment, family portraits, estate buildings, gardens and parks, Turgenev recreated with amazing accuracy the flavor of the noble estate of the end of the 18th century. For example, "I, just like you, really love the old pot-bellied chest of drawers with copper plaques, white armchairs with oval backs and crooked legs, glass chandeliers infested with flies, with a large purple foil egg in the middle - in a word, all grandfather's furniture. ... and on the wall I ordered to hang, remember, that female portrait in a black frame, which you called the portrait of Manon Lescaut. It has darkened a little in these nine years, but the eyes look just as thoughtful, slyly and tenderly, the lips just as frivolously and sadly they laugh, and a half-plucked rose falls just as quietly from thin fingers.The curtains in my room amuse me very much. this hermit, with a huge beard, bulging eyes and sandals, drags some disheveled young lady into the mountains, on the other - a fierce fight takes place between four knights in berets and with puffs on their shoulders, one lies, egg gassomgs !, killed In a word, all the horrors are presented, and all around there is such imperturbable calmness, and from the very curtains such mild reflections fall on the ceiling .., ".

Turgenev's lyricism as a subjective expression of beauty and morality interacts with the writer's contemplation. It is possible to single out the form of contemplation, which appears in Faust as the leading means both in describing the movement of the image, and in revealing the event and in constructing the plot.

Tyutchev's motifs, embodied in Faust, are reflected in Turgenev's conception of the tragedy of the Lvbvi. Lying in Tyutchev's lyrics is a deep, spontaneous feeling that absorbs all human soul, this is also a fatal passion that can give a person the highest rapture and can lead him "to death. This idea, born in some kind of internal connection with Schelling's philosophy, about explosions and hidden rebellions as the basis of the universe, involuntarily turned out to be consonant with Turgenev, who compared passion to the spontaneity of her birth with a thunderstorm and whirlwinds, with the whirling of chaos in nature. In Faust, this is revealed on the parallelism between the "foreboding of a thunderstorm" in nature and the thunderstorm of love growing in the heart of the heroine: blowing wind. Vera Nikolaevna shuddered and turned her face to the open window... the lightning flashing faintly and far away was mysteriously reflected on her motionless face. "And "what was between us flashed instantly, like lightning, and like lightning brought death and destruction."

The variety of expression of poetic motifs in Zrgenev's prose, presented in our work, is carried out in the language and is determined by various verbal and expressive means.

The language of Turgenev's story is unusually rich and varied in composition, flexible in terms of word usage. Like Pushkin's language, the Aurgenev style is simple and clear, but at the same time it is distinguished by exceptional plasticity. We trace different forms of speech: 1/

narration, 2/ direct speech, 3/ inner speech, 4/ improperly direct speech, and their functioning in the texts of Faust. At the same time, we pay attention to the analysis of the means of artistic representation in the style of "Faust" - trope-d and syntactic figures - which occupy an important place in Turgenev's artistic speech. Among the tropes and figures, we emphasize the meaning of the epithet. Turgenev's epithet has an emotional and expressive power, especially in the creation of portraits. In contrast to the painter, who owns only paint, and the composer, who lives in the world of sounds, Turgenev, as an artist of the word, recreates in portraits and colors, and sounds, and smell, and touch, and intimately and nakedly expressed thoughts. In the depiction of portraits, the emotional effect is achieved mainly by double and triple epithets that adorn the features of the "face", "eyes", "lips", etc. e. In the description of nature, metaphorical epithets are more often used, which have received a symbolic coloring, which creates a picturesque picture.

Another method of emotional expressiveness presented in our analysis is comparison. In "Faust" it is distinguished by a variety of semantic content and sound, is associated with various objects, various natural phenomena. Most of Turgenev's comparisons either relate to the depiction of portraits, or to the expression of feelings, to the opening of the spiritual experiences of the characters, or to the description of nature. In our opinion, this corresponds to the way the writer's thought went in the poetic process, from word to image, and expresses the ideological and emotional orientation of the work.

In the analysis of expressive means, in addition to epithets and comparisons, we also pay attention to the function of such speech techniques as metaphor, repetition, rhetorical question, inversion and literary

reminiscence, abundantly represented in the texts of Faust.

Summarizing our observations and the results of the analysis of the story "Faust", we come to the conclusion that Turgenev, creating his creative manner and his own style, sought to realize and justify the deep moral and philosophical reasoning in his work, that those principles of understanding and depicting life, the techniques of poetry , the stylistic coloring that the writer applied when depicting the ideological and moral quest and the love relationships of his heroes associated with them, on the one hand, revealed and strengthened the emotional significance of their ideological statement, on the other hand, these principles and techniques revealed all the contemplation and passivity of the hero and thereby expressing the ideological denial of this nature.

In conclusion, the results of the study are summed up, the features of Turgenev's aesthetics are summarized. In the light of the writer's aesthetic ideal, we look at its three aspects: educational, social and anthropological, which affect the writer's creative consciousness and method and are manifested in the artistic conception of Faust. We come to the conclusion that Turgenev correlated his ideal with the artistic depiction of his heroes through figurative consciousness and logical reasoning, found the impulse of action and anti-action in the contact of natural nature with elemental natural force, a feeling of eternal love.

MOSCOW ORDER OF LENIN., ORDER OF THE OCTOBER REVOLUTION AND

ORDER OF LABOR RED BANNER STATE.

UNIVERSITY them. M.V.LOMONOSOV ■

Chmn Dayanaung

PROBLEM. AND THE POETICS OF J.S. TURGENEV'S STORY "FAUST"

UDK 821.161.1(091) TURGENEV I.S. L.M. PETROVA

Candidate of Philology, Professor, Department of the History of Russian Literature of the 11th-19th Centuries, Oryol State University E-mail: [email protected]

UDC 821.161.1(091) TURGENEV I.S.

Сandidate of Philology, Professor, Department of history of Russian literature XI-XIX centuries, Orel State University

Email: [email protected]

AXIOLOGICAL DOMINANTS IN I.S TURGENEV'S NOVELS "FAUST" AXIOLOGICAL DOMINANTS IN I.S. TURGENEV^S NOVEL "FAUST"

The article is devoted to the analysis of the story by I.S. Turgenev "Faust" as a translator of values, it clarifies the concepts of "value", "axiological dominant", acting as an indicator of the meaning of the work, the author's value coordinates. Revealing the axiological dominants of the work, the author of the article comes to the conclusion that such semantic concepts as "art", "nature", "life", "love", "truth", "death" are the main values ​​of Turgenev.

Key words: axiological value, art, nature, life, love, kindness, death, secret forces, emotional drama, moral duty.

This article analyzes the text of I.S. Turgenev "s novel "Faust" as a transmitter of values, it clarifies the concept of "value", "axiological dominant" speakers indicator of the meaning of the work, values ​​of the coordinates of the author. Identifying axiological dominants of the work, the author comes to the conclusion that such semantic notions as "art", "nature", "life", "love", "truth", "death", are Turgenev's main values.

Keywords: axiological value, art, nature, life, love, death, secret power, emotional drama, moral duty.

"Anthropological Crisis" turn XX-XXI centuries has also affected the sphere of values, which were under the threat of total annihilation. The philosophy of pragmatism, which asserts that the modern world does not need spiritual dimensions, dominates the consciousness of man. The classical canon of Truth, Goodness and Beauty is rejected. In modern works, the theme of lack of spirituality prevailed - commercialism, bitterness, violence and intolerance. In this regard, the axiological aspect of the study is becoming more and more relevant in linguo-literary, cultural, pedagogical works. The significance of the value approach is determined by the role that values ​​have played and are playing in the historical destinies of peoples, in the history of culture and in the life of a person himself, because the human world is always a world of values. Value - positive or negative - is the significance of the phenomena of the surrounding world for a person, determined by their involvement in the sphere of his life, interests, expressed in moral principles, norms, ideals, attitudes. There are material, socio-political, spiritual values, aesthetic ... Artistic value "is in all cases an integral quality of a work of art" (M. Kagan), in which its aesthetic value, moral, social and religious, are fused, often contradictory. At the same time, it is spiritual values ​​that act as the main components of the content of artistic production.

writer's writings. Moreover, the wider the range of life phenomena comprehended by the artist, the wider the axiological spectrum of their figurative recreation in the writer's works.

V.A. Svitelsky, one of the first in modern literary criticism who turned to the axiological aspect of the study of a literary text, states: "The inner world of a work is inevitably oriented towards one or another system of values, is built on a certain scale of author's assessments" .

MM. Bakhtin, pointing to the formal-aesthetic unity of the work, emphasized that this unity is formed due to the fact that the "value context" of the author - cognitive-ethical and aesthetic-relevant - as if embraces, includes the "value context" of the hero - ethical and vital - up-to-date". We emphasize that the possibilities of the axiological approach allow us to take into account another dimension - the reader's value orientations: after all, in different eras, readers look for “actual contexts” in literature, and sometimes the deep meaning of a work is more revealed to subsequent generations. Moreover, on an axiological basis, prospects for historical and functional research are opening up.

I.A. Esaulov, in essence, clarifies the “third dimension” associated with a certain (Orthodox) axiological approach of the researcher, who “explicates his own point of view” when analyzing

© L.M. Petrova © L.M. Petrova

Lisa of artistic text. Thus, the axiological aspect of the study of literary phenomena seems to be a universal methodology that considers both the content and forms of the work, both the author's individuality and the direction of the reader's perception.

Axiology, as a science about the nature of values, about the connection of various values ​​with each other, began to develop intensively only from the middle of the 19th century, when the problem of the depreciation of traditions and the loss of spiritual stability in society was especially acutely realized. A great contribution to the development of axiological science was made primarily by foreign philosophers (I. Kant, G. Lotze, M. Scheler, F. Fromm, N. Hartman, R. Perry, J. Dewey, and others).

in Russia until the middle of the 20th century. axiology was interpreted as an idealistic direction of Western European philosophy, axiology began to be actively developed at the end of the 20th century. Domestic science turned to the study of value problems, although already in the works of V. Belinsky, V. Solovyov, P. Florensky, N. Lossky, N. Berdyaev, S. Frank, B. Vysheslavtsev, M. Bakhtin, axiological ideas were expressed, no one seen at the time. Today, artistic axiology appears in the works of V.A. Svitelsky, I.A. Esaulova, V.E. Khalizeva, V.B. Petrova, T.S. Vlaskina, T.A. Kasatkina, E.V. Kuznetsova and others. Axiology in literary criticism is primarily understood as a theory of spiritual values.

Today, when “the spirit is corrupted...// And the person is desperately yearning...” (Tyutchev), the need for positive values ​​is especially great, and the thoughtful reader turns to the classics, which have always had a huge impact on the moral and spiritual life of society and man , and for the researcher has always been a subject of special enduring interest.

Our interest is aimed at identifying the axiological dominants in Turgenev's story "Faust", in which the Russian writer raises problems similar to those that Goethe speaks about in the tragedy "Faust". In the context of our article, dominants are the main semantic parts, moments of the text, they act as an indicator of the meaning of the work, the value coordinates of the author. It should be noted that the text of a work of art does not contain clear, directly expressed formulations of values, but contains “an expression of the speaker’s convictions or beliefs on the basis of his value motivational attitude. in discursive space...

The artistic and semantic architectonics of the story "Faust" (1856), its "axiological atmosphere" is connected with the history of the heroine's internal drama, which determined the nature of the conflict in the work, with the image of the main character-narrator. The story is based on the love drama of a married woman to Pavel Alexandrovich B., the narrator, revealing the tragedy of a fatal, “illegal” passion that transgresses moral barriers. The story tells about the "secret forces of life":

Turgenev develops the romantic concept of passion associated with the "apotheosis of personality".

The writer first of all draws the reader's attention to the appearance of his heroine Vera Nikolaevna, in which a special "naturalness" was guessed: she was short, well-built, had delicate features, but "did not look like ordinary Russian young ladies: some kind of special imprint. In the portrait created by the writer, the hidden inconsistency of Vera Nikolaevna Yeltsova was guessed. The dominant feature of the psychological behavior of the heroine, the perception of the surrounding world was “the amazing calmness of all her movements and speeches. She didn't seem to worry about anything, didn't worry. she was rarely cheerful and not like others, "even" her expression was sincere and truthful, like that of a child, but somewhat cold and monotonous, but behind the apparent serenity lurked the possibility of an explosion of passions. This inconsistency, the incompatibility of mutually exclusive properties in the appearance of Vera Nikolaevna was introduced by "full lips, gray with black eyes, which looked too directly." It is not for nothing that the narrator-hero in the restrained, imperturbably calm Vera Nikolaevna noticed "somewhere far away, in the very depths of her bright eyes, something strange, some kind of bliss and tenderness." The natural nature of Vera Nikolaevna was restrained by her upbringing and the nature of her life. Vera Nikolaevna's mother, in an effort to paralyze her daughter's hereditary passion, strictly thought out the system of her upbringing, aimed at repaying the emotionally reverent perception of life, and "because her daughter did not read a single story, not a single poem until the age of seventeen," and she was chosen as her husband a kind man, but serenely calm and narrow-minded. Yeltsova Sr. not only educated her daughter’s mind, she also deepened her moral sense, which is why the “constant striving for truth, for the high” was combined in Vera with “an understanding of everything ... vicious, even ridiculous.” The narrator’s remark that after twelve years she had not changed at all is significant: “the same calmness, the same clarity, the same voice, not a single wrinkle on her forehead, as if she had lain somewhere in the snow all these years ...” .

The meaning of such “immutability” was well commented by D. Pisarev in the article “Female types in the novels and stories of Pisemsky, Turgenev and Goncharov”: “To sleep for more than ten years, best years life, and then wake up, find so much freshness and energy in yourself .... this, your will, testifies to the presence of such forces that, with any natural development, could deliver an enormous amount of pleasure both to Vera Nikolaevna herself and and people close to her.

In the exposure of "such forces" of the heroine's nature, a special role is played by a case leading to a sharp shift in fate - a meeting with Goethe's "Faust", and this is exactly what her mother was "like fire afraid" of, for the meeting with the work belles-lettres"," can act on the imagination

nie”, to awaken “those secret forces on which life is built”. Eltsova Sr. was convinced: "you must choose in advance either useful or pleasant." It is impossible to combine both: "leads to death or vulgarity." Fearing life, its secret forces, she tried to isolate her daughter from the unrest of her heart. But Turgenev is convinced: to build life only on reasonable, rational principles, fencing off strong feelings and emotions, means going against the very nature of man. The narrator, expressing the writer's value beliefs, does not accept Vera's denial of Nikolaevna's poetry, her "incomprehensible indifference to the loftiest pleasures." It is no coincidence that it is from the reading of Faust that the “awakening” of Turgenev’s heroine takes place. Only an outstanding work of art, a touch of great poetry could affect the spiritually rich personality of Vera, dozing in her spiritually serene "life" dream.

The heroine discovered the forbidden, unknown, but enticing world of the inner passionate life of the heart. It is under the influence of the image of Gretchen that the heroine of Turgenev experiences a strong emotional impact from reading: she felt a commonality of experiences with the heroine of the German tragedy, from which Turgenev's heroine differs in her ability to analyze, subtly understand the beautiful - there is an emotional awakening of Vera, vivid feelings, previously restrained by the strict requirements of reason, strict upbringing, overwhelmed the heroine. Yeltsova, the youngest, fell in love with all her strength passionate nature: not looking back at the past, not regretting what remains behind, and not being afraid of either a husband, or a dead mother, or reproaches of conscience.

From the moment of reading "Faust" by Pavel Aleksandrovich, the climax comes not only in the development of the events of the story, there comes the main moment associated with understanding the inner drama of the heroine, revealing the author's value coordinates, his faith in the world-changing power of beauty, in the creative creative power of art. Using the art of fiction as an emotional and evaluative factor, Turgenev reveals the high spiritual and aesthetic potential of the heroine's personality, her deep whole nature, awakened to an emotionally agitated life. Psychologically expressive indications of the reaction of the perception of the Goethe tragedy: “her hand was cold”, “face. seemed pale", Vera "separated herself from the back of the chair, folded her arms and remained motionless in this position until the end" of the reading, then "came with hesitant steps to the door, stood on the threshold and quietly left" . Faith's true aesthetically delicate taste influences the hero-narrator, who admitted that "only by her grace did he recently discover what an abyss of conditional, rhetorical in many beautiful, well-known poetic works." Faith is captured by the very element of art, which excites unconscious sensations, the tragedy of love excites: “There are things in this book of yours that I can’t get rid of

I can’t… they burn my head like that”; captures the unconscious sweetness of experiences: “Natasha ran into the arbor. Vera Nikolaevna straightened up, stood up and, to my surprise, hugged her daughter with some impetuous tenderness ... This is not in her habits. Vera Eltsova, who did not know love, experienced a thirst for love under the influence of the great book, but Goethe's thought about a person's right to happiness collided with her ascetic morality, with her moral duty. Surrendering to the depth of her inner experiences, Vera Nikolaevna experiences a drama of high tragic intensity. Surging love is felt as a sweet and at the same time terrible feeling, irresistible, spontaneous: “Some invisible force threw me to her, her to me. In the fading light of day, her face ... instantly lit up with a smile of self-forgetfulness and bliss ... ". The author, using such linguistic elements as epithets, emotional stylistic elements: “An amazing creation! Instant insight next to the inexperience of a child, clear, common sense and an innate sense of beauty, a constant striving for truth, for the high ... above all this, like the white wings of an angel, a quiet female charm. - fills them with the personal meaning of the narrator ("great soul"). They express his emotional state, the value attitude of which is an axiological dominant. Vera Nikolaevna’s childishness is emphasized several times in the text: “her voice rang like that of a seven-year-old girl,” “a seventeen-year-old girl came out to meet me,” “she put on a child’s hat.” Many times in the story, in connection with Vera Eltsova, such semantic concepts are used that carry a clear evaluation: “she had gentle features”, “the clarity of an innocent soul ... shone in her whole being”, “the same clarity”, “smart, simple, bright being”, “pale almost to transparency. and yet clear as the sky!”., “she quietly glows all over”, “the face takes on such a noble and kind, just kind expression”. Vera likes to wear white clothes.

The heroine, whom the author clearly sympathizes with, appears in the story as a whole, direct, deep, spiritual nature. Surrendering to feeling, she, loving clarity in everything, is ready to go to the end, overcome any obstacles. But it is love, emotional awakening that deprives the heroine of calmness, balance and clarity: “she approached the door with indecisive steps”, “began to think about what had never happened to her before”, “her face expressed fatigue”, “Faith sometimes looked around with such an expression as as if asking herself: is she in a dream?”, “Vera suddenly escaped from my hands and, with an expression of horror in her wide eyes, staggered back.”

At the time of the meeting, Eltsova's daughter sees the ghost of her mother, which she perceives as a sign of death. In the heroine, burning love-passion causes fear, Turgenev explains this fear with the “secret forces of life” in which Vera Nikolaevna believes (“Strange! she herself is so pure and bright, but she is afraid of everything dark, underground

th...”), they exacerbate her mystical mood. So love - this is a pure, high movement of her soul - is accompanied by fear of an unknown dark force that acts spontaneously, conflicting with the moral consciousness of the heroine. After the climax in the development of intimate-personal feeling, catastrophe is rapidly approaching. The tragic ending (the death of Vera) is inevitable: it is in the insolubility of the internal conflict, in the drama of a pure, truthful soul, seized by irresistible passion and fear of retribution.

The fate of Vera demonstrated Turgenev's conviction in the inexplicable connection of a person's fate with the "secret forces of life", with his ancestors, therefore, the story of a mystical grandfather, prone to ascetic self-denial, was introduced, the story of a grandmother, distinguished by unbridled passions. The writer is convinced that life is built on “secret forces”, which, like the elements, “occasionally but suddenly break through”, and a person is defenseless before these forces, just as he is powerless before the power of love and death. It is no coincidence that passion, in terms of the nature of development, is compared with the elements of nature: “the wind intensified”, “rain fell instantly”, “a thunderstorm approached and broke out. with every flash of lightning, the church suddenly appeared black on a white background, then white on black, then. engulfed in darkness." The image of the church, its description bears a very definite evaluative paradigm of Turgenev, who, through the pure, bright soul of his heroine, sees some terrible, dark truth about the soul of a person who is called to quench his passionate thirst for happiness and bow his head before the Unknown.

Believing in the reality of the supersensible world, the "poor" Turgenev was deeply convinced: "he who has faith has everything."

The heroine of Turgenev dies, so to speak, due to the complexity of her personality, which combines a deep awareness of the correctness of the moral feeling and the desire for happiness, the boiling of passions inherited from the ancestors, and love as an irresistible force.

The death of Vera leads Pavel Alexandrovich, who loves her, to understand the moral responsibility of a person for his actions: “fulfillment of duty, that’s what a person should take care of,” and this thought is regarded by Turgenev as one of the valuable truths of life. At the same time, Turgenev does not deprive a person of the possibility of free choice, "believes in his potential ability to withstand hostile circumstances." Faith could not resist passion, could not cope with the choice. The tragedy of the heroine is associated with the leitmotif of the inevitability and incomprehensibility of death: Vera feels captured by forces unknown to her, inevitably dragging her into the abyss of passions.

Life appears in two evaluative perspectives: a bright, quivering burning of the heart through art and love, revealing the spiritual potential of a person associated with youth, when you want happiness, love, and

pure, bright feelings overwhelm your heart: it is no accident that the narrator Pavel Aleksandrovich recalls: “my youth came and stood before me like a ghost; like fire, poison, she ran through the veins, the heart expanded and did not want to shrink, something jerked along its strings, and desires began to boil .. ". But another perspective of life appears as the action of secret, dark forces, manifested in the invincibility of passions, hence the attitude is humility, the conviction that “life is not a joke and not fun, life is far from enjoyment. life is hard work. Renunciation, permanent renunciation - this is its secret meaning. . It is precisely the tragedy of Vera, her death, that confirms the protagonist of the story on the positions of the morality of renunciation, "the iron chains of duty."

Pavel Alexandrovich is also depicted at the turn of his life, experiencing, from the moment of meeting with Vera, a period of young inspiration and a thirst for love, believing that there is “something else in the world” that is “almost the most important”.

The image of the narrator is very close to the author. It helps to reveal the axiological meaning of such concepts as "remembrance", "nature", "noble nest", "life", "meaning of life". It is noteworthy that at the beginning of the story, depicting the state of mind of P.B., who returned to the family estate after a long absence and fell in love married woman, Turgenev proceeded from personal experience. He reproduces his dear, sweet memories, recreates the image of an old “noble nest”, describes his beloved Spasskoe, its surroundings, nature, garden, family library, speaks of an unforgettable impression from reading Faust, of a time of young desires and hopes. Turgenev’s hero-narrator is in love with life, loves, subtly feels the nature he inspires: “... the garden has surprisingly prettier: modest lilac bushes, acacias have grown. linden alleys are especially good. I love the delicate gray-green color and the delicate smell of the air under their arches. All around the grass bloomed so merrily; a golden light lay on everything, strong and soft... The doves cooed incessantly. The thrushes became angry and crackled. like crazy, the woodpecker screamed piercingly. Thanks to this hero, the reader is immersed in "a whole sea of ​​poetry, powerful, fragrant and charming" (N. Nekrasov).

But as an esthete-contemplator, faced with a choice: to defeat his natural inclinations, a tendency to pleasure, or surrender to the “egoism of love” - P.B. chose the latter, showing weakness of moral will. Only after the illness and death of Vera Nikolaevna did the consciousness of duty triumph in him, the idea of ​​moral responsibility for his actions: “Fulfillment of duty, this is what a person should take care of; without putting chains on himself, the iron chains of duty, he cannot reach the end of his career without falling.

The hero sees the meaning of life in the need for constant "renunciation", the rejection of his beloved thoughts and dreams in the name of fulfilling his human moral duty. In the understanding that the highest

the wisdom of a person is to be able to use the gift of moral freedom in order to protect himself from the secret dark forces of the Unknown, the axiological paradigm of Turgenev’s story is concluded, who saw the saving power of a person precisely in moral duty, and love, according to Turgenev, one of the secrets of life, is given as the highest revelation about the world, and it is instantaneous. Correlating with the mysterious and irrational elements in human life, it also acts as one of the beautiful manifestations of omnipotent nature, beautiful and unknown-terrible at the same time: ““The weather was wonderful. Directly above the clearing, a large one-time cloud stood lightly and high. on the very edge of it. an asterisk trembled, and a little further away a white

the sickle of the month on a slightly reddened azure. I pointed Vera Nikolaevna to this cloud.

Yes,” she said, “that's fine, but look here.

I looked back. Covering the setting sun, a huge dark blue cloud rose up; with her appearance she represented the likeness of a fire-breathing mountain. an ominous crimson surrounded it with a bright border, and in one place. pierced through its heavy bulk, as if escaping from a red-hot vent. .

Such semantic concepts in the story as "art", "nature", "meaning of life", "love", "truth", "moral duty", "kindness", reflecting the author's world, are the main values ​​of the writer.

Bibliographic list

1. Svitelsky V. A. Personality in the world of values: (Axiology of Russian psychological prose 1860-70s). Voronezh: Voronezh state. un-t, 2005. 231s.

2. Bakhtin M.M. Bakhtin M.M. Problems of Dostoevsky's Poetics. M.: Sov. Russia, 1979. 320 p.

3. Esaulov I.A. Literary axiology: the experience of substantiating the concept. In book. Gospel Text in Russian Literature of the 18th-19th Centuries. Quote, reminiscence, motive, plot, genre. Sat. scientific works. Petrozavodsk: Publishing House of Petrazavodsk University, 1994. S. 378-383.

4. Linguistics and axiology: ethnosemiometry of valuable meanings: a collective monograph. M.: Thesaurus, 2011. 352 p.

5. Turgenev I.S. Complete Works and Letters: In 30 volumes. Works. T.5. M: Nauka, 1980.

6. Pisarev D. I. Works: In 4 volumes. T.1. M: Goslitizdat, 1955-1956.

7. Kurlyandskaya G.B. I.S. Turgenev. Worldview, method, traditions. Tula: Grif and K, 2001. 229 p.

1. Switalski V. A. Personality in the world of values ​​(Axiology Russian psychological prose 1860-70-ies). Voronezh: Voronezh State University, 2005. 231 p.

2. BakhtinM. M. Bakhtin, M. M. Problems of Dostoevsky's poetics. M .: Owls.Russia, 1979. 320 p.

3. Esaulov I. A. Literary axiology: the experience of the underpinnings of the concept. In book Gospel text in Russian literature of the XVIII-XIX centuries. Quote, reminiscence, motive, plot, genre. Collection of scientific works. Petrozavodsk: Publishing house Petrozavodsk University press, 1994. Pp. 378-383.

4. Linguistics and axiology: atnasheniami value meanings: collective monograph. M.: Thesaurus, 2011. 352 p.

5. Turgenev I. S. Complete works and letters: in 30 vol. works. Vol. 5. M: Nauka, 1980.

6. Pisarev D. I. Works: in 4 t. Vol. 1. M: Politizdat, 1955-1956.

7. Kurlandskay G.B. I. S. Turgenev. Ideology, method, tradition. Tula: Grif I K, 2001. 229 p.

Elena Kalinina, 11th grade student, Gymnasium No. 41 named after Erich Kestner

Research work on the story of I.S. Turgenev "Faust"

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Spiritual world of man

(literary criticism)

"The tragic meaning of love

in the story by I.S. Turgenev "Faust"

(creative essay)

Pupils of 11 "A" class

Gymnasium No. 41 im. E.Kestner

Primorsky district

Kalinina Elena Anatolievna

Scientific adviser - teacher of Russian language and literature

Mazur Olga Ivanovna

State educational institution secondary (complete) general education Gymnasium No. 41 named after Erich Kestner

Primorsky district of St. Petersburg

Gymnasium address: 197349, St. Petersburg, st. M. Novikova, 1/3

Tel/fax: 349-98-07

Saint Petersburg

2010

Introduction. The theme of love in the works of I.S. Turgenev;

1. Tales from the 1850s on the tragic meaning of love;
2. Information about the tragedy of I.V. Goethe "Faust";
3. The essence of love in the story "Faust";
4. Conclusion. Conclusions. results;
5. Bibliography.

Introduction.

Love ... is stronger than death and the fear of death. Only by her

held only by love

and life moves on.

I.S. Turgenev

The nineteenth century in literature is called the "golden age". The literature of this period is a unique, exceptional, incomparable phenomenon. Fiction, as a rule, reflects the theme of love and idealizes a woman. Russian literature in particular, because Russian writers observe too little of the lofty and beautiful in life.

The inclination of Russian literature towards the ideal was clearly expressed in the creation of female characters.

In the overwhelming majority of cases, the image of a woman is a criterion for evaluating a hero, and love is a test situation for him.

In the system of realistic literature of the nineteenth century, it was difficult to create an ideal hero - a man: even the best of them found in themselves ineradicable vices and shortcomings, of which the main one was the inability to act actively and usefully.

From a woman of that time, this, in general, was not required. Her task is not so much to act as to experience, sympathize, to remain at the height of the ideal, not so much in action as in her spiritual world. It must grow spiritually, spiritually refine itself - this is its main task.

One of the writers who spoke in their works about the ideal of a woman is Ivan Sergeevich Turgenev. Together with his heroes, he “lived” many lives, felt many love stories, as a rule, sad: “First Love”, “Spring Waters”, “Asya”, “Rudin”, “On the Eve”, “Fathers and Sons”.

“The singer of beauty and youth”, Turgenev tenderly introduces us to his beautiful heroines: Asya, Gemma, Princess Zinaida, Elena, Natalya, Vera Eltsova and others.

With the work of Turgenev, not only in literature, but also in life, the poetic image of the companion of the Russian hero, the "Turgenev girl", personifying moral purity, determination, femininity and spiritual sublimity, entered.

The expression "Turgenev's girls" became winged. Together with the image of the "Turgenev girl" is included in the works of writers and the image of "Turgenev's love". As a rule, this is the first love, inspired and pure.

All Turgenev's heroes are tested by love - a kind of test of viability. A loving person is beautiful. Spiritually inspired. But the higher he flies on the wings of love, the closer the tragic denouement, and - the fall ...

The feeling of love is tragic because the ideal dream that inspires the soul of a person in love is not feasible within the earthly, natural circle. Turgenev discovered the ideal meaning of love. Turgenev's love is a vivid confirmation of the rich and yet unrealized abilities of a person on the path of spiritual perfection. The light of love for the writer is a guiding star on the way to the triumph of beauty and immortality. Therefore, Turgenev is so interested in first love, pure, chaste. Love that promises triumph over death in its beautiful moments.

Love is a feeling where the temporal merges with the eternal in a higher synthesis, impossible in married life and family love. This is the secret of the ennobling influence of "Turgenev's love" on the human heart, on all human life.

Such love, pure, spiritualized, influenced the life of the writer himself - love for famous singer Pauline Viardot.

For the first time Turgenev sees Pauline Viardot in the autumn of 1843 on stage opera house and falls in love with her. From that moment on, he begins to accompany her on all trips around Europe. She becomes not only the love of his life, but the Muse, which inspired Turgenev to write many works.

In the 1850s, Ivan Sergeevich Turgenev turned to the genre of short stories and novels, in which he explored human nature. It was during these years that the novels "The Diary of a Superfluous Man" (1850), "Calm" (1854), "Correspondence" (1854), "Faust" (1856), "Asya" (1858), novels "Rudin" (1856) were written , "The Noble Nest" (1858), "On the Eve" (1859).

Reflecting in them about a person, his complex dual nature, the writer also raises the range of problems arising in connection with these reflections, primarily the problem of love.

The key to unraveling the characters of many of Turgenev's heroes is his article - the essay "Hamlet and Don Quixote" (1860). In the images of Hamlet and Don Quixote, according to Ivan Sergeevich Turgenev, "two fundamental, opposite features of human nature are embodied - both ends of the axis around which it revolves" 1 .

The peculiarity of Don Quixote is the belief in the truth, which is outside the individual person”, “the lofty principle of self-sacrifice”.

In Hamlet, "selfishness, and therefore unbelief" stands out.

According to Turgenev, these contradictory qualities will unite in a person, but nevertheless, under the influence of certain conditions and circumstances, either the Hamletian or Dinquixote principle wins.

And the heroes of Turgenev often manifest themselves as Hamlets, then they are selfish and prefer reflection, self-study, or like donquixotes they are sacrificial, their life is illuminated by the thought of serving people.

A very important milestone in the history of Turgenev's ideological philosophical development in the 1840s was an article on Goethe's Faust (1845). The article is closely connected with the writer's work. A. Batyuto writes:

“Facts, thoughts, cursory observations, polemical statements and summaries recorded in the writer’s correspondence will be remembered by him for a long time and often received, as it were, a rebirth in his novels and short stories, sometimes growing on a completely different specific social and everyday basis into independent scenes, dialogue etc". 2

Consider the content of Turgenev's article about the tragedy "Faust". The article solves not only literary-critical, but ideological problems: about the driving forces of the development of society. About the interaction of personality and society, personality and nature, about idealism and realism in the world outlook.

The image of Mephistopheles, which in Goethe is the embodiment of the spirit of denial and destruction, evokes the following interesting and deep reflection: “Mephistopheles is the demon of every person in whom reflection was born; he is the embodiment of that denial that arises in a soul exclusively occupied with its own doubts and perplexities; he is a demon of lonely and distracted people ... " 1

This analysis of the tragedy "Faust" is notable for the fact that the philosophical problems of such future works of Turgenev as "A trip to Polesie", "Faust", "Hamlet of the Shchigrovsky district" are almost already outlined here. Reflective people, preoccupied with the petty contradictions of their own lives, are able to ignore the real suffering of other people.

The study of Mephistophelian negation leads him not to the thought of the immorality and selfishness of reflection, but also to the thought that “reflection is our strength, our weakness, our death and our salvation” .

In the story "Faust" Turgenev raises problems similar to those that Goethe spoke about in the tragedy "Faust".

ІІІ

The great German poet I.V. Goethe wrote his tragedy for 60 years. The tragedy "Faust" is based on an old folk legend about Dr. Faust, who entered into an alliance with the devil for the sake of knowledge and power over nature.

The main problem of "Faust" is outlined in the first chapter of the work "Prologue in Heaven". In the dispute between Mephistopheles and the Lord, two opposite points of view on man collide. Mephistopheles believes that man is a weak and miserable creature. the grains of reason that he possesses did not drown out the animal nature in him, did not make his life happy. The dispute between the Lord and Mephistopheles is then decided on the example of the fate of Faust.

Faust is a specific individual personality, and at the same time a symbol of all mankind. Depicting the difficult path of his hero, Goethe solves not only the question of the meaning of the life of an individual, but also the question of the meaning of the life of all mankind.

The image of Faust embodies Goethe's great idea of ​​man. This is a great scientist, a tireless seeker, a great humanist. Faust's life path is the search for the meaning of life, the search for happiness in the high sense of the word. This path is long and thorny, filled with labors, ordeals. The tragedy reveals the stages of this path.

At first, Faust seeks to find the meaning of life in science. He devoted his whole life to her, studied philosophy, law, medicine, theology, but did not find satisfaction. Science did not reveal to him the secrets of nature, did not allow him to comprehend the human spiritual world. Disappointment in science forced Faust to turn to the knowledge of living human life. Mephistopheles becomes Faust's assistant, with whom he concludes an agreement: Faust is ready to die and give his soul to the devil, if with his help he feels complete satisfaction at least for a moment. A kind of cooperation is established between Faust and Mephistopheles, but at the same time there is a constant internal struggle. Faust seeks satisfaction on the way to lofty goals, while Mephistopheles tries to awaken in him the base animal nature and force him to surrender to selfish pleasures. First, Mephistopheles tries to involve Faust in the drunken revels of careless young revelers, then he wants to intoxicate him with passion for a woman, and then push him into the pool of sensuality (the chapter “Walpurgis Night”) and, finally, leads him to the “great light”, to the emperor’s palace, trying tempt with all sorts of honors.

Although Faust is shown as an earthly person, capable of being exposed to passions, making mistakes and being mistaken, nevertheless, a high humane principle prevails in him. No matter how hard Mephistopheles tries, he fails to drown out the lofty aspirations of Faust.

An important stage in the internal development of Faust, in his search for meaning in life, is his love for Marguerite. Mephistopheles wanted to arouse selfish passion in Faust's soul, but in reality it turned out differently. Faust's love for Marguerite results in a great feeling. It enriches Faust's soul with joy, awakens in her a sense of responsibility for another person. Margarita is the most poetic, bright of the female images created by Goethe. It is precisely the childish immediacy of Margaret that delights Faust, a reflective man of the new time. “How unspoiled and pure,” he admires .

Love, which, as Gretchen seemed to bring her happiness, turns into the source of her involuntary crimes. Brother Valentine dies in a duel with Faust. The mother dies from sleeping pills, which Margarita gives her, without assuming danger.

Condemned by rumor, disgraced, expelled from the city, Margarita drowns her newly born child in a stream. The unfortunate woman goes to prison, she is awaiting execution. She's going crazy. Faust enters the prison in order to take Marguerite away with the help of Mephistopheles. But she drives away the spirit of evil from herself, recoils from Faust and does not try to avoid punishment, considering herself to be guilty of everything.

The love story of Faust and Margarita is "the most daring and deepest in German drama." (B. Brecht).

Faust understands that he is guilty of the death of Margarita, and this consciousness makes him feel his responsibility even more strongly. Having matured, he rises to a new stage of wandering, developing in the second part of the tragedy, in the sphere of public life. The image goes beyond the specific place and time and gets a broad generalized meaning.

At the end of the work, Faust is blind. Death approaches him. Lemurs (spirits of the dead that frighten the living) dig Faust's grave.

The angels take away the soul of Faust from Mephistopheles, and the action is transferred to heaven. In the heavenly spheres, the soul of Faust meets the soul of Marguerite.

The finale is the apotheosis of the immortal essence of Marguerite and Faust, the apotheosis of man, in which nothing can destroy humanity, love and free mind.

Having led a person through trials and temptations, through heaven, through hell, Goethe affirms the greatness of man in the face of history, nature, the universe and love ...

A peculiar result of all the work of I.S. Turgenev is a cycle of "Poems and Prose". We can say that this cycle is a poetic testament of the writer.

All the main themes and motives of the writer's work were reflected in the verses. The motifs of sacrificial love, faith in the spiritual powers of a person, as well as the fear of a person before the spiritual Eternity sound here.

In my work, I would like to bring one of the most interesting, in my opinion, prose poems, which is called "Rose".

In this poem, of course, there are motifs similar to the story "Faust".

Rose.

……I leaned over….. it was a young, slightly blossoming rose. Two hours ago I saw that same rose on her chest.

I carefully picked up the flower that had fallen into the dirt and, returning to the living room, put it on the table in front of her chair.

So she returned at last - and, with light steps, walked the whole room, sat down at the table.

Her face grew pale and alive; quickly, with cheerful embarrassment, lowered, as if diminished, eyes ran around.

She saw a rose and grabbed it. She looked at her crumpled, soiled petals, looked at me - and her eyes, suddenly stopping, shone with tears.

What are you crying about? I asked.

Yes, about this rose. Look what happened to her.

This is where I decided to be smart.

Your tears will wash away this dirt,” I said with a significant expression.

Tears do not wash, tears burn, - she answered and, turning to the fireplace, threw the flower into the dying flame.

Fire will burn her better than tears,” she exclaimed, not without daring, “and her beautiful eyes, still shining from tears, laughed boldly and happily.

I realized that she, too, had been burned.

Like a burnt rose, like a heroine who “was burned” in the fire of love, the heart of Vera Nikolaevna Eltsova from the story “Faust” also “burned out”.

“You have to deny yourself,” says I.V. Goethe. Words about love - self-denial will also be heard in the epigraph to Turgenev's Faust.

The problem of love and the problem of happiness and duty associated with it in the stories of Ivan Sergeevich Turgenev are closely connected with the writer's understanding of the nature and psychology of man and his attitude to Eternity.

Love is given to his heroes as the highest revelation about the world. They do not immediately, do not quickly guess the feeling in themselves, and then it becomes that point, that moment that fills their whole uncomplicated life. Many stories of the 1850s (“Asya”, “Faust”) are not accidentally constructed in the form of memoirs.

However, the other side of love is directly its tragic essence. She exalts the hero, fills his life with happiness, but at the same time, no one and nothing is able to “stop the moment” of love (as Goethe's Faust wanted it to be), make it eternal. The fact that love is transient in nature is its tragic side. The tragic is in the very essence of love. Therefore, the only force capable of preserving a person is duty. The hero of Faust, Pavel Alexandrovich, comes to this idea about the need for absolute self-denial.

In the story "Faust" love is an irresistible force, arising suddenly and embracing a person who, it would seem, is completely protected from her power. All the barriers that protect a person from this force are immaculate and artificial; a careless touch is enough, and they will tear. The power of art is shown in this story as a direct helper and accomplice of love: art always invariably strives to look "somewhere where not a single person has looked."

The impossibility of personal happiness in love and the naivete of striving for it is one of the motives of Faust.

Tragic motives are also most tangible in this story. In the tragic aspect, the theme of love is revealed in Faust.

Love arises inexplicably, spontaneously, a person is powerless before its power, and often it leads to death, like Vera Eltsova.

For his story, Turgenev chooses the form of a story in letters. Readers have nine letters.

There is also a fantastic element in the story in the form of a portrait of Eltsova's mother and a vision of her daughter in the garden, where she, with bated breath, goes on a date. These fantastic elements are simply explained by the spiritual tension and the drama of the awakening of love, which collides with the moral duty of a married woman, which Vera experiences.

Why is the story named I.S. Turgenev's "Faust" It's not just because it's one one of the most beloved works of the hero of the story, Pavel Alexandrovich.

Like the hero of the tragedy Goethe, Pavel Alexandrovich is disappointed in life. He is not yet forty, and he feels like an old man. He became decrepit in soul, cooled down.

This is how the reader sees the hero at the beginning of the story. After a long absence, he returns to his native estate. The house is in disrepair, and only "the garden has surprisingly prettier" 1 . Nature is opposed to the state of mind of Pavel Alexandrovich. The antithesis of the "obsolete soul of the hero" and "eternally living nature" is intended to help the reader understand that everything in the world is transient, only "blooming" nature is eternal.

How to cure the boredom that has taken possession of the hero? The way out is: "I won't be bored" 2 . There is a library. Here he finds several books, including Goethe's Faust. The hero recalls that he knew the book by heart, but did not pick it up for nine years.

The development of the action begins with the second letter, when the hero accidentally meets Vera Nikolaevna at the ball. He knew her once.

Pavel Alexandrovich recalls meetings with young Vera Nikolaevna, tells the story of her mother, who lived a passionate life, but wanted to protect her daughter from such a life, from unnecessary emotions. Vera Nikolaevna had not read a single book until she was seventeen. Her mother forbade her to read fiction, as books evoke feelings, thoughts, desires. Mother believed that in the life of Vera there can only be useful or only pleasant. She says: “I think you need to choose in advance in life: either useful or pleasant, and so decide once and for all. And I once wanted to combine both…. 3

This turns out to be impossible, and leads to death or to vulgarity.

When Pavel Alexandrovich met Vera, one circumstance struck her: she had not changed at all in appearance (the same voice, not a wrinkle on her face). The hero did not like this "immutability": "It was not for nothing that she lived!" 1 Life always leaves traces on a person. Faith remains the same. The one he knew in his youth.

The hero decides that it is necessary to "wake up" the soul of Vera Nikolaevna. After all, her soul is not developed. And this soul can be awakened by reading a book to it. The book is Goethe's Faust.

The tragedy makes a strong impression on Vera Nikolaevna, she wants to re-read the book. Speaking about her feelings after reading, Vera admits that she "did not sleep all night", "these things burn her head." What "things" affected her? Vera Nikolaevna realizes that her life was in vain, since she never had love.

Like Faust, who inspired the love of the young Gretchen, Pavel Aleksandrovich "forced" Vera Nikolaevna to love him. He himself fell in love with Vera. The boredom went away, but the feeling of happiness did not come in return.

The culmination of the story is the last ninth letter. Vera Nikolaevna fell ill, and this disease is not only a disease of the body, but also a disease of the soul. She loves a hero, but happiness is impossible. After all, love is a fire. Burn - and instant awakening.

The ending is tragic. Vera Nikolaevna is dead. And Pavel Alexandrovich settled here forever.

What is the story written for? The answer is obvious. We must all humble ourselves before the Unknown.

"I stayed - a gentle creature was shattered to smithereens," 2 - the hero writes.

The story ends with very important words: “Life is not a joke and not fun, life is not pleasure .... life is hard work ... you cannot live only for yourself at the age of 37; should live with benefit, with a purpose on earth, to fulfill one's duty, one's business " 3 .

The story teaches the reader to be ready for self-denial, raises the problem of feelings and duty.

Love is tragic, because the happiness of those who love is impossible. The thirst for happiness always collides with moral duty, which leads, as Vera did, to disaster. You have to choose, happiness alone without duty leads to selfishness. All that remains is duty and renunciation of happiness. The hero of the story comes to this conclusion.

With such a contrast between happiness and duty, a person's life inevitably takes on a tragic character, which is shown by I.S. Turgenev in "Faust" on the example of the fate of Vera and Pavel Alexandrovich.

“Vera Nikolaevna fell in love so much that she forgot her mother, her husband, and her duties; the image of a loved one and the feeling that filled her became life for her, and she rushed to this life, not looking back at the past, not pitying what was left behind, and not afraid of either her husband, or her dead mother, or reproaches; she rushed forward and strained herself in this convulsive movement; eyes, accustomed to thick darkness, could not stand the bright light; the past, from which she rushed away, overtook, crushed her to the ground, destroyed her. .

“We all,” says the finale of the story “Faust,” “should humble ourselves and bow our heads before the Unknown.” 1

But the stories of the 50s "do not make a gloomy and overwhelming impression and, without restoring against life, reconcile with it" 2 .

Love, according to Turgenev, is capable of at least for a moment uniting the spiritual and bodily principles in a person, uniting a person with humanity and the world, giving a sense of the fullness and integrity of existence.

The tragic outcome of love in the stories is objectively opposed by the period of the birth of feelings and its culmination. This is one of the values ​​of human existence: let us recall the heartfelt experiences of the almost forty-year-old hero of the story Faust.

The best decoration of Turgenev's short stories is the unique beauty of their main female characters. Calling the woman the “spiritual deity” of Turgenev, the poet K. Balmont argued that it was her image that was “the best and most faithful artistic essence” 3 writers.

What leaves the charm of Turgenev's stories are the motives of youth, art, images of nature.

Let us recall how Goethe's tragedy "Faust" affected Vera Nikolaevna. This work awakened in the heroine the dormant need for endless love and harmonious merging with the world. And this is no coincidence. After all, art is the embodiment of harmony.

As a mighty life-giving force, the landscape is present in Turgenev's stories: “... a thunderstorm approached and broke out. I listened to the sound of the wind, the pounding and clapping of the rain, I watched how, with every flash of lightning, the church, built close by over the lake, then suddenly appeared black on a white background, then white on black, then again was swallowed up by darkness ... " 4

Researchers note that the story "Faust" is an elegy, of course, not poetic, but prose. It represents the hero's recollection of the love loss he experienced.

Summing up, we can say that the story "Faust" calls for "the ability to accept life as a value in itself and in its most tragic meaning" 5

Bibliography.

1. Anixt A. Faust Goethe. M, "Enlightenment", 1979
2. Balmont K. Selected. M, 1983
3. Batyuto A.I. Turgenev - novelist // Selected works. St. Petersburg, 2004
4. Goethe I.V. Faust, M, "Fiction" 1992
5. Lebedev Yu.V. Turgenev. M, 1990 (ZhZL series)
6. Leites N.S. From Faust to the present day. M, "Enlightenment", 1987
7. Markovich V.M. Man in the novels Turgenev, L, 1975
8. Nedzvetsky V.A. I.S. Turgenev, M, 1998
9. Petrov S.M. I.S. Turgenev. M, "Fiction", 1979
10. Poltavets E.Yu. I.S. Turgenev, M, 1998
11. Pustovoit P.G. I.S. Turgenev, M, 1998
12. Turgenev I.S. Faust. PSSP. M, 1982
13. Turgenev I.S. Literary and everyday memories. M, Pravda, 1987
14. Russian literature of the 19th century. 1850 - 1870., M. 2007

Turgenev I.S. "Selected Works". M. "thin. lit-ra ", 1982

1. Batyuto A. "Turgenev - a novelist" / / Selected Works. St. Petersburg, 2004

OPTIONS

This section publishes versions of all lifetime editions of the works included in this volume, variants of typesetting manuscripts, as well as some variants of draft autographs. Of the variants of manuscripts in this section are given:

to the story "Journey to Polesie" - the first and second editions of the beginning of the continuation ("Third Day") according to a draft autograph and typesetting manuscript;

for the story "Asya" - variants of typesetting manuscript;

to the novel "The Nest of Nobles" - the most significant versions of the draft autograph.

All versions of the manuscripts are published in this edition for the first time.

Versions of draft autographs of the story "Asya" and the story "A trip to Polesie", which are not included in this volume, will be published in one of the "Turgenev collections" published by the Institute of Russian Literature of the USSR Academy of Sciences.

Descriptions of the surviving draft autographs of "Journey to Polissya", "Asia" and "Noble Nest" - with some options that help recreate the history of the texts - are given in the "Notes" section, in the comments to each of these works.

The system for submitting variants is set forth in the already published volumes of this edition (see vol. I, pp. 475-476; vol. V, p. 434; vol. VI, p. 400).

The options in different sources, but coinciding with each other, are combined and placed once, only indicating to each such option (in brackets) all sources of the text in which this option is available.

Sources of texts are given in the following abbreviations (sigils):

Manuscript sources

HP - typesetting manuscript.

CHA - draft autograph.

Printed sources

B Thu - "Library for reading".

S - "Contemporary".

1856 - Novels and stories by I. S. Turgenev. From 1844 to 1856. Part III. SPb., 1856.

1859 - Noble nest. A novel by I. S. Turgenev. M., 1859.

1860 - Works by I. S. Turgenev. Corrected and added. Edition of N. A. Osnovskiy. Volumes I, III and IV. M., 1860.

1865 - Works by I. S. Turgenev (1844-1864). Edition of the Salaev brothers. Volumes III and IV. Karlsruhe, 1865.

1868 - Works by I. S. Turgenev (1844-1868). Edition of the Salaev brothers. Part 4. M., 1868.

1869 - Works by I. S. Turgenev (1844-1868). Edition of the Salaev brothers. Part 3. M., 1869.

1874 - Works by I. S. Turgenev (1844-1868). Edition of the Salaev brothers. Parts 3 and 4. M.. 1874.

1880 - Works by I. S. Turgenev (1844-1868-1874-1880). Edition of the bookstore of the heirs of the Salaev brothers. Volumes III and VIII. M., 1880.

1883 - Complete works of I. S. Turgenev. Posthumous edition of Glazunov. Volume VII. SPb., 1883.

FAUST

Lifetime edition options

Entbehren sollst du, sollst entbehren / Entsagen sollst du, sollst entsagen! (G, 1856, 1860) Pg. 10.

to the ceiling / to the floor (1869)

some sort of burden. / some pleasant languor, some kind of drowsy burden. (S, 1856, 1860, 1865)

Oh what have I gotten myself into! / Ek, what have I done! (S, 1866, 1866, 1869, 1874) Str. 14.

knew a lot / read a lot and knew a lot (S, 1856, 1860, 1865, 1869)

listened attentively / listened attentively - and only (C, 1856)

those secret forces / those secret, dark forces (S, 1856)

friendly and even / friendly and quiet (S, 1856, 1860)

visited me / he visited me (S, 1856, 1860, 1865, 1869)

remembered the old days / remembered the old days (S, 1856, 1860, 1865, 1869, 1874)

straw hat, children's hat / straw hat, children's hat (C, 1856, 1860)

no flies / no flies (S, 1856, 1860, 1865, 1869, 1874)

Directly above the clearing / Directly above it (S, 1856, 1860)

understands German / understands German (S, 1856, 1860, 1865, 1869, 1874)

drank a glass of vodka / drank a glass of vodka (S, 1856, 1860)

you will allow / you will allow (S, 1856, 1860)

common sense / healthy sense (S, 1856, 1860)

asked from the eyes / asked for the eyes (S, 1856, 1860, 1865)

what does Vera have / what does Vera have (S, 1856, 1860, 1865)

when I wrote to you / when I wrote to you (С, 1856)

In the Fading Light of Day / In the Fading Light of Day (S, 1856, 1860)

Eyes Closed / Eyes Open (1860, 1865)

peered and, stretching out her emaciated hand / peered and, to my horror, suddenly got up and, stretching out her emaciated hand (S, 1856)

NOTES

Conditional abbreviations (*)

(* The list does not include abbreviations that match the characters on pages 297-298.)

Locations of manuscripts

IRLI - Institute of Russian Literature (Pushkin House) of the USSR Academy of Sciences (Leningrad).

TsGALI - Central State Archive of Literature and Art (Moscow)

Bibl Nat - National Library in Paris.

Printed sources

Annenkov - P. V. Annenkov. Literary memories. Goslitizdat, M., 1960.

Botkin and Turgenev - V. P. Botkin and I. S. Turgenev. Unpublished correspondence 1851-1869. Based on materials from the Pushkin House and the Tolstoy Museum. Prepared for publication by N. L. Brodsky. "Academia", M.-L., 1930.

B Thu - "Library for reading" (magazine).

Herzen - A. I. Herzen. Collected works in thirty volumes, vols. I-XXIX. Publishing House of the Academy of Sciences of the USSR, M., 1954-1964. The publication continues.

Goncharov, An extraordinary story - I. A. Goncharov. An extraordinary story. - In the book: Collection of Russian public library, vol. II, no. 1. Pgr., 1924, pp. 7-189.

Goncharov and Turgenev - I. A. Goncharov and I. S. Turgenev. Based on unpublished materials of the Pushkin House. With preface and note. B, M. Engelhardt. "Academia", Pgr., 1923.

Dobrolyubov - N. A. Dobrolyubov. Complete works under the general editorship of P. I. Lebedev-Polyansky, vols. I-VI. GIHL and Goslitizdat, M. - L., 1934-1941 (1945).

Historical Vestn - "Historical Bulletin" (magazine).

Clement, Chronicle - M. K. Clement. Chronicle of the life and work of I. S. Turgenev. Ed. N. K. Piksanova. "Academia", M. - L., 1934.

Lit Nasl -" Literary heritage", vols. 1-71. Publishing House of the Academy of Sciences of the USSR, M., 1931-1963. The publication continues.

Mosk Ved - "Moscow Vedomosti" (newspaper).

Nekrasov - H. A. Nekrasov. Complete collection of works and letters under the general editorship of V. E. Evgeniev-Maksimov, A. M. Egolin and K. I. Chukovsky, vols. I-XII. Goslitizdat, Moscow, 1948-1953.

OZ - " Domestic notes" (magazine).

PD, Description - Description of handwritten and pictorial materials of the Pushkin House, vol. IV, I. ​​S. Turgenev. Publishing House of the Academy of Sciences of the USSR, L., 1958.

Pisarev - D. I. Pisarev. Works in four volumes. Goslitizdat, Moscow, 1955-1956.

P Vesti - "Russian Messenger" (magazine).

P Sl - " Russian word" (magazine).

Saltykov-Shchedrin - N. Shchedrin (M. E. Saltykov). Complete Works, vols. I-XX. Goslitizdat, M. - L., 19341941.

Sat. PD 1923 - "Collection of the Pushkin House for 1923". Pgr., 1922.

St. Petersburg Vedas - "S. - Petersburg Vedomosti" (newspaper).

Creative path T, Sat - Turgenev's creative path. Collection of articles edited by N. L. Brodsky. Publishing house "Sower", Pg., 1923.

T and his time - Turgenev and his time. The first collection edited by N. L. Brodsky. M. - Pgr., 1923.

T and the circle of Sovre - Turgenev and the circle of Sovremennik. Unpublished materials. 1847-1861. "Academie", M. - L., 1930.

Tolstoy - L. N. Tolstoy. Complete Works, vols. 190. Goslitizdat, M. - L., 1928-1958.

T, Letters - I. S. Turgenev. Complete Works and Letters. Letters, vols. T-VI. Publishing house of the Academy of Sciences of the USSR, M. - L., 1961-1963. The publication continues.

Proceedings of GBL - Proceedings State Library USSR them. V. I. Lenin, vol. III and IV. "Academia", M., 1934 and 1939.

T sb (Piksanov) - Turgenev collection. Pg. (Turgenev circle under the direction of N. K. Piksanov), 1915.

T, Works - I. S. Turgenev. Works edited by K. Halabaev and B. Eikhenbaum, vols. I-XII. Gosizdat and GIHL, M. - L., 1928-1934.

T, SS - I. S. Turgenev. Collected works in twelve volumes, vols. I-XII. Goslitizdat, Moscow, 1953-1958.

Fet - A. Fet. My memories, part 1. M., 1890.

Chernyshevsky - N. G. Chernyshevsky. Complete Works, vols. I-XVI. Goslitizdat, M., 1939-1953.

Shchukinsky Sat - "Shchukinsky collection", vol. I-X, M., 19021912.

Dolch - Oscar Dolch. Geschichte des deutschen Studententhums von der Grundung der deutschen Universitaten bis zu den deutschen Preihetskriegen. Leipzig, 1858.

Mazon - Manuscrits parisiens d "Ivan Tourguenev. Notices et extraits par Andre Mazon. Paris, 1930.

1858, Scenes - Scenes de la vie russe, par M. I. Tourgueneff. Paris, Hachette, 1858.

seventh volume complete collection compositions of I. S. Turgenev contains works written and published in 1856-1859: the stories "Faust" (1856), "A Trip to Polesie" (1853-1857), "Asya" (1857-1858), the novel "The Noble Nest "(1856-1859). The period when they were written (with the exception of The Journey to Polissya, conceived and begun during Turgenev's Spassky exile), begins after the publication of Rudin, that is, in the spring of 1856, and ends with the publication in the January issue of Sovremennik " 1859 "The Noble Nest", when the writer had already begun work on his third novel - "On the Eve".

The story "Faust", published in the October book "Sovremennik" in 1856 and simultaneously included in the three-volume edition of "Tales and Stories" by Turgenev, published at the very beginning of November 1856, was the last work written by Turgenev during his six-year stay in Russia , in 1850-1856. The creation of "Asia" and the beginning of work on "The Nest of Nobles" date back to the time of the writer's life abroad - in France, Italy, Germany, Austria; "The Nest of Nobles" is processed and completed upon returning to Russia, in the summer and autumn of 1858, in Spassky and in St. Petersburg. Abroad, in 1857, it receives its final form and began four years before the "Trip to Polissya". These biographical circumstances have left a certain imprint on all the above-mentioned works, which are combined in one volume not only chronologically, but also according to internal features.

"Rudin" basically completed Turgenev's long and versatile work on the artistic embodiment of the socio-psychological type that occupied a significant place in Russian public life during the years of the Nikolaev reaction - the type of "superfluous people", or, as Turgenev himself called them, "Russian people cultural layer" (See the introductory article to the notes in Volume VI.). But the theme and its problems have not yet been exhausted, although the author's perception of the heroes of the Rudin type, his judgment about their historical role was already determined in Turgenev's first novel. and the modern role of the noble intelligentsia, but they arise in new aspects and are portrayed from other angles. Turgenev was prompted to develop and deepen this topic by the new state that Russian society entered after the end of the Crimean War: the consciousness of the turning point that had taken place and the impossibility of preserving the old, Nikolaev order; expectation of imminent reforms and hope for a new reign, quick disappointment and dissatisfaction with the slowness and hesitation of the government on the issue of reforms; further - from the end of 1857 - the first, timid and unclear, but already real steps towards the abolition of serfdom.

In the upcoming reforms, as Turgenev thought and as the noblemen close to him, with whom he communicated abroad and especially in Rome in the winter of 1857-58, considered, the role of the advanced noble intelligentsia should have been very great, and the so-called "extra people" should have find a worthy application in real social activity.

But at the same time, Turgenev’s personal experiences, his own worldview in those same years developed in such a way that, along with the social issues that were put forward by Russian life and worried him, questions of a different, individual ethical order arose for the writer. Ethical issues were an essential link in the progressive ideology of this transition period; it also included issues of education and training of participants and figures of the new historical era. Questions of ethics in their relationship with public affairs occupied a large place and in the system of views of the revolutionary democrats, in particular Chernyshevsky, they interpreted them differently from Turgenev.

Turgenev, considering these years as turning points for himself not only in literary and social terms, but also on a personal level, turning points for his whole life, was especially inclined to sum up his past and deal with issues of personal psychological and general philosophical significance at the same time: the question of "personal happiness" a person, or, more precisely, his right to personal happiness in conflict with his moral and social duty; the question of the relationship of human individuality to the world around it, to nature, about the place of man in nature; finally - again, not only in the social, but also in the personal and ethical plan - the question of the attitude of the noble intellectual to the people and his duty to the people.

The first of these questions - about the possibility of a person achieving personal happiness when this opportunity comes into conflict with moral duty - underlies both Faust and The Noble Nest, and, although to a lesser extent, Asya. As it is observed more than once in Turgenev's work, this question is clothed in plot forms characteristic of the writer - in the form of "testing" the characters with a feeling of love, and in both stories - both in Faust and in Ace - the hero cannot stand "trials" and, as it was before in "Rudin", turns out to be morally weak and unstable compared to the heroine.

The same basic theme in The Nest of Nobles is complicated and deepened by the fact that, unlike Rudin and a number of other previous works, both central characters of the novel, each in their own way, are morally strong and peculiar people. Therefore, the theme of the impossibility of "personal happiness" is developed in "The Nest of Nobles" with the greatest depth and the greatest tragedy. At the same time, however, the very plot situation depicted in the novel contains a new element that is absent in the pessimistic Faust - the writer's trial of his former ideals of self-sacrifice. In the refusal of the new heroes of Turgenev from personal happiness, that spiritual inferiority was manifested, which does not give them the opportunity to become new historical figures. But the collapse of hopes for personal happiness leads Lavretsky to a new problem - to thoughts about a moral duty to the people and the need to effectively help him. In these experiences of Lavretsky, in resolving the moral problems posed in the novel, Turgenev invested a lot of personal, reflecting the deep creative and psychological crisis he experienced in the winter of 1856-37.

Between "Faust", which most fully expresses the philosophy of renunciation and a pessimistic outlook on life, and "The Nest of Nobles", where the idea of ​​abdication is subjected to revision and, in the end, condemnation, lies a transition filled not only chronologically, but also in an ideological and creative sense. "Asya" and "Trip to Polissya". The last story (or, more precisely, an essay) in its origin and time of conception (1853) is a kind of continuation of the "Notes of a Hunter", among which it was even included in the next edition of Turgenev's works, 1860 (but removed from the "Notes" and moved to the composition of the stories in all subsequent editions). "A Trip to Polissya" was written with long interruptions, and during its final processing in 1856-57, it acquired new qualities and was filled with new content, deeply different from the content and tone of "Notes of a Hunter". A large place in it was occupied by the philosophy of nature in the form of the problem of relations between man and nature, which occupied Turgenev, the problem of insignificance human mind before her eternal elemental life, before the almighty power to which man is subject. The formulation and resolution of this problem go back, on the one hand, to Turgenev's long-standing reflections, which were repeatedly expressed in his letters, and, on the other hand, to the influence of Schopenhauer's philosophy, which Turgenev was especially attentively perceived at that time.

The transition from "Faust" and "Journey to Polissya" to "The Nest of Nobles" marks, in essence, a new stage in Turgenev's creative path. In this novel, despite the fact that its action is pushed back, and even to a rather considerable distance (the chronology of the events depicted in it is precisely defined as the spring and summer of 1842; the prehistory - Lavretsky's marriage - refers to the beginning of the 30s, and the epilogue is attributed to the time eight years after the main action, i.e. to 1850, and all this is quite consistent with the realities of the novel) - despite this, its problems are quite contemporary to the years in which it was written. We see the same thing in "Ace", the action of which takes place "twenty years ago", that is, at the end of the 1830s. Such a hero as Lavretsky could appear only _after_ Rudin, and some of his democratic, "peasant" traits open the way to a new type of hero - Insarov and, later, Bazarov. As for Asya, it was not for nothing that Chernyshevsky used the images of this story, which had been 20 years old, to sentence the liberalism of the nobility of the late 50s. In the era of pre-reform expectations and ever-growing divergences between the raznochintsy-democrats and the noblemen-liberals, the democrats who were going towards the revolution not only refused an alliance with "superfluous people" (an alliance that Chernyshevsky considered useful and desirable as early as the end of 1856), but they themselves refused " superfluous people" in personal and social positive significance. And Turgenev himself, recognizing the collapse of Lavretsky's aspirations for personal happiness, saw only one way out for his "lonely old age" and "useless life": the path of practical activity for the benefit of the serfs.

These are the main features that determine the evolution of Turgenev's work over a short period, but filled with important content, covered by the works of 1856-1858.

The texts of the works included in this volume are printed according to the latest lifetime authorized editions: "Faust", "A trip to Polesie", "Asya" - according to the publication of Glazunov, St. Petersburg, 1883, volume VII; the latter edited by Turgenev himself. "The Nest of Nobles" - according to the previous edition, the heirs of the Salaev brothers, St. Petersburg, 1880, volume III, since in the 1883 edition of volume III containing this novel, Turgenev, being seriously ill during its preparation (Text of volume III for the 1883 edition year - the volume containing "Rudin" and "The Nest of Nobles" was viewed by Turgenev, but was lost when being sent from Paris to Russia, and the writer, unable to view it again, entrusted this to his Parisian friend A.F. Onegin (see. present, ed., vol. VI, pp. 494-495).), could not view.

It should be noted that in both editions - 1880 and 1883 - the texts, in comparison with all previous editions, as well as with autographs, were revised and corrected along the line of approaching some vernacular and archaic forms of the language, in their lexical and grammatical structure, to general literary forms. developed by the end of the 70s. These are: "in the corner", "growth", "time" (1880 and 1883) instead of "in the corner", "growth", "raze" (previous editions); "upsets" instead of "upsets"; "apartment" instead of "apartment"; "kliros" instead of "krylos"; "spittoon" instead of "spittoon"; "cabinet" instead of "cabinet"; full forms of patronymics ("Ivanovich") instead of abbreviated ones ("Ivanych").

These and similar forms of words are reproduced in the publication according to the sources taken as a basis, and the obsolete spellings corresponding to them are not given in the options section.

The texts and versions of the works included in this volume were prepared and commentaries were written by: I. A. Bityugova ("Faust"), T. P. Golovanova ("The Noble Nest"), L. M. Lotman ("Asia") , A.P. Mogilyansky ("Trip to Polissya"). Section ""The Noble Nest" in foreign transfers"and the real commentary on the novel were written by M.P. Alekseev, the preface to the options and the introductory article to the comments were written by N.V. Izmailov.

Volume editors: M. P. Alekseev and N. V. Izmailov.

FAUST

TEXT SOURCES

C, 1856, e 10, sec. I, pp. 91-130.

1856, part 3, pp. 321-385.

1860, volume III, pp. 188-230.

1865, volume III, pp. 387-435.

1869, part 3, pp. 379-426.

1874, part 3, pp. 377-423.

1880, Volume VII, pp. 173-220.

1883, Volume VII, pp. 186-238.

Reprinted from the text of 1883 with the following corrections from other sources:

Page 7, lines 13-14: "for nine whole years. What, what has not happened in these nine years!" instead of "as many as nine years" (according to C and 1856).

Page 7, line 23: "all grimaced" instead of "grimaced" (according to C and 1856).

Page 8, lines 2-3: "she couldn't even cry out" instead of "she couldn't cry out" (after C and 1856).

Page 14, lines 28-29: "a man, they say, very wonderful" instead of "a man, they say, wonderful" (according to all other sources).

Page 17, lines 33-34: "I will not see this nice girl again" instead of "I will not see this nice girl" (according to all other sources).

Page 18, line 1: "it will not be given into hands" instead of "it will not be given into hands" (according to all other sources).

Page 19, line 14: "inform you" instead of "inform" (according to all other sources).

Page 31, line 33: "will do" instead of "will do" (according to all other sources).

Page 36, lines 14-15: "I looked into the arbor" instead of "I looked into the arbor" (according to all sources before 1880).

Page 40, lines 3-4: "Now I am with her" instead of "Now I lie to her" (after C, 1856, 1860, 1865, 1869).

Page 47, line 2: "to bed" instead of "to bed" (according to all sources before 1880).

Page 50, line 2: "it won't be" instead of "it won't be anymore" (according to C, 1856, 1860, 1865, 1869).

Page 50, line 16: "guarded" instead of "protected" (according to all sources before 1880; indicated by Turgenev in the list of errata in 1880, but not taken into account in 1883).

Faust was published in Sovremennik with a number of significant misprints.

In a letter to D. Ya. Kolbasin dated November 2/14, 1856 from Paris, Turgenev gave a list of these typographical errors and asked him to take measures to eliminate them when Faust was included in the 1856 edition of Tales and Stories (T, Letters, vol. III, p. 33). However, Kolbasin failed to comply with Turgenev's request, since by that time "Tales ..." had already been printed. The misprints indicated by Turgenev were eliminated in the 1860 edition. The list of corrections compiled by Turgenev was published at his request in Sovremennik (1856, e 12, section of Bibliography, p. 50).

Turgenev began work on Faust at the end of June - beginning of July 1856. Intending to leave for Moscow and visit V.P. Botkin, Turgenev wrote to him on July 3/15, 1856 from Spassky: I read it - I did do something, although not at all what I thought" (T, Letters, vol. II, p. 372). And on July 13-14 (25-26) Turgenev already read the draft text of Faust to Botkin in Kuntsovo, and on July 16-17 (28-29) in Oranienbaum - to Nekrasov and Panaev. Work on the story continued abroad, where Turgenev left on July 21 (August 2). On August 18 (30) Turgenev sent the manuscript of Faust from Paris to the editors of the journal Sovremennik. “Here you are, dear Panaev,” he wrote in a cover letter, “my Faust, corrected according to the comments of Botkin, yours and Nekrasov. I wish you liked it in this form” (T, Letters, vol. III, p. 8 ). Turgenev's "Faust" was published in the October issue of "Sovremennik" for 1856. In the same issue, the first part of Goethe's "Faust" was published in the translation of A. N. Strugovshchikov. N. G. Chernyshevsky reported this to N. A. Nekrasov in Rome: “... I don’t like two“ Fausts ” side by side - not because it was bad for the public, on the contrary - but Turgenev might not like it You will justify "Sovremennik" before it by absolute necessity - what was there to put in, except for Strugovshchikov?" (Chernyshevsky, vol. XIV, p. 312). Nekrasov, in turn, wrote to Turgenev: “... next to your Faust in the 10th e of Sovremennik ... they placed Faust in Strugovshchikov’s translation - will you like it?<уговщикова>quite good, and perhaps the Russian reader will read it this time, interested in your story, which he will probably read. Chernyshevsky justifies himself by placing two Fausts by saying that there was nothing to print, and he is very afraid that you will not be angry" (Nekrasov, vol. X, p. 298).

Turgenev, in a letter to I. I. Panaev dated October 3/15, expressed his concerns about this: “I am very glad,” he wrote, “that you liked Faust in its final form; God forbid that the public also likes it. You are doing well that you place the translation of Goethe's Faueta; I am only afraid that this colossus, even in the (probably) insufficient translation of Strugovshchikov, will crush my worm; but this is the fate of the little ones; and she must submit" (T, Letters, vol. III, p. 19).

E. Ya. Kolbasin also considered the proximity of Turgenev's and Goethe's Faust to be "awkward" (see T and circle Sovre, p. 277).

In connection with the publication of Faust in the Sovremennik, a conflict arose between Turgenev and M. N. Katkov as the editor of Russkiy vestnik. M. N. Katkov mistook "Faust" for the story "Ghosts", which had not yet been written, but promised to "Russian Messenger" in the autumn of 1855, work on which was delayed, and in the announcement of a subscription to the journal in 1857, placed in "Moskovskie Vedomosti" dated November 17, 1856 (e 138), accused Turgenev of breaking his word. Turgenev placed a refutation in Moskovskie Vedomosti, in which he clarified the misunderstanding that had arisen (see Mosk Ved, 1856, December 18, e 151), after which Katkov and Turgenev once again exchanged open letters (see Mosk Ved, 1856, December 20, e 152 g Moek Ved, 1857, January 15, e 7). "Faust" in this case served only as a pretext for a clash, the cause of which was the news of Turgenev's "obligatory agreement" on exclusive cooperation in Sovremennik from January 1857.

"Faust" was written by Turgenev in the context of the emerging political crisis, after the end of the Crimean War and the death of Nicholas I. The gloomy impressions of contemporary Russian reality were supplemented by his personal experiences. The inner sources of the story, which determined its sad lyrical tone, are revealed by Turgenev in a letter to M. N. Tolstoy dated December 25, 1856/January 6, 1857. my soul was still young and yearning and longing, and my mind, cooled by experience, occasionally yielding to her impulses, vented its weakness on her with bitterness and irony.<...>When you knew me, I still dreamed of happiness, did not want to give up hope; Now I finally gave up on all this<...>"Faust" was written at a turning point, at the turn of life - the whole soul flared up with the last fire of memories, hopes, youth ... "(T, Letters, vol. III, p. 65).

Depicting the state of mind of the hero of the story, who returned to the family estate after a long absence and fell in love with a married woman, Turgenev proceeded from personal experience. The same childhood memories, the same sad and contemplative mood (see letter to S. T. Aksakov dated May 25 / June 6, 1856 - T, Letters, vol. II, p. 356), the same "internal anxiety" , thoughts of loneliness, disorder and longing for "happiness" (see letter to E. E. Lambert dated May 9/21, 1856, T, Letters, vol. II, p. 349) took possession of him when visiting Spassky in May - June 1856 "I no longer count on happiness for myself, that is, happiness in that again disturbing sense in which it is accepted by young hearts; there is nothing to think about flowers when the time for flowering has passed. God grant that the fruit at least there was some kind of measure - and these vain impulses back can only interfere with its maturation. One must learn from nature its correct and calm course, its humility ... ", Turgenev wrote E. E. Lambert on June 10/22, 1856 from Spassky (T, Letters, vol. II, p. 365). Pavel Alexandrovich B.A. comes to the same conclusion in Faust after the collapse of his hopes for happiness.

Recreating the image of an old "noble nest", Turgenev in the first chapter of the story describes Spasskoye, its environs, a garden, a family library (see below, real commentary on the story, p. 412). Later, in a letter to Valentina Delesser dated June 5/17, 1865, Turgenev, wishing to give his correspondent an idea of ​​Spassky, referred to the description in Faust. "A little north-west of Mtsensk is precisely the village where, in a shabby wooden house, dilapidated, but rather clean, standing in the middle of a large garden, much neglected, but from this even more beautiful, I have been living for two days and from where I am writing to you. Not I know if you remember my little novel in the letters Faust, so his first letter contains a fairly accurate description of Spassky, "Turgenev pointed out (T, Letters, vol. VI, pp. - 357-358, translated from French) . He confirmed the same in a letter to Theodor Storm dated June 24 / July 6 - July 3/15, 1868 (see T, Letters, vol. VII, p. 393, translated from German).

It is possible that the prototype of the heroine of the story, Vera Nikolaevna Eltsova, partly served as L. N. Tolstoy's sister M. N. Tolstaya, whom Turgenev met in the autumn of 1854 in Pokrovsky, the Tolstoy estate, located not far from Spassky (see Turgenev's letter to Nekrasov dated October 29 / November 10, 1854 - T, Letters, vol. II, p. 238). N. N. Tolstoy tells about the circumstances of Turgenev's acquaintance with M. N. Tolstoy in a letter to L. N. Tolstoy. "Valerian<муж М. Н. Толстой>, - writes N. N. Tolstoy, - met Turgenev; the first step was taken by Turgenev - he brought them a copy of Sovremennik, where the story is placed<"Отрочество">which he was delighted with. Masha in admiration for Turgenev<...>says that this is a simple person, he plays spillikins with her, lays out grand solitaire with her, a great friend with Varenka<четырехлетней дочерью М. Н. Толстой)..." (Лит Насл, т. 37-38, стр. 729). Подобная же ситуация изображается в повести: Приимков, муж Веры Николаевны Ельцовой, знакомится с Павлом Александровичем В., после чего последний становится частым гостем в их имении, гуляет по саду вместе с Верой и ее маленькой дочерью Наташей; героиня "Фауста", которая не любила читать "выдуманные сочинения", также иногда не отказывалась от невинных игр в карты.

A few days after they met, Turgenev wrote to P. V. Annenkov about M. N. Tolstoy: “His sister<Л. Н. Толстого> <...>- one of the most attractive creatures that I have ever met. Sweet, smart, simple - I would not take my eyes off. In my old age (I turned 36 on the fourth day) - I almost fell in love with S.) I can’t hide that I’m struck to the very heart. I have not seen so much grace, such a touching charm for a long time ... I stop so as not to lie - and I ask you to keep all this a secret "(T, Letters, vol. II, pp. 239-240). The characterization of M. H. Tolstoy contained in the letter is not specified, but it captures some features of the external and internal appearance of Vera Eltsova, in which Turgenev emphasizes simplicity, "calmness", the ability to listen "attentively", to answer "simply and intelligently", "the clarity of an innocent soul" and the "touching charm" of her "childish" purity.At the beginning of the story, Pavel Alexandrovich B. experiences the same feeling of secret sympathy and reports it in his letters to a friend.

The story also reflected the literary dispute that arose between Turgenev and M. H. Tolstoy, in particular because of her negative attitude towards poetry and fiction. M. N. Tolstaya herself, in her later memoirs, known in M. A. Stakhovich’s notes, tells about the origin of the idea of ​​Faust: “Most often we argued about poetry. I told him that they were all fictitious works, even worse than novels, which I hardly read and did not like.

Turgenev was worried and argued with me "even to the heart"<...>Once our long dispute flared up so persistently that it even somehow turned into reproaches of the individual. Turgenev got angry, recited, argued, repeated individual verses, shouted, begged. I objected, not giving up on anything and laughing. Suddenly I see that Turgenev jumps up, takes his hat and, without saying goodbye, goes straight from the balcony not into the house, but into the garden<...>We waited in bewilderment for several days.<...>Suddenly, unexpectedly, Turgenev arrives, very excited, animated, but without a hint of discontent.<...>That evening he read to us<...>story. It was called "Faust" ("Orlovsky Bulletin", 1903, August 22, e 224). I. L. Tolstoy pointed out the similarity of the features of the external and internal appearance of M. H. Tolstoy and the heroine of Faust in his memoirs: “They say that at one time Turgenev was infatuated with Marya Nikolaevna. They even say that he described her in his Faust. This is there was a knightly tribute that he brought to her - purity and spontaneity "(I. L. Tolstoy. My memories. M., 1914, p. 256).

The internal motivation of Vera's attitude to poetry as a source of falsely directed imagination and unfulfilled dreams could be suggested to Turgenev and E. E. Lambert, who wrote to Turgenev on May 24 (June 5), 1856: "I would take your advice to study Pushkin, if only for the sake of to have something in common with you, but God knows that I should not read anything except an akathist.<...>Pushkin<...>awakens only passions - is that why women and poets love him? It has life, love, anxiety, memories. I am afraid of fire" (IRLI, 5836, XXXb, 126).

It was not by chance that Goethe's Faust attracted the attention of Turgenev. Even as a student at the University of Berlin, under the influence of the lectures of the Hegelian professor Werder and the circle of Bettina von Arnim, Turgenev was fond of Goethe and perceived him as a romantic, whose pathos of denial was directed against the "yoke of legends, scholasticism" in the name of the rights and freedom of an individual, a bright romantic individuality. In 1844, Turgenev published his translation of the "Last Scene" of the first part of "Faust" in "Notes of the Fatherland". The choice of this scene is significant and essential for the concept of Turgenev's future story: in this scene, the tragic denouement of Gretchen's fate is given, the story of which made such a strong impression on the heroine of Turgenev's story.

In 1845, Turgenev devoted a special article to Faust, translated by M. Vronchenko, in which he approached Goethe's work in a new way. Following Belinsky and Herzen, who in the 30s, having experienced the influence of Hegel and Goethe, by the 40s overcome German philosophical and poetic idealism and are critical of Goethe's political indifference, Turgenev explains the progressive features of Goethe's tragedy and its historical limitation by connection " Faust" with the era of bourgeois revolutions. Faust, wrote Turgenev,<...>is for us the most complete expression of an era that will not be repeated in Europe - that era when society reached the point of denying itself, when every citizen turned into a person, when, finally, the struggle between the old and the new time began, and people, except for the human mind and nature, did not recognize anything unshakable "(now, ed., vol. I, p. 234). Recognizing the great merit of Goethe in that he stood up "for the rights of an individual, passionate, limited person", "showed that<...>a person has the right and opportunity to be happy E not to be ashamed of his happiness", Turgenev, however, sees in Faust a reflection of the tragedy of individualism. For Faust - according to Turgenev - there are no other people, he lives only by himself, his passionate search for the true meaning of life is limited the sphere of the “personal-human,” while “the cornerstone of man is not himself, as an indivisible unit, but humanity, society ...” (ibid., p. 235). human thought, and opposes it to the works of the new time, which excite the reader not only by the "artistic reproduction", but also by their social problems.

The theme of "Faust" has its own long tradition in European and Russian literature; in its development, Turgenev, for whom Goethe's "Faust" served as an occasion for the development of an original, independent plot, occupies a peculiar place (See about this: V. Zhirmunsky. Goethe in Russian literature. L., 1937, pp. 357-367; D. E. Rosenkranz Turgenev and Goethe, "Germanoslavica" Ing. II, 1922-1933 , Hf. l, pp. 76-91; Dr. Katharina Schutz. Das Goethebild Turgeniews. Sprache und Dichtung. Hf. 75. Bern-Stuttgart, 1952, pp. 104-113; Charles Dedeyan. Le theme de Faust dans la litterature Europeenne, Du romantisme a nos jours, I. Paris, 1961, pp. 282-285).

In his story, Turgenev, like Pushkin in Scene from Faust, "gives a completely independent conception of the Faust problem, essentially different from Goethe's idea" (V. Zhirmunsky, op. cit., p. 138), "introduces into him ("Faust" by Goethe) his characteristic understanding of life<...>transforming the theme in his own way" (Charles Dedeyan, op. cit., p. 285). In Turgenev's story, the problems of Goethe's "Faust" are correlated with the contemporary Russian reality reproduced by the writer and his own searches of those years.

Having stopped at the beginning of the story on the first youthful impressions of Pavel Alexandrovich B. from Goethe's Faust, Turgenev reproduces the whole complex of his personal memories associated with him - here are memories of the stage embodiment of Goethe's tragedy on the Berlin stage, and of the score of Radziwill's Faust ( see real comment, p. 412). "Faust" is associated in Turgenev with the time of his student days, sometimes young "desires" and hopes (see p. 11). And then "Faust" is made the psychological center of the story, acts as an important moment in the formation of its characters, as the culmination of the development of events. Acquaintance with Goethe's "Faust", which was perceived by the heroine of the story primarily in terms of the love tragedy depicted in it, helped her to realize the incompleteness of her life, destroyed the barrier erected by the elder Yeltsova, who decided to build her daughter's life only on reasonable, rational principles, fencing her off from strong feelings and passions. Faith appears in the story as a whole, direct and independent nature, which, having fallen in love, is ready to go to the end, overcome any obstacles, and Turgenev, following Pushkin, reflects in her image the growth of thought and self-awareness of a Russian woman of that time. However, having shown the inevitability and regularity of the awakening of Vera from the artificial sleep in which she was immersed and her introduction to life, Turgenev simultaneously speaks of the impossibility of personal happiness, of the naivety, futility and selfishness of striving for it.

The story is prefaced with an epigraph from Goethe's Faust: Entbehren sollst du, sollst entbehren ("Repudiate<от своих желаний>you must renounce") and, concluding its plot with a tragic denouement, Turgenev, on behalf of his hero, calls for renunciation, for the rejection of "favorite thoughts and dreams" in the name of fulfilling public duty. Despite Goethe's epigraph, which, as it were, serves as the starting point of the concept Turgenev, the story contains elements of an internal polemic with Goethe. The "renunciation" itself, as K. Schutz rightly noted, Goethe has a different source than Turgenev. If for Goethe, who rebels in "Faust" against worldly asceticism as "common wisdom" (see the real commentary, p. 411) “renunciation” is, according to K. Schutz, “free self-restraint”, to which “a person goes voluntarily, becoming the master of his creative power”, then Turgenev, in her words, “comes from pessimistic prerequisites and comes to a renunciation of the assessment of one's life and the world around" (Dr. Katharina Schutz. Das Goethebild Turgeniews. Sprache und Dichtung. Hf. 75, Bern - Stuttgart, 1952, p. 107). "Life is hard work", " Not having imposed chains on himself, the iron chains of duty, he (a person) cannot reach the end of his career without falling ... "- such is the philosophical conclusion of the story.

In the depiction of the fate of the heroes of the story, their relationship, the theme of the tragedy of love, characteristic of Turgenev, also appears. This theme is also heard in the stories "Calm" preceding "Faust". "Correspondence", "Yakov Pasynkov" and in the subsequent - "Asya" and "First Love". Considering love as a manifestation of one of the natural forces of nature, unconscious and indifferent to man, Turgenev in Faust shows the helplessness, defenselessness of man in front of this force. The heroine of the story cannot be saved from her either by purposeful upbringing or by a "well-organized" family life. Love appears in the story as a passion, which only for a moment brings poetic insight into life, and then resolves tragically. The theme of love in "Faust" comes into contact with the question of the role of the mysterious and irrational elements in human life. The "unknown" is also interpreted in the story as one of the manifestations of the omnipotent nature. Interest in him unites "Faust" with a later cycle of the so-called "mysterious" stories: "Dog", "Strange Story", "Dream", "Song of Triumphant Love", "Clara Milic", written by Turgenev in the late 60s - 70s, during the period of his passion for natural science empiricism (see: the chapter on "Mysterious Tales" in G. Vyaly's book "Turgenev and Russian Realism". M.-L., 1962, pp. 207-221).

The motive of mournful disappointment, the idea of ​​duty, public service, opposed to personal aspirations, also run through other stories by Turgenev of the 50s - "Correspondence", "Yakov Pasynkov", "Trip to Polissya" - which, together with "Faust", serve as preparatory links to the "Noble Nest" (see comments on this novel). The passive-pessimistic concept that permeates the story is connected both with the writer's personal moods at the time of working on it, and with his passion for Schopenhauer's philosophy at that time.

Thus, in the artistic images of Turgenev's story, his views expressed in the article on Goethe's "Faust" were developed, but the writer's partial departure from his views of the 40s was also reflected in it. “In Faust,” wrote V. M. Zhirmunsky, “the reading of Goethe’s tragedy plays a decisive role in the spiritual awakening of the heroine, in her attempt at moral emancipation and the subsequent catastrophe. An epigraph from Goethe’s Faust<...>emphasizes the element of pessimistic skepticism and renunciation inherent in Turgenev's work "(V. Zhirmunsky. Goethe in Russian literature. L., 1937, p. 359). However, the subjective-lyrical side in the story is subtly combined with the objectively real plan and does not contradict it socially - psychological truth.The love story of the hero of the story Pavel Alexandrovich B. and Vera Eltsova is given in a certain setting (Russian local life) and is conditioned by their characters and concepts developed under the influence of the environment and upbringing.One of the reasons for the sad outcome of events is the failure of the hero, unable to to decisive action, coordinating one's feelings, dreams and actions. This is still the same Rudin type, close to the author and at the same time no longer satisfying him. Another reason for the tragic collision lies in the inner world of the heroine, in the contradiction between the principles inspired by her from childhood in it with an imperious voice of feelings.

The story is dressed in an epistolary form - this is a story on behalf of the hero in letters. Turgenev resorted to this technique already in Correspondence, where the characters confess in letters to each other. In "Faust" this form is more capacious: the story presented in the letters has a novelistic composition, includes everyday life, portrait characteristics, landscape.

A characteristic feature of the story is the abundance of literary images and reminiscences. In addition to Goethe and his tragedy "Faust", which determines the plot of the story and plays such a significant role in the fate of the characters, Shakespeare, Pushkin, Tyutchev are quoted and mentioned. The heroine is compared simultaneously with Marguerite and with Manon Lescaut. All this is often found in other works of Turgenev (for example, Pushkin's Anchar has the same transformative effect as Goethe's Faust on Vera, on the heroine of Calm) and is connected with the broader question of the role of literary tradition in his work. (See about this in the article by A. Beletsky "Turgenev and Russian writers of the 30-60s", which notes the development in "Faust" of a number of plot and ideological and thematic motifs in the works of Russian romantic writers E. A. Gai, E. N. Shakhova and M. S. Zhukova in the key of Turgenev's "new" realistic manner - Creative way T, Sat, pp. 156-162).

Faust was a success. Even in its unfinished form, the story was liked by Panaev, Botkin and Nekrasov, to whom Turgenev turned for literary advice. Escorting Turgenev abroad, where he was supposed to finish work on Faust, Nekrasov wrote to Fet on July 31, 1856: “Well, Fet! What a story he wrote! I always thought that this small thing would be useful, but, really, was surprised and, of course, very pleased. He has a huge talent, and if the truth be told, he is worth Gogol in his own way. I now affirm this positively. A whole sea of ​​​​poetry, powerful, fragrant and charming, he poured into this story from his soul ..." (Nekrasov, vol. X, p. 287). Nekrasov, however, informed Turgenev later, after the story appeared in Sovremennik, that "Faust was making a lot of noise" (ibid., p. 301). Turgenev himself wrote to V.P. Botkin on October 25/November 6, 1856 from Paris: "I received letters from Russia - they tell me that I like my Faust ..." (T, Letters, vol. III, p. .23),

A number of epistolary reviews about "Faust" have been preserved, characterizing the perception of the story in various literary circles. P. V. Annenkov, A. V. Druzhinin, V. P. Botkin, representatives of the "aesthetic school", highly appreciating the lyricism of the story, contrasted "Faust" with Turgenev's works with social problems. Annenkov, by his own admission, was "touched" by Faust, because it is a "free thing" (Proceedings of the GVL, issue III, p. 59). Druzhinin, referring respectively to the "Gogol" and "Pushkin" directions, welcomed the fact that Turgenev, as it seemed to him, "did not sit still" on George Sand and went after Goethe (T and circle Sovre, p. 194). V. P. Botkin, in a letter to Turgenev dated November 10 (22), 1856, gives a detailed review of the story. Having singled out works of an objective nature in Turgenev’s work, like “Notes of a Hunter”, “affecting a certain string”, and subjective ones, in which “romanticism of feeling”, “highest and noblest aspirations” are expressed, Botkin considers the latter to be more organic for the lyrical in nature. Turgenev's talent, sees in them the guarantee of his future prosperity, the beginning of which was laid by Faust. The success of "Faust," he writes, "is on the side of your nature, on the sympathy of the story, on general contemplation, on the poetry of feeling, on sincerity, which for the first time, it seems to me, gave itself some freedom" (Botkin and Turgenev, pp. 101-103).

L. N. Tolstoy also reacted positively to the story, as evidenced by the entry dated October 28, 1856 in his diary: “I read<...>"Faust" Turg (eneva). Charming "(Tolstoy, vol. 47, p. 97). V. F. Lazursky in his "Diary" on August 5, 1894 recorded an interesting statement by L. N. Tolstoy, in which "Faust" is given a certain place in the spiritual evolution of Turgenev "I always say: to understand Turgenev, you need to read," L. N. Tolstoy advised, "sequentially: Faust, Enough, and Hamlet and Don Quixote." Here you can see how doubt is replaced in him by the thought of where the truth is" (Lit. Nasl, vol. 37-38, p. 480).

The story was critically perceived by Herzen and Ogarev, to whom Turgenev left the manuscript of Faust for reading during his stay in London in the second half of August, Art. Art. 1856 Both of them spoke with praise of the first letter, which is of a lyrical-everyday nature, and condemned the romantic and fantastic elements of the story. "After the first letter - chef d" oeuvre syllable in all respects - I did not expect that. Where should we go in the romantic Zamoskvorechye - we are earthy, veined and bone people, "A. I. Herzen wrote to Turgenev on September 14 (26), 1856. A note by N. P. Ogarev with a review of Faust was attached to this letter. “The first letter,” Ogarev wrote, “is so naive, fresh, natural, good, that I did not expect the rest. The incident seems to have been invented with some effort in order to express vague opinions about the mysterious world in which you yourself do not believe. "He found both the plot of Faust and the psychological side of the development of love unnatural, explaining this by the fact that in Faust" "fantasy side stuck; the story can do without it "(S, 1913, book 6, pp. 6-8). A similar judgment about Faust was expressed by M. N. Longinov in a letter to Turgenev dated October 23 (November 4), 1856 from Moscow. Reporting that "Faust" "likes many", but not him, and praising the "first letter", which he read "with pleasure", Longinov found the whole story "unnatural" and believed that Turgenev "is not in it in their sphere" (Sb. PD 1923, pp. 142-143).

The first printed response to Turgenev's "Faust" was a critical feuilleton by Vl. Zotov in "SPb. Vedomosti" dated November 6, 1856 (e 243). Paying tribute to the style of the story, Vl. Zotov found in the plot its "incongruity and unnaturalness" and expressed regret that the writer's talent "is used to develop such impossible stories." “The mother of the heroine, who has experienced decent disturbances in life,” writes Zotov, “thinks of protecting her daughter from them by not allowing her to read poetry, is the first incongruity; then she does not pass her off as a decent person, saying that she is not such a husband necessary, and trades for a blockhead - a good way to warn against passions! A daughter, even married, does not feel the slightest desire to read a single novel; such ladies, at the same time smart and educated, as Vera Nikolaevna is depicted, we are firmly convinced - not in any of the most remote corners of Russia ... "

D. I. Pisarev refuted such accusations in the article "Women's types in the novels and stories of Pisemsky, Turgenev and Goncharov", published in the journal "Russian Word" for December 1861. Interpreting the images of the older and younger Eltsovs as unusual, almost exceptional personalities , whose feelings are developed in the story to the romantic limit, Pisarev shows that everything in them is at the same time psychologically justified and characteristic. “The images in which Turgenev expressed his idea,” Pisarev noted, “stand on the border of the fantasy world. He took an exceptional person, made her dependent on another exceptional person, created an exceptional position for her and deduced extreme consequences from these exceptional data<...>The dimensions taken by the author exceed ordinary dimensions, but the idea expressed in the story remains a true, beautiful idea. As a vivid formula of this idea, Turgenev's Faust is inimitably good. Not a single single phenomenon in real life achieves that certainty of contours and that sharpness of colors that amaze the reader in the figures of Eltsova and Vera Nikolaevna, but these two almost fantastic figures cast a bright streak of light on the phenomena of life, blurring in indefinite, grayish foggy spots. (Pisarev, vol. I, p. 265).

Many years later, in response to a questionnaire that was sent in 1918 to a number of literary figures in order to clarify their attitude towards Turgenev, the writer L. F. Nelidova wrote:

“Once, while talking with Ivan Sergeevich, I told him that in his story Faust, the mother of the heroine Eltsov reminds me of my mother and her attitude to reading novels. Turgenev was very pleased with this remark. According to him, he often Prior to this very Eltsova, one had heard reproaches for the far-fetchedness and inaccuracy of the portrayal of her character, and it was especially pleasant to learn of her resemblance to a living person.

The resemblance was unmistakable. Like the heroine of Faust, in childhood and adolescence I could only read children's books, travels and anthologies. An exception was made for Turgenev alone" (T and his time, p. 7).

In connection with the publication in 1856 of the publication of "Tales and Stories" by I. S. Turgenev, a number of reviews appeared in the journals of that time, in which Faust was characterized. A. V. Druzhinin in "Library for Reading" developed the idea, expressed by him earlier in a letter to Turgenev, about the victory in his work of the "Pushkin" principle over the "Gogol one". According to him, "... in "Mumu", in "Two Friends", in "Calm", in "Correspondence", in "Faust" the flow of poetry breaks through with all its might, breaks down barriers, rushes around, and although not completely receives a free flow, but already expresses both his wealth and his true direction "(Thursday 5, 1857, e 3, section "Criticism", p. 11).

K. S. Aksakov, giving a Review of Modern Literature in the Russkaya Conversation, in the spirit of his Slavophile views, compares Rudin, in which "a remarkable man is exhibited: with a strong mind, high interest, but abstract and confused in life", and Faust, where Turgenev "contrasts<...>human rubbishness is no longer only the simple integral natural nature of the soul, but the integrity of the spiritual principle, moral truth, eternal and strong, - the support, refuge and strength of man "(" Russian conversation ", 1857, vol. I, book 5, sep. " Reviews", p. 22).

S. S. Dudyshkin, in his review of "Tales and Stories" by I. S. Turgenev, published in Otechestvennye Zapiski, criticizing the main character of Turgenev's early works, "an extra person", opposes to him a "noble person who works day after day without loud phrases," and treats Turgenev's "Faust" in the light of these well-intentioned liberal ideals. Dudyshkin condemns the hero of the story, who violated "the peace of one beautiful woman, Eltsova, by developing her mental horizon, breathing into her a passion from which she had no way out. One death was necessary, and therefore Eltsova died. She fulfilled her _duty_" ( 03, 1857, e 1, section II, p. 23). And further, Dudyshkin, paraphrasing the final words of the story about duty and renunciation, considers them as the key to a new stage in Turgenev’s work, when the writer will find an “ideal” that is in harmony with his surroundings, and for his heroes there will come a “time of activity, work” (ibid. , page 25).

Against these ideas of Dudyshkin, who tendentiously reinterpreted the works of Turgenev, N. G. Chernyshevsky spoke in Notes on Journals (C, 1857, e 2) (see present, ed., vol. VI, p. 518). However, neither Chernyshevsky nor Dobrolyubov could join forces with Turgenev, who opposed duty and personal happiness. This contradicted the ethical system of the revolutionary democrats, the theory of "reasonable egoism", according to which duty is determined by internal inclination, and the main source of activity of a developed personality is rationally understood "egoism".

And in 1858, in the article "Nikolai Vladimirovich Stankevich", Dobrolyubov on the pages of Sovremennik (e 4), without naming Turgenev by name, entered into a polemic with him. “Not so long ago,” writes Dobrolyubov, “one of our most gifted writers expressed this view directly, saying that the goal of life is not pleasure, but, on the contrary, is eternal labor, eternal sacrifice, that we must constantly force ourselves, counteracting our desires. due to the demands of moral duty.There is a very commendable side to this view, namely, respect for the demands of moral duty.<...>On the other hand, this view is extremely sad because he directly recognizes the needs of human nature as contrary to the requirements of duty ... "(Dobrolyubov, vol. III, p. 67).

Later, in the article “Good intention and activity” (C, 1860, e 7), also partially directed against Turgenev, Dobrolyubov, advocating for the appearance in literature of the image of a new type of figure, a whole person, again mentioned Turgenev’s Faust: “We are not presented with an inner the work and moral struggle of a man who realized the falsity of the present order and stubbornly, relentlessly pursuing the truth, no one thought to depict a new Faust for us, even though we even have a story with that title ... "(Dobrolyubov, vol. II, p. 248 ).

Chernyshevsky responded to the story in the article "A Russian Man on a Rendez-Vous" ("Atenaeus", 1858, e 3). Having put "Faust" in connection with "Rudin" and "Asya", Chernyshevsky reveals the social aspect of the conflict depicted in the story. Considering the indecisive "behavior" of the heroes of these works in love as an indicator of their attitude to the "case", Chernyshevsky exposes the former noble hero of Russian literature descending from the public arena. “In Faust,” Chernyshevsky writes, “the hero tries to encourage himself by the fact that neither op nor Vera have a serious feeling for each other; to sit with her, to dream about her is his business, but in terms of decisiveness, even in words, he behaves in such a way that Vera herself must tell him that she loves him<...>It is not surprising that after such a behavior of a loved one (otherwise, as "behavior", one cannot call the image of the actions of this gentleman), the poor woman became nervous fever; it is even more natural that he then began to weep at his own fate. It's in Faust; almost the same in Rudin" (Chernyshevsky, vol. V, pp. 158-159).

In subsequent years, "Faust" continues to attract the attention of critics. In 1867, in the Notes of the Fatherland, a critical note by B. I. Utin "Asceticism near the city of Turgenev" was published, in which - as a characteristic feature of Turgenev's views - elements of ascetic moods in such his works as "The Noble Nest" are noted , "The Eve", "Faust", "Correspondence", "Ghosts" and "Enough". Utin sees the foundations of this approach to life in the philosophy of Schopenhauer. Considering "Faust" only from the point of view of reflecting "ascetic" ideas in it and interpreting the final words of the story too straightforwardly. Utin impoverishes its content. "The meaning here," he writes, "is obviously the same. Life does not like to joke, and therefore do not" surrender to it, do not live, and you will escape its dangers "(03, 1867, v. 173, e 7, book 2, section VI, p. 54).

In 1870, N. V. Shelgunov responded to the publication of the next volumes of the "Works of I. S. Turgenev" with the article "Irremovable Loss". Shelgunov also confirms his general judgments about the pessimistic motives in Turgenev's work, the sad lyrical tone of his talent, the writer's sensitivity to human grief, the skill of subtle penetration into the female psychology in the analysis of Faust. Describing Vera Eltsova as a strong nature, but doomed to death, and comparing her fate with the life of the heroines of Turgenev's other works, Shelgunov asks: "What kind of bitter fate is this? What kind of haunting fatalism? Where is its root? Why are people unhappy? Is there really no way out? ?" "Turgenev," he said, "does not answer these questions. Seek, guess, save yourself, as you know." And then he concludes the analysis of the story with the conclusion: “Love is a disease, a chimera, says Turgenev, you cannot escape from it, and not a single woman will pass her hands.”<...>Turgenev does not evoke the power of active protest in you, but excites some kind of unreconciled pinching, seeking an outlet in passive suffering, in silent, bitter protest. "Shelgunov and the call in Faust to work and renunciation are condemned from a revolutionary-democratic position. "Life there is work, says Turgenev. But is Pavel Alexandrovich talking about healthy work? His work is the despair of hopelessness, not life, but death, not the strength of energy, but the decline of various forces ... "(" Delo ", 1870, e 6, pp. 14-16).

In 1875, S. A. Vengerov, in one of his early works: "Russian literature in its modern representatives. A critical biographical study. I. S. Turgenev," assigned a special chapter to Faust. The analysis of the story is based on the idea that one cannot "go against the natural course of things, against the normal development of natural gifts" (decree, soch., part II. St. Petersburg, 1875, p. 64). Therefore, those "short-sighted judges," says Vengerov, who accuse the hero of the story of having destroyed Vera's "happiness," are mistaken. “Someday there would have to be a gap in the wall separating her from reality. Therefore, if not the hero of the story, then another, third would play his role and open Vera Nikolaevna’s eyes, which were so hung by the hand of a caring mother” (ibid. , page 69). And the conclusion that Vengerov comes to is opposed to one-sided critical judgments about the "ascetic" ideas of the story. “The pretty figure of Vera Eltsova rises before us as a sad warning, enlarging the gallery of attractive female portraits of Turgenev. In her person, the defenders of the freedom of the human heart can draw much stronger evidence than from all Georgesand novels, because nothing affects us more than a sad finale, which is the result of a known irrational phenomenon" (ibid., p. 72).

V. P. Burenin gives high marks to "Faust" in his critical study "Turgenev's Literary Activity" (St. Petersburg, 1884). By poetic nature, lyrical orientation, Burenin combines "Faust" and "Asya" by Turgenev, calling them "fictional masterpieces." His notes are impressionistic, subjective-psychological in nature, but not without true observations.

In the same subjective-psychological plan, "Faust" is considered by A. I. Nezelenov in his book "Turgenev in his works" (St. Petersburg, 1885) and D. N. Ovsyaniko-Kulikovsky in "Etudes on the work of I. S. Turgenev" (St. Petersburg, 1904).

Of the later responses, the opinion of P. A. Kropotkin is interesting, who in 1907, like Chernyshevsky in his time, drew attention to the failure of the hero of the story. Considering "Faust" among such novels by Turgenev as "Calm", "Correspondence", "Yakop Pasynkov", "Asya", he concludes: a feeling that would demolish the barriers that lie in his way; even under the most favorable circumstances, he can only bring sadness and despair to a woman who loves him "(P. Kropotkin. Ideals and reality in Russian literature. St. Petersburg, 1907, p. 102) .

The first translation of "Faust" into French was made by I. Delaveau in 1856 ("Revue des Deux Mondes", 1856, t. VI, Livraison 1er Decembre, pp. 581-615). Regarding this translation, Turgenev wrote to V.P. Botkin on November 25 / December 7, 1856 from Paris: “Delaveaux rolled my Faust and embossed it in the December book Revue des 2 Mondes” - the publisher (de Mars) came to me thank you and assured me that this thing was a great success; and, by God, it doesn’t matter to me whether the French like me or not, especially since M-the Viardot didn’t like this “Faust” (T, Letters, t III, p. 47. After reviewing the translation, V. P. Botkin informed Turgenev: "I read your Faust in French, but it seemed to me very pale in French - all the charm of the presentation was gone - as if the skeleton alone remained "(Botkin and Turgenev, pp. 111-112). In 1858, the translation of Faust was published in the first French collection of novels and short stories by Turgenev, translated by X. Marmier (1858, Scenes, I). From this edition in 1862 Fr. Bodenstedt made the first German translation ("Russische Revue", 1862, Bd I, Hf I, pp. 59-96), which Turgenev liked very much.October 19/31, 1862 n wrote to Fr. Bodenstedt: “I can’t help but talk to you first of all about the translation of my story Faust, although this is a little selfish of me. I just read it and was literally delighted - it’s just perfection. (I’m talking, of course, about the translation , and not about the original.) It is not enough to know the Russian language to the core - you still have to be a great stylist yourself in order to create something so completely successful "(from French - T, Letters, vol. V, p. 413). This translation was reprinted by him twice - in the first of two published volumes of the planned Fr. Bodenstedt of the collected works of Turgenev in German (Erzahlungen von Iwan Turgenjew. Deutsch von Friedrich Bodenstedt. Autorisierte Ausgabe. Bd. I. Munchen, 1864).

Of the other lifetime translations of Faust, we note the following: Czech (in the journal "Obrazy zivota", 1860 - translated by Vavra), two Serbian translations (in the journal "Matica", 1866, uh 39-44, and "Faust" at Novy Sadu, 1877), three Polish ones ("Wedrowiec", 1888; Tydzieii literacko-artystyczny. Dodatek literacki do "Kuriera Lwowskiego", 1874 and "Warszawsld Dziennik", 1876, ee 87, 89, 92 and 98), English ("Galaxy", XIII, ee 5, 6. May - June, 1872), Swedish (Tourgeneff, Iwan. Faust. Berattelse. ofversaUning af M. B. Varberg, 1875).

"Faust" Turgenev caused imitation in German literature. This fact was noted by German critics during the writer's lifetime. So, according to Otto Glagau, the author of the book "Die Russische Literatur und Iwan Turgeniew" (Berlin, 1872), under the clear influence of Turgenev, the novel by Karl Detlef (pseudonym of the writer Clara Bauer) "Unbreakable Ties" ("Unlosliche Bande" - see below) was written. decree, cit., pp. 163-164). The form of correspondence between two friends, one of whom is the Russian writer Saburov, the plot situation is the death of the heroine as a victim of "bonds", a marriage forcibly imposed on her and a feeling awakened in her, condemnation of life, which is based on a selfish personal principle, and the idea of ​​subordinating her to public duty - all this brings "Inseparable Ties" closer to Turgenev's story "Faust" (see the retelling of this novel in the article: M. Tsebrikova. German novels from Russian life. - "Week", 1874, e 46, pp. 1672-1674).

Entbehren sollst du, sollst entbehren! - 1549 verse of the first part of "Faust" by Goethe, from the scene "Studierzimmer". In the tragedy of Goethe, Faust ironically over this saying, calling for the rejection of the demands of one's "I", for the humility of one's desires, as over "common wisdom"; Turgenev polemically uses it as an epigraph to the story.

Hercules of Farnese. - This refers to the famous statue of the work of Glycon. located in the Neapolitan Museum, which depicts Hercules (Hercules) resting, leaning on a club.

And she did not wait for me, as Argos waited for Ulysses ... - In Homer's Odyssey, the favorite hunting dog of Odysseus (Ulysses) Argos meets the owner after returning from long wanderings and then dies (XVII song).

Manon Lescaut is the heroine of Prevost's novel The Story of the Chevalier de Grieux and Manon Lescaut (1731). A female portrait, reminiscent of Manon Lescaut, often appears among other old portraits of the middle of the 18th century in Turgenev's stories (see: L. Grossman. Portrait of Manon Lescaut. Two studies about Turgenev. M., 1922, pp. 7-41).

Scenes from d "Arlincourt" The Hermit. - d "Arlincourt (d" Arlincourt) Charles Victor Prevost (1789-1856) - French novelist, legitimist and mystic, whose novels were widely known at one time, went through several editions, were translated into many European languages, staged. Especially popular was his novel "Le solitaire" - "The Hermit", or "The Hermit". The novels of d "Arlencourt were preserved in the Spassk library with the inscription of Turgenev's mother (Barbe de Tourgueneff) (see M. Portugalov. Typgenev and his ancestors as readers, "Turgeniana", Orel, 1922, p. 17).

... "Candide" in a handwritten translation of the 70s ... - The first translation into Russian of Voltaire's novel "Candide, or Optimism, that is, the best light" was published in St. Petersburg, in 1769, subsequent ones - in 1779, 1789 gg. This is a handwritten copy of one of these translations. A similar copy was in the Spassk library. "This rare copy, - noted M. V. Portugalov, - in a well-preserved binding has on the spine (bottom) the initials: A. L. (Alexey Lutovinov)" (ibid., p. 16). The same handwritten list of "Candida" is mentioned in "Novi" (it was kept in Fomushka's "cherished box" - see "Nov", ch. XIX).

"Triumphant Chameleon" (that is: Mirabeau) - an anonymous pamphlet "Triumphant Chameleon, or Image of Count Mirabeau's Anecdotes and Properties", transl. with him. M., 1792 (in 2 parts).

Le Paysan perverti (The Depraved Peasant, 1776) is a novel by the French writer Retif de la Bretonne (1734-1806), which was a great success. According to M. V. Portugalov, “all the books mentioned (in Faust) are now in the Turgenev library: the novel by Retief de la Bretonne, autographed by Pierre de Cologrivoff, and the Chameleon by Count Mirabeau, and the old textbooks of the mother and Turgenev's grandmother with the same inscription, only instead of Eudoxie de Lavrine (by the way, I.S.'s grandmother from the Lavrov family) put "A Catharinne de Somov"..." (decree, op., pp. 27-28). Turgenev describes in "Faust" the Spassky library as typical of the middle-noble landlord circle to which his ancestors belonged.

With what an inexplicable feeling I saw a small book, all too familiar to me (the bad edition of 1828). - This refers to the publication brought by Turgenev to Spasskoye from abroad: Goethe J. W. Werke. Vollstandige Ausgabe. Band I-XL. Stuttgart and Tubingen, 1827-1830. "Faust" (1st part) was published in the 12th volume of this edition, published in the same binding with the 11th in 1828 (see: V. N. Gorbacheva. Turgenev's young years. Based on unpublished materials, M ., 1926, p. 43).

Clara Stich (1820-1862) - German dramatic actress, who acted in naive-sentimental roles and enjoyed great success in Berlin in the early 40s, during Turgenev's stay there. As an actress who took the main place on the Berlin stage, K. Gutskov mentions her in the chapter "Berlin theatrical life on the eve of 1840." (K. Gutzkow. Berliner Erinnerungen und Erlebnisse. Hrsg. von P. Friedlander. Berlin, 1960, p. 358).

The music of Radziwill ... - Anton Heinrich Radziwill, Prince (1775-1833) - a Polish magnate who lived at the Berlin court from a young age, musician and composer, author of a number of romances, nine songs from Goethe's "Wilhelm Meister" and scores for his tragedy " Faust", first performed posthumously on October 26, 1835 by the Berlin Singing Academy and published in Berlin in the same 1835. In 1837, Radziwill's Faust was successfully performed in Leipzig, and in 1839 - in Erfurt. Radziwill's music for "Faust" attracted the attention of Chopin, Schumann and Liszt. Liszt, in his book on Chopin, which Turgenev might have known, praised Radziwill's Faust score (see Fr. Liszt. Fr. Chopin. Paris, 1852, p. 134).

There is something else in the world, friend Horatio, which I am not. experienced ... - Paraphrasing the words of Hamlet from the 5th scene of Act I of Shakespeare's tragedy "Hamlet" (Hamlet: There are more things in heaven and earth, Hqratio, than are dreamt at in your philosophy. - There are more things in heaven and earth , Horatio, what did your philosophy dream about).

I shudder - my heart hurts ... - An inaccurate quote from A. S. Pushkin's poem "A conversation between a bookseller and a poet" (1824):

I'll flare up, my heart hurts:

I am ashamed of my idols.

"Night on the Brocken" - "Walpurgis Night", a scene from the first part of "Faust" by Goethe.

"A good man in his obscure striving always feels where the real road is" - "Ein guter Mensch in seinem dunklen Drange ist sich des rechten Weges wohl bewusst", two lines from "Prologue in Heaven" to the 1st part of "Faust" in translation I. S. Turgenev.

Dress me with your wing ... - The third stanza from F. I. Tyutchev's poem "The day is getting dark, the night is close" (1851).

"Thousands of oscillating stars sparkle on the waves" - "Auf der Welle blinken / Tausend schwebende Sterne", two lines from the third stanza of Goethe's poem "Auf dem See".

"My eyes, why are you lowered?" - "Aug" mein Aug, was sinkst du nieder?", A line from the second stanza of the same poem.

Franklin's footprints on the Arctic Ocean ... - John Franklin (1786-1847) - the famous English traveler who led an expedition in 1845 to discover the Northwest Sea Route around America. All members of the expedition died, but for many years they were searched for, as reported in Russian magazines and newspapers.

Fretillon is the nickname of the famous French artist, dancer and singer Cleron (1723-1803), which has become a household name (fretillon is French for lively, fidget).

Like Mazepa to Kochubey, he responded with a cry to an ominous sound. - I mean 300-313 verses from the II song of "Poltava" by Pushkin.

What does he want in a consecrated place, / This one ... this one ... - In his translation of the last scene of the 1st part of "Faust", published in "Notes of the Fatherland" in 1844, Turgenev conveyed the same lines somewhat differently: " Why did he go to a holy place?" (See present, ed., vol. I, p. 37).