Based on the novel by I. Turgenev "Fathers and Sons"

Russian nobility in the novel "Fathers and children children".

Ivan Sergeevich Turgenev was a great playwright, an amazing publicist and a great prose writer. One of his best works - the novel "Fathers and Sons" - he wrote in 1860-1861, that is, during the period of the peasant reform. A fierce struggle divided Russian society into 2 irreconcilable camps: on the one side there were revolutionary democrats who believed that Russia needed a radical change in the state system, on the other - conservatives and liberals, in whose opinion the foundations of Russian life should have remained unchanged: landowners - with their land holdings, the peasants - in one way or another depending on their masters. The novel reflects the ideological struggle between the liberal nobility and revolutionary democracy, and the author sympathizes with the latter. “My whole story is directed against the nobility, as an advanced class,” wrote I.S. Turgenev in a letter to K. Sluchevsky. The characteristic types of nobles of this period are represented in the Kirsanov family. “Look into the faces of Nikolai Petrovich, Pavel Petrovich, Arkady. Weakness and lethargy or limitation. Aesthetic feeling forced me to take precisely good representatives of the nobility in order to prove my theme all the more correctly: if cream is bad, what about milk? The author chooses far from the worst representatives of conservatism and liberalism in order to emphasize even more clearly that the discussion will go on to fight not with bad people, but with obsolete social views and phenomena.
Pavel Petrovich is an intelligent and strong-willed person with certain personal virtues: he is honest, noble in his own way, faithful to the convictions learned in his youth. But at the same time, Pavel Kirsanov does not accept what is happening in the surrounding life. The firm principles that this man adheres to are in conflict with life: they are dead. Pavel Petrovich calls himself a person "who loves progress", but by this word he means admiration for everything English. Having gone abroad, he "knows more with the British", does not read anything Russian, although he has a silver ashtray in the form of a bast shoes on his table, which in fact exhausts his "connection with the people." This man has everything in the past, he has not yet grown old, but he already takes his death for granted during his lifetime ...
Outwardly, his brother is directly opposite to Pavel Petrovich. He is kind, gentle, sentimental. Unlike the idle Pavel, Nikolai tries to take care of the household, but at the same time shows complete helplessness. His "household creaked like an unlubricated wheel, cracked like home-made furniture of raw wood." Nikolai Petrovich cannot understand what is the reason for his failures. He also does not understand why Bazarov called him a "retired man." “It seems,” he says to his brother, “I am doing everything to keep up with the times: I arranged for peasants, started a farm ... I read, I study, in general I try to become up to date with modern requirements, - and they say that my song is sung. Why, brother, I myself begin to think that it is definitely sung.
Despite all the efforts of Nikolai Petrovich to be modern, his whole figure evokes in the reader a feeling of something outdated. This is facilitated by the author's description of his appearance: “chubby; sits with legs bent under him. His good-natured, patriarchal appearance contrasts sharply with the picture of peasant need: "... the peasants met all shabby, in bad nags ..."
The Kirsanov brothers are people of the finally established type. Life has passed them by, and they are not able to change anything; they obediently, albeit with impotent despair, submit to the will of circumstances.
Arkady pretends to be a follower of Bazarov, whom he revered at the university. But in fact, he is only an imitator, that is, a person is not independent. That is repeatedly emphasized in the novel. The ostentatious desire to keep up with the times makes him repeat Bazarov’s thoughts that are completely alien to him; the feelings and views of his father and uncle are much closer to him. In his native estate, Arkady gradually moves away from Eugene. Acquaintance with Katya Lokteva finally alienates the two friends. Subsequently, the younger Kirsanov becomes a more practical master than his father, but his master's well-being means spiritual death.
The nobles Kirsanov are opposed by the nihilist Yevgeny Bazarov. He is the force that can break the old life. Exposing social antagonism in the disputes between Bazarov and Pavel Petrovich, Turgenev shows that the relations between generations here are wider and more complicated than the confrontation of social groups. In the verbal battle between Kirsanov and Bazarov, the inconsistency of the noble foundations is exposed, but there is a certain rightness in the position of the “fathers”, who defend their views in disputes with young people.
Pavel Petrovich is wrong when he clings to his class privileges, to his speculative idea of ​​the life of the people. But perhaps he is right in defending what should remain unshakable in human society. Bazarov does not notice that Pavel Petrovich's conservatism is not always and not in everything self-serving, that there is some truth in his reasoning about the house, about the principles born of certain cultural and historical experience. In disputes, everyone resorts to the use of "opposite common places." Kirsanov talks about the need to follow authorities and believe in them, insists on the need to follow principles, while Bazarov rejects all this. There is a lot of caustic truth in Bazarov's ridicule of noble forms of progress. It's funny when the nobility's claims to progressiveness are limited to the acquisition of English washstands. Pavel Petrovich argues that life with its ready-made, historically established forms can be smarter than any person, more powerful than an individual, but this trust needs to be checked for compliance with an ever-renewing life. The emphatically aristocratic manners of Pavel Kirsanov are rather caused by inner weakness, a secret consciousness of his inferiority. The efforts of the father and son of the Kirsanovs, who are trying to prevent the escalating conflict, only increase the drama of the situation.
Using the example of several bright characters, Turgenev managed to describe the entire noble world and show its problem of that time. In the middle of the 19th century, it stood at a crossroads, not knowing how to develop further, and Ivan Sergeevich very colorfully described this state.

The novel "Fathers and Sons" was written in 1861. At this time, Turgenev breaks with the democratic youth and leaves Sovremennik for ideological reasons, primarily because he did not accept the harsh radical criticism of Chernyshevsky and Dobrolyubov. So the latter, in his article “When will the real day come?”, Analyzing Turgenev’s work, reproaches the author for not seeing a positive hero - a revolutionary in Russia, attacked Rudin in criticism. Ivan Sergeevich did not agree with Dobrolyubov that he was trying to "please rich literary friends" by creating caricature images and characters of Russian democrats. That is why the novel "Fathers and Sons" was published in the reactionary journal "Russian Messenger".
Returning to St. Petersburg 2 months after the publication of the novel, Turgenev was struck by the contradictory reaction to his new work. The democratic press also sharply diverged in its assessment of the novel.
Critics argued that "Fathers and Sons" is a slander of the younger generation and a panegyric to the "fathers", that the novel is artistically very weak, that Turgenev constantly resorts to malicious caricature in order to discredit Bazarov. However, Pisarev in his article "Bazarov" in the layers of the hero saw a synthesis of the most essential features of the worldview of raznochinny democracy.
The clash of "fathers" and "children" in the novel is not everyday, but ideological, reflects the philosophy of liberals and democrats. The disputes between Pavel Petrovich Kirsanov and Yevgeny Bazarov touch upon the most topical issues of that time. Each of them is a representative of his own camp: Bazarov - the camp of revolutionary democrats, Pavel Kirsanov - the reactionary nobility. The former advocated an immediate, revolutionary change in society. The second was against it.
In the late 1850s, "fathers" and "children" had different opinions about who should be considered the driving force behind the social development of society. The nobles, who played a fairly significant role in the past, believed that it was they who should determine the future. However, the democratic revolutionaries believed that the "fathers" had lost their understanding of the essence of the need for change and were only delaying Russia's progress. The younger generation offered to destroy everything, including historical and cultural traditions. They saw the future in the study of the natural sciences, which, in their opinion, would not only be able to explain the essence of biological life, but also explain the interests of the people, which had to be considered from the point of view of "usefulness", and if they did not coincide with the general benefit in further historical development , they should be ignored. This was the essence of one of the disputes between Pavel Petrovich and Bazarov.
So, Pavel Kirsanov, arguing about the people, says that the people are patriarchal. Bazarov agrees that the Russian people are immobile, full of prejudices, but he believes that this needs to be corrected, that educated people should not believe in what the deepest faith of the people is. It won't do any good at the moment.
Bazarov also does not recognize the beauty of nature, the value of art, its charm. In a conversation with Pavel Petrovich, he says: "Nature is not a temple, but a workshop, and man is a worker in it." However, he realizes how insignificant man is compared to nature. In a conversation with Arkady, Eugene pronounces the words, almost completely quoting Pascal. He says that man occupies too little place in the world. It should be noted that Turgenev knew well the works of the French mathematician, philosopher and publicist and talked a lot about them in his letters. And the time of action in the novel is timed to the active attention of the author to the philosophy of Pascal.
Bazarov is seized by "boredom" and "anger", because he perfectly understands that even a strong personality cannot overcome the laws of nature. Nature is omnipotent, and man is insignificant in front of her. Pascal, arguing this, also emphasized the strength of a person who does not want to put up with the laws of nature through his protest. Bazarov's pessimism does not make him give up, he wants to fight to the end, "mess with people." In this case, the author's sympathy is completely on the side of the hero.
In the death of Yevgeny Bazarov, of course, Turgenev's disbelief in the success of the cause of the sixties is reflected. The hero himself doubts the fruitfulness of the efforts connected with the social transformations of reality. He tells Arkady that after his death no one will remember him, no one will say a kind word. And burdock will grow on his grave. However, the way Evgeny dies is not political. And the general philosophical convictions of the writer. The hero dies courageously, with dignity.
The philosophical views of Bazarov also reflected the thoughts of the Roman philosopher Marcus Aurelius, who wrote that the life of every person is insignificant. Eugene's philosophy is a protest, a rebellion of an individual who regrets that individually people are powerless before the biological end. It is impossible to overcome this, but you can immortalize your name with deeds. Turgenev agrees with this formulation of the question, but does not accept unrestrained denial. To forget everything means to bring the future closer only in very limited forms. Disappointment in life and its goals give rise to deep pessimism in the hero. However, Bazarov is well aware that little will change with his death. On his deathbed, he says to Odintsova: “live long, this is best”, in a magnificent epilogue, the author expresses the idea of ​​​​eternal nature, of endless life, which political or other ideas cannot stop, the connection between the present and the future is possible only on the basis of love.

original document?

Introduction 3

Chapter 1. The image of the Russian estate as a literary heritage of the XVIII-XX centuries 6

Conclusion 28

Introduction

“The Russian estate, its culture, paradoxically, remains a little understood and poorly interpreted area of ​​Russian history,” notes the study on the history of estates. The idea of ​​a Russian estate will not be complete if one does not define its poetic image, which was formed in Russian lyrics at the time of the creation and flourishing of estate construction, that is, at the end of the 18th - the first third of the 19th centuries.

The relevance of the study is due, first of all, to the increased interest of modern humanities in the heritage of Russian estate culture, the recognition of the need for its comprehensive study, in particular, the study of the multidimensional influence of estate life on literature and art. Significant in this context is the figure of I. S. Turgenev as the creator of the top samples of Russian estate prose.

The appearance in fiction of the image of a noble estate was a consequence of the decree of Catherine II (“Charter to the nobility”, 1785) on the release of the nobility from military service, after which the role and importance of noble local life in Russian culture began to strengthen. At the end of the 18th - beginning of the 19th centuries, the noble estate experienced its heyday, after which its gradual decline began, until 1917.

During the first half of the 19th century, the noble estate was included in works of art, mainly as a human habitat, a certain way of life that characterizes the owner of the estate (nobleman), his moral and spiritual foundations, way of life and culture, although already during this period the process begins symbolization of the image of a noble estate, which, in particular, finds expression in the work of A.S. Pushkin.

In the second half of the 19th century, when the crisis of this way of life becomes most tangible, the noble estate declares itself as a special cultural phenomenon, which they begin to actively study, describe, and strive to preserve. In the 80-90s of the 19th century, they began to talk about estates as cultural monuments, from 1909 to 1915 the Society for the Protection and Preservation of Monuments of Art and Antiquity in Russia operated in St. Petersburg.

Estate masterpieces by S.T. Aksakov, I.S. Turgenev, I.A. Goncharov, L.N. Tolstoy were created in the literature of the second half of the 19th century. The concept of a family nest of nobles, introduced into culture by the Slavophiles (Shchukin, 1994, p. 41), is gaining more and more strength and significance, and by the end of the 19th century is perceived as one of the central symbols of Russian culture.

At the turn of the 19th - 20th centuries, writers of various views, belonging to different literary movements and associations, paid increased attention to the image of a noble estate. Among them are the names of such artists of the word as A.P. Chekhov, I.A. Bunin, B.K. Zaitsev, A.N. Tolstoy, M.A. Kuzmin, N.G. Garin-Mikhailovsky, A. Bely, F.K. Sologub, G.I. Chulkov, S.N. Sergeev-Tsensky, B.A. Sadovskoy, S.A. Auslender, P.S. As a result, a huge layer of fiction was created, where the image of a noble estate received a detailed development and multifaceted coverage.

The relevance of the study is also due to the active growth of interest in the lost values ​​of national culture and attempts to revive them. Appeal to the image of a noble estate is necessary, in our opinion, to solve the problem of self-identification of Russian culture.

Comprehension of the image of a noble estate as one of the fundamental symbols of Russia is a way of national self-knowledge and self-preservation and represents the possibility of restoring a vast complex of moral and aesthetic norms, largely lost in the vicissitudes of recent centuries.

The object is the images of a noble estate in the novel by I.S. Turgenev - "The Nest of Nobles". The subject of the course work is the noble estate as a phenomenon of the Russian literary process XVIII century. Prose and poetic works of other writers and poets are also used as material for comparative analysis.

The purpose of the course work is to consider the image of a noble estate as one of the central symbols of Russian culture, in the novel by I.S. Turgenev - "The Noble Nest". Achieving this goal involves solving the following tasks:

To identify and describe the general system of universals in which the image of the Russian noble estate in the novel by I.S. Turgenev - "The Noble Nest" is interpreted and evaluated;

To create a typology of the image of a noble estate in the fiction of the designated period, revealing the main trends in artistic comprehension;

To analyze the features of the artistic image of the noble estate by I.S. Turgenev.

The methodological basis of the work is an integrated approach to the study of literary heritage, focused on a combination of several methods of literary analysis: historical-typological, cultural-contextual, structural-semiotic, mythopoetic.

The solution of the research tasks formulated above led to the appeal to the works of M.M. Bakhtin, V.A. Keldysh, B.O. Korman, D.S. Likhachev, A.F. Losev, Yu.M. , V.N. Toporova, V.I. Tyupa. The theoretical categories used in the course work (artistic image, artistic world, artistry mode, chronotope, symbol, myth) are interpreted by us according to the developments of these scientists.

Chapter 1. The image of the Russian estate as a literary heritage XVIII- XXcenturies

The noble estate in pre-revolutionary and modern science was and is being studied to a greater extent from the standpoint of historical and cultural studies. Since the 70s of the 19th century, as G. Zlochevsky notes, guidebooks around Moscow have appeared, which necessarily include a section on estates (for example, guidebooks by N.K. Neighborhoods of Moscow ... "(" 2nd ed., 1880)). From 1913 to 1917, the magazine "Capital and Estate" was published (already in the title of this magazine, the opposition in Russian culture of the estate and capital worlds was reflected); publications about estates are also published in a number of other journals. Monographs devoted to the history and architecture of individual estates also appeared before the revolution. In particular, in 1912 the work of Prince. M.M. Golitsyn about the estate of Petrovskoye, Zvenigorod district, Moscow province (“Russian estates. Issue 2. Petrovsky”), in 1916 - the work of P.S. Sheremetev “Vyazemy”. Memoirs of both individual representatives of the nobility and collections, including the memoirs of a number of authors, are published. So in 1911, under the editorship of N.N. Rusov, the book "Landed Russia according to the notes of contemporaries" was published, which collected memoirs of representatives of the nobility of the late 18th - early 19th centuries. But in pre-revolutionary science, according to G. Zlochevsky, a comprehensive study of the estate culture was not carried out; publications about estates were mostly descriptive; the authors of articles and monographs acted more like historians and chroniclers (Zlochevsky, 1993, p. 85).

During the Soviet period, the study of the noble estate practically ceased, or was carried out from an ideological standpoint. In 1926, for example, the book by E.S. Kots “The Serf Intelligentsia” was published, in which local life is presented from a negative side (in particular, the author examines in detail the issue of serf harems). Memoirs written in Soviet times become the property of readers, as a rule, only after many years. So, for example, in 2000, the memoirs of L.D. Dukhovskaya (nee Voyekova) were published, the author of which is trying to rehabilitate the estate culture in the eyes of his contemporaries: them and themselves justification. . . ." (Dukhovskaya, 2000, p. 345).

An active revival of interest in the noble estate begins in the last decade of the 20th century. There are many historical and cultural works devoted to the study of life, culture, architecture, history of noble estates. Among them, it is necessary to name the work of Yu.M. Lotman “Conversations about Russian culture. Life and traditions of the Russian nobility (XVIII - early XIX centuries) ”(St. Petersburg, 1997), as well as collections of the Society for the Study of the Russian Estate, including the works of many researchers (G.Yu. Sternina, O.S. Evangulova, T. P.Kazhdan, M.V.Nashchokina, L.P.Sokolova, L.V.Rasskazova, E.N.Savinova, V.I.Novikov, A.A.Shmelev, A.V.Razina, E.G. Safonov, M.Yu. Korobki, T.N. Golovina and others). It is also necessary to note the fundamental collective work "Noble and merchant rural estate in Russia in the 16th - 20th centuries." (M., 2001); collections “The World of the Russian Estate” (M., 1995) and “Noble Nests of Russia. History, culture, architecture” (M., 2000); works by L.V. Ershova (Ershov, 1998), V. Kuchenkova (Kuchenkova, 2001), E.M. Lazareva (Lazareva, 1999), S.D. , 2006).

The image of a noble estate in Russian literature of the 18th - 20th centuries receives a wider and more multifaceted coverage in the book by E.E. Dmitrieva, O.N. The authors refer to a huge number of literary sources, including few or completely unknown ones. However, this work is more art criticism than literary criticism. Artistic works are often used as illustrative material for cultural aspects, showing how a real estate influenced Russian literature, or, conversely, how literature shaped "estate life, and real estate space, and the very way of living in the estate" (Dmitrieva, Kuptsova, 2003, p. 5).

Until now, a comprehensive literary study of the image of a noble estate in the prose of the turn of the 19th - 20th centuries as a phenomenon of the Russian literary process has not been created.

The most complete image of the noble estate was studied in Russian literature of the second half of the 19th century, in the works of S.T. Aksakov, I.S. Turgenev, I.A. Goncharov, L.N. Tolstoy (see, for example, the works of V.M. Markovich "I.S. Turgenev and the Russian realistic novel of the 19th century" (L., 1982), V.G. The image of a noble estate in the works of S.T. Aksakov, I.S. Turgenev and L.N. Tolstoy "(Magnitogorsk, 1991); G.N. Popova" The world of the Russian province in the novels of I.A. Goncharov "(Yelets, 2002 )).

In Russian prose of the late 19th - early 20th centuries, the image of a noble estate is considered on the basis of the works of a limited circle of authors. So the critics of the beginning of the 20th century focused on the depiction of local life in the works of I.A. Bunin and A.N. Tolstoy, as well as A.V. Amfiteatrov and S.N. Sergeev-Tsensky. However, in the critical works of the early 20th century, there is no consideration of the image of a noble estate as a phenomenon of Russian culture in the literature of a certain period as a whole. Critics such as K. Chukovsky (Chukovsky, 1914, p. 73-88), V. Lvov-Rogachevsky (Lvov-Rogachevsky, 1911, p. 240-265), G. Chulkov (Chulkov, 1998, p. 392- 395) ), E. Lundberg (Lundberg, 1914, p. 51), A. Gvozdev (Gvozdev, 1915, p. 241-242), characterizing the image of local life in the works of the above-mentioned writers, are limited to one or two phrases, they only mention the conversion authors to the image of local life. So, for example, G. Chulkov, analyzing the story of I. A. Bunin "New Year", speaks of the miraculous power of the estate, awakening in the heroes a feeling of love (Chulkov, 1998, p. 394). V. Cheshikhin-Vetrinsky, considering such works by A.N. Tolstoy as "The Lame Master" and "The Ravines", emphasize the "warm, sincere attitude of the author" to the provincial noble life and "the people of this life" (Cheshikhin-Vetrinsky, 1915, p.438). E. Koltonovskaya writes about the writer's attempt in the cycle "Trans-Volga" through the image of the local nobility "to look into the elemental depths of the Russian man, his nature, his soul" (Koltonovskaya, 1916, p. 72).

Being seen in the works of I.A. Bunin, A.N. Tolstoy, A.V. Amfiteatrov and S.N. the beginning of the 20th century turned out to be completely unexplored by the criticism of the "Silver Age".

In modern literary science, the image of a noble estate in the works of many authors of the turn of the 19th and 20th centuries still remains unexplored. Such scientists as N.V. Barkovskaya (Barkovskaya, 1996), L.A. Kolobaeva (Kolobaeva, 1990), Yu.V. Maltsev (Maltsev, 1994), M.V. Mikhailova (Mikhailova, 2004), O. V.Slivitskaya (Slivitskaya, 2004), R.S.Spivak (Spivak, 1997), refer to the image of a noble estate in the works of I.A.Bunin, A.Bely, F.K.Sologub, I.A.Novikov. But in the works of these scientists, the image of a noble estate is not the object of a special, detailed analysis.

In literary science, the reasons for the destruction and decline of the noble estate in the work of I.A. Bunin are revealed, the dialectical nature of Bunin's concept of the estate is noted, as well as the idealization of estate life in the writer's emigrant work.

L.V. Ershova in the article “Images-symbols of the estate world in the prose of I.A. Bunin” speaks of the writer’s ambivalent attitude to the world of the noble estate and divides the symbols in the works of I.A. Bunin into two rows: negative, “reflecting desolation and the death of the former "gold mine" of the Russian provinces", and positive, "associated with deep and sincere nostalgia, with memory, which tends to idealize the past, elevate and romanticize it" (Ershova, 2002, p. 105). In the emigrant period, from the point of view of the researcher, the positive and negative series of images-symbols opposed to each other come to a dialectical unity - "estate culture is presented in them as part of the all-Russian history" (Ershova, 2002, p. 107). The article "Bunin's lyrics and Russian estate culture" by L.V. Ershova notes the simultaneous depiction of the extinction of the noble estate and its poeticization in the poetry of I.A. Bunin. As the researcher writes, the antithesis “estate-capital” is reflected in the lyrics of I.A. Bunin; the figurative system external to the manor opposes the artist's warmth of the house, which is a protection and a talisman for the lyrical hero.

A different point of view on the image of the house by I.A. Bunin is presented in the work of G.A. Golotina. Considering the theme of the house in the lyrics of I.A. Bunin, the author talks about the doom of the family nest to destruction and death and believes that if in the early poems the house is a reliable protection in all the vicissitudes of life, then since the beginning of the 1890s, the house of I. A. Bunina has never been a prosperous family nest.

N.V. Zaitseva traces the evolution of the image of a noble estate in the prose of I.A. Bunin in 1890 - early 1910s, concludes that the estate in the writer's works is a small estate.

In the prose of A.N. Tolstoy, the image of a noble estate is considered in the works of L.V. Ershova (Ershova, 1998), N.S. Avilova (Avilova, 2001), U.K. Abisheva (Abisheva, 2002). But the range of the writer's works, to which these researchers turn, is limited ("Nikita's Childhood", "The Dreamer (Aggey Korovin)"). Many aspects of the artistic image of the noble estate in the work of A.N. Tolstoy remain unexplored.

L.V. Ershova in the article “The world of the Russian estate in the artistic interpretation of the writers of the first wave of Russian emigration” notes a strong tendency to idealize the image of the noble estate in A.N. . N.S. Avilova writes about the opposition in "Nikita's Childhood" of the image of the estate as a reliable protection and protection of the heroes to the image of the surrounding steppe. U.K.Abisheva in the article "The Artistic Reception of Russian Manor Prose in A. Tolstoy's The Dreamer (Haggey Korovin)" reveals the traditional and innovative in Tolstoy's understanding of manor life.

In Russian prose of the late XIX - early XX centuries, there were three concepts of a noble estate: idealizing, critical, dialectical, fixing in their totality the dynamics of the historical process in Russian public consciousness at the turn of the XIX - XX centuries.

Each concept forms its own image of the artistic world. Three artistic models of a noble estate are created through the writers' interpretation and evaluation of the estate's way of life in the general system of universals, which are childhood, love, family memory.

The image of a noble estate in works with a predominant idealizing concept is depicted as the embodiment of moral and aesthetic norms that are of decisive importance for Russian culture: stability, the value of the personal principle, a sense of the connection of times, veneration of traditions, life in unity with the earthly and heavenly world.

The critical concept destroys the idyllic-mythologized image of the noble estate, debunks the moral foundations of the estate culture. The childhood and love of noble heroes are portrayed by the authors as "distorted"; the burdened consciousness of the inhabitants of the noble estate with ancestral memory is conceived as the cause of its death.

The works of the dialectical concept are characterized by the synthesis of an idealizing and critical view of the phenomenon of the noble estate in the history and culture of Russia. In the image of a noble estate, the same spiritual values ​​and foundations are affirmed as in the works of the idealizing concept. However, the estate world in the works of this group is no longer ideal, it includes an element of disharmony.

The artistic interpretation of the image of a noble estate by representatives of various literary movements reflected the main features of the Russian literary process of the late 19th - early 20th centuries.

The moral code of the noble estate left a big mark on the Russian culture of subsequent periods: it had a noticeable influence on the literature of the Russian diaspora, as well as on the formation of both the oppositional line of Soviet literature and literature biased by official ideology.

Chapter 2 on the work of Turgenev

By the beginning of the XIX century. The Turgenevs suffered the fate of many well-born noble families: they went bankrupt and impoverished, and therefore, for their salvation, they were forced to look for rich brides. Turgenev's father participated in the Battle of Borodino, where he was wounded and awarded the St. George Cross for bravery. Returning in 1815 from a foreign trip to Orel, he married V.P. Lutovinova, a wealthy bride who was orphaned and sat up in girls, who had 5 thousand souls of serfs in the Oryol province alone.

Thanks to parental care, Turgenev received an excellent education. Since childhood, he read and spoke fluently in three European languages ​​- German, French and English - and joined the book treasures of the Spassky Library. In the Spassky Garden, which surrounded the noble manor house, the boy met connoisseurs and connoisseurs of bird singing, people with a kind and free soul. From here he took out a passionate love for Central Russian nature, for hunting wanderings. The home-grown actor and poet, courtyard Leonty Serebryakov, became a real teacher of his native language and literature for the boy. About him, under the name of Punin, Turgenev wrote in the story "Punin and Baburin" (1874).

In n. 1827 The Turgenevs bought a house in Moscow, on Samoteka: the time had come to prepare their children for admission to higher educational institutions. Turgenev studied at the private boarding school of Weidenhammer, and in 1829, in connection with the introduction of a new university charter, at the Krause boarding house, which gave a deeper knowledge of ancient languages. In the summer of 1831, Turgenev left the boarding school and began to prepare for admission to Moscow University at home with the help of well-known Moscow teachers P.N. Pogorelsky, D.N. Dubensky, I.P. Klyushnikov, an aspiring poet, a member of the philosophical circle N.V. Stankevich.

Turgenev's years of study at the verbal department of Moscow (1833-34), and then at the historical-philological department of the philosophical faculty of St. Petersburg Universities (1834-37) coincided with the awakened interest of Russian youth in German classical philosophy and "poetry of thought". Turgenev as a student tries his hand at the poetic field: along with lyrical poems, he creates a romantic poem "Steno", in which, according to a later confession, "slavishly imitates Byron's" Manfred "". Among the St. Petersburg professors, P.A. Pletnev, friend of Pushkin, Zhukovsky, Baratynsky, Gogol. He gives him his poem for judgment, for which Pletnev scolded, but, as Turgenev recalled, “he noticed that there is something in me! These two words aroused in me the courage to attribute several poems to him. . . Pletnev not only approved Turgenev's first experiments, but also began to invite him to literary evenings, where the aspiring poet once met Pushkin, talked with A.V. Koltsov and other Russian writers. Pushkin's death shocked Turgenev: he stood at his coffin and, probably with the help of A.I. Turgenev, a friend of his father and a distant relative, begged Nikita Kozlov to cut a lock of hair from the poet's head. This curl, placed in a special medallion, Turgenev kept as a sacred relic all his life.

In 1838, after graduating from the university with a candidate's degree, Turgenev, following the example of many young men of his time, decided to continue his philosophical education at the University of Berlin, where he became friends with N.V. Stankevich, T.N. Granovsky, N.G. Frolov, Ya.M. Neverov, M.A. Bakunin - and listened to lectures on philosophy from the lips of Hegel's student, the young professor K. Werder, who was in love with his Russian students and often communicated with them in a relaxed atmosphere at N.G. Frolova. “Just imagine, five or six boys got together, one tallow candle burns, tea is served nasty and crackers are old, old; and you would look at all our faces, listen to our speeches! There is delight in everyone's eyes, and cheeks are burning, and the heart is beating, and we are talking about God, about truth, about the future of mankind, about poetry. . . ”, - this is how Turgenev conveyed the atmosphere of student evenings in the novel “Rudin”.

Schelling and Hegel gave the Russian youth k. 1830 - n. The 1840s, a holistic view of the life of nature and society, instilled faith in the reasonable expediency of the historical process, striving for the final triumph of truth, goodness and beauty. The universe was perceived by Schelling as a living and spiritual being that develops and grows according to expedient laws. As the future plant is already contained in the grain, so the ideal "project" of the future harmonious world order is concluded in the world soul. The coming triumph of this harmony is anticipated in the works of brilliant people who, as a rule, are artists or philosophers. Therefore, art (and Hegel's philosophy) is a form of manifestation of higher creative forces.

Unlike epic writers, Turgenev preferred to depict life not in an everyday and protracted course, but in sharp, culminating situations. This brought a dramatic note to the novels and stories of the writer: they are distinguished by a swift plot, a bright, fiery climax and a sharp, unexpected decline with a tragic, as a rule, ending. They capture a short period of historical time, and therefore the exact chronology plays an essential role in them. Turgenev's novels are included in the rigid rhythms of the annual natural cycle: the action in them starts in the spring, culminates in the hot days of summer, and ends under the whistle of the autumn wind or "in the cloudless silence of January frosts." Turgenev shows his heroes in happy moments of maximum development and flowering of their vitality, but it is here that their inherent contradictions are revealed with catastrophic force. Therefore, these moments turn out to be tragic: Rudin dies on the Parisian barricades, on a heroic rise, Insarov’s life suddenly ends, and then Bazarov and Nezhdanov.

The tragic endings in Turgenev's novels are not the result of the writer's disappointment in the meaning of life, in the course of history. Rather, on the contrary: they testify to such a love for life that comes to belief in immortality, to a daring desire that the human individuality does not fade away, that the beauty of the phenomenon, having reached fullness, turns into beauty eternally abiding in the world.

The fates of the heroes of his novels testify to the eternal search, the eternal challenge that a daring human personality throws to the blind and indifferent laws of imperfect nature. Suddenly, Insarov falls ill in the novel "On the Eve", not having time to carry out the great work of liberating Bulgaria. The Russian girl Elena, who loves him, cannot come to terms with the fact that this is the end, that this disease is incurable.

"Oh my God! - thought Elena, - why death, why separation, illness and tears? Or why this beauty, this sweet feeling of hope, why the soothing awareness of a lasting refuge, unchanging protection, immortal patronage? Unlike Tolstoy and Dostoevsky, Turgenev does not give a direct answer to this question: he only reveals the secret, bowing his knees before the beauty that embraces the world: should have fallen silent before this clear sky, under these holy, innocent rays!

Turgenev does not formulate Dostoevsky's winged thought: "beauty will save the world", but all his novels affirm faith in the world-changing power of beauty, in the creative creative power of art, give rise to hope for the steady liberation of man from the power of a blind material process, the great hope of mankind for the transformation of a mortal into immortal, temporal to eternal.

Chapter 3. Analysis of the image of the Russian noble estate

The problems of Turgenev's "Noble Nest" received a peculiar development in the "Poshekhonskaya antiquity" by M. E. Saltykov-Shchedrin (1887-1889). "The heroes of Turgenev do not finish their work," Saltykov-Shchedrin wrote about the "Nest of Nobles" in the already quoted letter to Annenkov.

In his own way, Shchedrin himself brought the story about the inhabitants of the “noble nests” to the end, showing, using the example of the Poshekhon nobles from the shabby family, to what degree of mental impoverishment, moral deformity and inhumanity the local nobility reached in their mass, and not the best, like Turgenev, samples.

Continuity from Turgenev's novel is emphasized by Shchedrin both by the title of individual chapters (the work opens with the chapter "The Nest"), and by selected aspects of the narrative (the origin of the hero, the system of his upbringing, the moral impact of nature and communication with the people, religion, emotional sphere - love and marriage).

At the same time, the author constantly chooses a polemical coverage of the topic in relation to Turgenev, its negative interpretation: in the upbringing of Shabby children, the absence of any system is emphasized, in the landscape of family nests - the absence of any poetic charm, as in the very way of life of their inhabitants - the lack of communication with nature. The parallel fishing episode is described as a purely commercial venture. Infinitely changing nannies, downtrodden and embittered, did not tell fairy tales to children. Love and marriage, devoid of even a hint of poetry, took on monstrously ugly forms. The legacy of feudal times, "overgrown with past" in the period when "Poshekhonskaya antiquity" was created, determined many habits and "folds" in the characters and destinies of Shchedrin's contemporaries - this is what brought to life the work, the starting point for which was Turgenev's "Noble Nest" . "In modern Russian fiction," wrote Saltykov-Shchedrin in an obituary dedicated to Turgenev, "there is not a single writer who would not have a teacher in Turgenev and for whom the works of this writer did not serve as a starting point."

In the same successive line, the influence that Turgenev's work, and in particular the novel "The Noble Nest", had on Chekhov is established.

It was noted in the literature that Chekhov, who largely accepted Turgenev's lyricism, and his sensitivity to questions of the "moral composition" of the personality, and civic exactingness, treated the "Noble Nest" in different periods, but always appreciated it as a deep and poetic work. In the stories "Hopeless", "Double bass and flute" (1885), he ridicules the townsfolk who superficially and by hearsay judged the beauties of the "Noble Nest" or fell asleep over its pages.

Turgenev's novel "The Nest of Nobles" is another attempt by the writer to find a hero of his time among the nobility.

The writer in his works creates a numerous gallery of images, explores the psychology of their behavior.

In the novel "The Nest of Nobles" readers are presented with cultured, educated representatives of the nobility, incapable of decisive action even in the name of personal happiness.

Each nobleman had his own estate. Writers did not bypass the problem of "their estate". We can meet the description of the noble estate in Pushkin's "Eugene Onegin", in Goncharov's "Oblomov", as well as in Turgenev's "Noble Nest".

Manor culture is one of the highest achievements of Russian civilization. Unfortunately, in many ways we have lost these national values, both in their material and spiritual dimensions.

The estate was a home for many noblemen of the XVIII-XIX centuries - the military, politicians, cultural figures. In the estate, the nobles were born, grew up, and there they fell in love for the first time.

The estate became a safe haven for the landowner in case of ruin, disgrace, family drama, epidemic. In his estate, the nobleman rested his body and soul, because life here, devoid of many urban conventions, was simpler and calmer. Free from public service, he spent more time with his family and loved ones, and if he wished, he could retire, which is always difficult in a crowded city.

The landowners, by virtue of their wealth, taste, and imagination, transformed the old parental houses into fashionable classical mansions, brought here new, often ordered from abroad, furniture, dishes, books, sculptures, laid out gardens and parks around, dug out ponds and canals, erected garden pavilions and gazebos. The lordly life in the village was rebuilt in a new way.

The center of any estate was a manor house, usually wooden, but finished in stone. It was visible from the road, long before the entrance to the estate. A long shady alley, framed by tall trees, led to an elegant gate - the entrance to the estate.

The inhabitants of the "noble nests", poetic, live in dilapidated estates.

“... The small house where Lavretsky arrived, where Glafira Petrovna died two years ago, was built in the last century, from a strong pine forest; it looked dilapidated, but could stand for another fifty years or more. Everything in the house remained as it was. The thin-legged white sofas in the living room, upholstered in glossy gray damask, worn and sagging, vividly recalled Catherine's times; in the living room stood the hostess's favorite armchair, with a high and straight back, against which she did not lean even in her old age.

On the main wall hung an old portrait of Fedorov's great-grandfather, Andrey Lavretsky; the dark, bilious face was hardly separated from the blackened and warped background; small evil eyes looked sullenly from under hanging, as if swollen eyelids; her black, powderless hair rose like a brush over her heavy, pitted forehead. At the corner of the portrait hung a wreath of dusty immortels.

In the bedroom rose a narrow bed, under a canopy of old-fashioned, very solid striped matter; a heap of faded pillows and a quilted liquid blanket lay on the bed, and from the head hung the image of the Entrance into the Temple of the Most Holy Theotokos - the very image to which the old maid, dying alone and forgotten by everyone, kissed her cold lips for the last time. A dressing table made of piece wood, with copper plaques and a crooked mirror, with blackened gilding, stood by the window. on the floor lay a worn, wax-stained rug.

The estate is all overgrown with burdock, gooseberries and raspberries; but there was a lot of shade in it, a lot of old lindens, which were struck by their immensity and the strange arrangement of branches; they were planted too closely and sometime a hundred years ago they were cut. The garden ended in a small bright pond with a border of tall reddish reeds. already seemed immersed in that quiet slumber, which slumbers everything on earth, where only there is no human, restless infection.

The Russian estate as a kind of semantic phenomenon has been talked about for a long time: publications were accumulated, conferences were held, a special Foundation for the Revival of the Russian Estate was created ... The book by O. Kuptsova and E. Dmitrieva is by no means the first and not the only study of the estate myth. But among other "estate history" works, "Paradise Lost and Found" will take its rightful place. This work took place as a study of a special type - within the framework of semantic analysis and a culturological approach, but in an absolutely non-special language.

Discourse is the main achievement of the authors. They skillfully avoided the temptation to speak in the "bird" language of strict science, as well as to move on to emotional exclamations: “Regardless of the priority that was given to nature or art in certain eras, the estate synthesized both. In the second half of the 18th century, in the triad “man - art - nature”, the natural was considered as a material for art: the nature surrounding the manor buildings was influenced so that it looked like a continuation of the palace (house).

Questions about the myth of the estate (“Dispute about the merits of urban and rural life), then the reader enters the world of philosophy (“A game of reason and chance: French and English garden style”), then ontological questions are resolved - “estate love”, “estate death” , then we are talking about holidays in the estate and estate theaters, after which we plunge into the world of literature of the 19th and early 20th centuries, and only “estate names”, “estate eccentrics” and “smells in the estate” remain “for dessert”.

The estate is a world arranged to the surprise of guests and neighbors, so the owner turned into the God of his own Eden, felt like a sovereign owner, conductor of an orchestra obedient to his will. Being a complexly designed resultant of the city and the countryside, the Russian “villa” is a cultural space in the wild, blending into the landscape. It is important that the work shows not only the “poetry of gardens,” as D.S. called his study. Likhachev, but also “prose” - estates tend to deteriorate, run wild, collapse, symbolizing the age of the owner or his departure. Thus, it allows you to see all stages of the life of the estate organism itself - from the idea focused on Versailles or English parks, perhaps opposing them, through the very creation of the estate to its heyday, decline and death. “The life of the estate myth” can be seen, so to speak, both in phylogenesis and in ontogenesis: a separate estate decays, but the estate life itself degenerates, being replaced by a country house, which is provided by a completely different ideology.

Chapter 4

Garden near the manor house with a lot of flowers (including, of course, roses), shrubs (raspberry, acacia, bird cherry), fruit trees. The indispensable attributes of the manor landscape are shady linden alleys, large and small ponds, sanded paths, garden benches, sometimes a separate tree (and often an oak), which is so important for the owners. And further - groves, fields with oats and buckwheat, forests (what already constitutes a natural landscape). Turgenev has all this, all this is important both for him and for his heroes.

Tropachev. And your garden is amazing.<…>Alleys, flowers - and everything in general ... (169).

Natalya Petrovna . How good it is in the garden! (301)

Kate. How nicely the grass was washed ... how good it smells ... It smells so much from bird cherry ... (365)

Indicative in this regard is the dialogue between Rakitin and Natalia Petrovna in A Month in the Country:

Rakitin. …how beautiful this dark green oak against a dark blue sky. It is all flooded with the rays of the sun, and what mighty colors ... How much indestructible life and strength is in it, especially when you compare it with that young birch ... It is as if all ready to disappear into the radiance; its small leaves shine with some kind of liquid sheen, as if melting ...

Natalya Petrovna . You have a very subtle feeling for the so-called beauties of nature and speak about them very gracefully, very intelligently.<…>nature is much simpler, even cruder than you think, because, thank God, she is healthy ... (318).

It is as if Gorsky echoes her in the play “Where it is thin, it breaks there”: “Yes, what is the most fiery, most creative imagination that can keep up with reality, behind nature?” (93).

But already in the middle of the century, Turgenev outlines a theme that would later become important for many writers - the theme of the ruin of noble estates, the extinction of estate life. The house in Spassky, the hereditary, once rich estate of Count Lyubin, is decaying. Guardianship was imposed on the estate of Mikhryutkin ("Conversation on the High Road"). In the same scene, the story of the coachman Ephraim about the neighboring landowner Fintrenlyudov is characteristic: “What an important gentleman was! The lackeys are as tall as a galloon, the gentry are just a picture gallery, the horses are thousands of trotters, the coachman is not a coachman, just a unicorn sitting! Halls there, French trumpeters in the choirs - the same blacks; Well, just all the conveniences that life has. And how did it end? They sold all his estate to the auctioneer"

Chapter 5

Insignificant at first glance, but quite a definite role in Turgenev's novels is played by the description of the device, the furnishings of the estates, and the everyday details of the characters' lives. "Noble Nests" are, first of all, family estates: old houses surrounded by magnificent gardens and alleys with centuries-old lindens.

The writer shows us life in a specific real subject environment. The atmosphere of the house, its atmosphere is of great importance for the formation of personality at an early age, when a person intensively absorbs visual and sound images, therefore the author pays attention to the description of the estate environment and life in order to more fully characterize his heroes who grew up here. Indeed, in those days, the way of life was quite stable and the inhabitants of the estates were surrounded by objects familiar from childhood and things that evoke memories.

An example is the detailed and detailed description of the room in the novel "Fathers and Sons": "The small, low room in which he [Kirsanov Pavel Petrovich] was was very clean and comfortable. It smelled of freshly painted floors, chamomile and lemon balm. Along chairs with backs in the form of lyre stood on the walls; they were bought by the deceased general in Poland, during a campaign; in one corner there was a bed under a muslin canopy, next to a forged chest with a round lid. In the opposite corner a lamp was burning in front of a large dark image of Nicholas miracle worker; a tiny porcelain testicle on a red ribbon hung on the saint’s chest, attached to the radiance; on the windows, jars with last year’s jam, carefully tied up, shone through with green light; on their paper lids, Fenechka herself wrote in large letters: “circle”; Nikolai Petrovich especially loved this jam .

Under the ceiling, on a long cord, hung a cage with a short-tailed siskin; he constantly chirped and jumped, and the cage constantly swayed and trembled: hemp seeds fell to the floor with a slight thud. Such national features of life as the icon of Nicholas the Wonderworker, one of the most revered saints in Russia, or jars of gooseberry jam, doubt that we are in the house of a Russian person.

But in the work of Turgenev, the concept of "noble nest" is revealed not only in the literal sense, as a place and way of life of a noble family, but also as a social, cultural and psychological phenomenon.

And, without a doubt, this phenomenon was fully embodied in the 1858 novel "The Noble Nest". The protagonist of the novel, Fyodor Ivanovich Lavretsky, begins his adult life with secular entertainment, useless foreign trips, he falls into the love networks of the cold and prudent egoist Varvara Pavlovna. But soon he is deceived by his wife and disappointed returns from France to his homeland. But life abroad did not make him a Westerner, although he did not completely deny Europe, he remained an original personality, did not change his beliefs. Plunging into the measured, full of harmony and beauty, Russian village life, Lavretsky is healed from the vanity of life. And he immediately notices this, already on the second day of his stay in Vasilyevsky Lavretsky reflects: “That's when I am at the bottom of the river. stir up; here only he is lucky who paves his path slowly, like a plowman furrows with a plow. Lavretsky felt that this was his home, he was nourished by this silence, dissolved in it. These are his roots, whatever they may be. Turgenev sharply criticizes the separation of estates from their native culture, from the people, from Russian roots. Such is Lavretsky's father, he spent his whole life abroad, he is a man in all his hobbies, infinitely far from Russia and its people.

Lavretsky enters the novel, as it were, not alone, but behind him stretches the prehistory of a whole noble family, so we are talking not only about the personal fate of the hero, but about the fate of the whole estate. His genealogy is told in great detail from the beginning - from the 15th century: "Fyodor Ivanovich Lavretsky came from an ancient noble tribe. The ancestor of the Lavretskys went to the reign of Vasily the Dark from Prussia and was granted two hundred quarters of land in the Bezhetsky top." And so on, throughout the whole chapter, there is a description of the roots of Lavretsky. In this detailed background of Lavretsky Turgenev is interested not only in the ancestors of the hero, in the story of several generations of Lavretsky, the complexity of Russian life, the Russian historical process is reflected.

Reborn to a new life, regaining a sense of homeland, Lavretsky experiences the happiness of pure spiritualized love. The novel by Liza and Lavretsky is deeply poetic, it merges with the general silence, harmonizes with the peaceful atmosphere of the estate. Communication with nature plays an important role in the formation of this peaceful atmosphere, this calm measured rhythm of life, because not everyone can be able to live in this rhythm, but only those who have peace and harmony in their souls, and here is the contemplation of nature and communication with it are the best helpers.

For a Russian person, the need to communicate with nature is especially strong. It saturates the soul with beauty, gives new strength: “The stars disappeared in some kind of bright smoke; an incomplete month shone with a solid brilliance; its light spread in a blue stream across the sky and fell in a spot of smoky gold on thin clouds passing nearby; the freshness of the air caused slight moisture to the eyes , affectionately embraced all the members, poured in a free stream into the chest.

L the Avretsky enjoyed and rejoiced at his pleasure. "Well, we'll still live," he thought. "No wonder the most common types of leisure activities in Russia were hiking and horseback riding, hunting, fishing:" By evening, the whole society went to fish. . . The fish pecked incessantly; snatched crucians now and then sparkled in the air with their gold, then silver sides ... The reddish high reeds rustled quietly around them, still water shone quietly in front, and their conversation was quiet.

Despite the fact that the life of Turgenev's "noble nests" is provincial, his heroes are educated and enlightened people, they were aware of the main social and cultural events, thanks to the subscribed magazines, they had large libraries, many were engaged in economic transformations and therefore studied agronomy and other applied sciences. Their children received an education and upbringing that became traditional for that time and was not much inferior to the city. Parents spent a lot of money hiring teachers and tutors to educate their children. Turgenev describes in detail the upbringing of Lisa Kalitina: “Liza studied well, that is, diligently; God did not reward her with especially brilliant abilities, she did not reward her with a great mind; nothing was given to her without difficulty. She played the piano well; but only Lemm knew what it cost her. She didn't read much; she didn't have her own words, but she had her own thoughts, and she went her own way.

Liza is one of the heroines of Russian literature who has risen to the highest spiritual level. She was dissolved in God and in the person she loved, she did not know such feelings as envy or anger. Lisa and Lavretsky are the heirs of the best features of the patriarchal nobility. They came out of the nests of nobles whole and self-sufficient individuals. They are alien to both the barbarism and ignorance of former times, and blind admiration for the West.

The characters of the honest Lavretsky and the modest religious Lisa Kalitina are truly national. Turgenev sees in them that healthy beginning of the Russian nobility, without which the renewal of the country cannot take place. Despite the fact that Turgenev was a Westerner by conviction, a European by culture, in his novel he asserted the idea that it is necessary to know Russia in all its national and historical originality.

Conclusion

The philosophical and romantic school that Turgenev went through in his youth largely determined the characteristic features of the writer's artistic worldview: the apex principle of the composition of his novels, capturing life in its highest moments, in the maximum tension of its inherent forces; the special role of the love theme in his work; the cult of art as a universal form of social consciousness; the constant presence of philosophical themes, which largely organizes the dialectics of the transient and the eternal in the artistic world of his stories and novels; the desire to embrace life in its entirety, which gives rise to the pathos of maximum artistic objectivity. Sharper than any of his contemporaries,

Turgenev felt the tragedy of life, the short duration and fragility of a person's stay on this earth, the inexorability and irreversibility of the rapid run of historical time. But precisely because of this, Turgenev possessed an amazing gift of disinterested, nothing relative and transient, unlimited artistic contemplation. Unusually sensitive to everything topical and momentary, able to grasp life in its beautiful moments, Turgenev possessed at the same time the rarest sense of freedom from everything temporary, finite, personal and egoistic, from everything subjectively biased, clouding the sharpness of vision, the breadth of the look, the fullness of artistic perception.

His love for life, its whims and accidents, its fleeting beauty was reverent and selfless, completely free from any admixture of a proud author's "I", which made it possible for Turgenev to see farther and sharper than many of his contemporaries.

“Our time,” he said, “requires to catch modernity in its transient images; You can't be too late." And he was not late. All his works not only fell into the present moment of Russian public life, but at the same time were ahead of him.

Turgenev was especially receptive to what stands "on the eve", what is still in the air.

A sharp artistic flair allows him to catch the future by obscure, still vague strokes of the present and recreate it, ahead of time, in unexpected concreteness, in living fullness. This gift was a heavy cross for Turgenev the writer, which he carried all his life. His farsightedness could not help but irritate his contemporaries, who did not want to live, knowing their fate in advance. And stones often flew at Turgenev. But such is the fate of any artist, endowed with the gift of foresight and foreboding, a prophet in his own country. And when the struggle subsided, there was a lull, the same persecutors often went to Turgenev with a confession. Looking ahead, Turgenev determined the paths and prospects for the development of Russian literature in the 2nd half. XIX century. In the "Notes of a Hunter" and "The Nest of Nobles" the epic "War and Peace" by L. N. Tolstoy, "the thought of the people" is already anticipated; the spiritual quests of Andrei Bolkonsky and Pierre Bezukhov were outlined by a dotted line in the fate of Lavretsky; in "Fathers and Sons" Dostoevsky's thought, the characters of his future heroes from Raskolnikov to Ivan Karamazov were anticipated.

Despite the fact that I.S. Turgenev often lived far from the "family nest", the estate was a specific place for him, not at all ideal. Turgenev already then foresaw the destruction of the old "noble nests", and with them the highest noble culture.

List of used literature

1. Ananyeva A.V., Veselova A.Yu. Gardens and texts (Review of new research on gardening art in Russia) // New Literary Review. 2005. No. 75. C. 348-375.

2. Noble Nests of Russia: History, Culture, Architecture / Ed. M.V. Nashchokina. M., 2000;

3. Dmitrieva E.E., Kuptsova O.N. The Life of the Manor Myth: Paradise Lost and Found. M.: OGI, 2003 (2nd edition - 2008).

4. Life in a Russian Estate: An Experience of Social and Cultural History. - St. Petersburg: Kolo, 2008.

5. Russian Estate: Collection of the Society for the Study of the Russian Estate. M., 1994-2008. Issue. 1-14.

6. Tikhonov Yu.A. Noble Estate and Peasant Court in Russia in the 17th and 18th Centuries: Coexistence and Confrontation. M.; St. Petersburg: Summer Garden, 2005.

7. Three centuries of the Russian estate: Painting, graphics, photography. Pictorial chronicle. XVII - early XX century: Album-catalog / Ed.-comp. M.K. Gurenok. M., 2004.

8. Turchin B.C. Allegory of everyday life and festivities in the class hierarchy of the 18th - 19th centuries: from the estate culture of the past to the culture of our days / V.C. Turchin II Russian estate. - M., 1996. Issue. 2(18). S. 16.

9. Shchukin V. The Myth of the Noble Nest: A Geoculturological Study of Russian Classical Literature. Krako´w, 1997. (Reprinted in the book: Schukin V. The Russian genius of education. M .: ROSSPEN, 2007.)

10. Le jardin, art et lieu de mémoire / Sous la direction de Monique Mosser et Philippe Nyss. Paris: Les editions de l'imprimeur, 1995.

The action of the novel "Fathers and Sons" takes place in the summer of 1859, the epilogue tells about the events that took place after the fall of serfdom in 1861. Turgenev created a work, the content of which almost coincided in time with the moment of work on it. On the very eve of the reform of 1861, Turgenev shows the crisis in the way of life of both the master and the peasant, the nationwide need to abolish serfdom. The theme of the crisis arises at the very beginning of the novel and in the sad appearance of a devastated Russian village, and in the features of the collapse of the patriarchal foundations of a peasant family noticed by the writer, and in the lamentations of the landowner Nikolai Petrovich Kirsanov, and in his son Arkady's reflections on the need for transformation.
The fate of Russia, the ways of its further progressive development deeply worried the writer. The stupidity and helplessness of all classes threatens to develop into confusion and chaos. Against this background, heated debates are unfolding about the ways to save Russia, which are waged by the heroes of the novel, representing the two main parts of the Russian intelligentsia - the liberal nobility and the democrats of the common people. These two groups represent socially different environments with directly opposite interests and views. On the one hand, these are “fathers” (Pavel Petrovich and Nikolai Petrovich Kirsanovs), on the other hand, “children” (Bazarov, Arkady).
The most striking, although not quite typical, representative of the cultural provincial nobility is Pavel Petrovich Kirsanov, Bazarov's main opponent. Turgenev describes in detail the life path of this hero. The father of both Kirsanov brothers was a military general in 1812, a semi-literate, rude, but not an evil Russian man. All his life he pulled the strap, commanding first a brigade, then a division, and constantly lived in the provinces, where, by virtue of his character, he played a rather significant role. Their mother, Agafya Kuzminishna Kirsanova, belonged to the “mother commanders”, in the church she was the first to approach the cross, spoke loudly and a lot. Pavel Petrovich was born in the south of Russia and brought up at home, surrounded by cheap tutors, cheeky but obsequious adjutants and other regimental, staff personalities.
Pavel Petrovich entered the military service: he graduated from the Corps of Pages, and a brilliant military career awaited him. Pavel Kirsanov was distinguished by remarkable beauty and was self-confident. Having become an officer of the Guards Regiment, he began to appear in society. Women were crazy about him, and men envied him. Kirsanov lived at that time in the same apartment with his brother Nikolai Petrovich, whom he loved sincerely. In the twenty-eighth year, Pavel Petrovich was already a captain. But unhappy love for a woman with a mysterious look, Princess R., turned his whole life upside down. He retired, spent four years abroad, then returned to Russia, lived as a lonely bachelor. And so ten years passed, colorless, fruitless. When Nikolai Petrovich's wife died, he invited his brother to his estate Maryino, and a year and a half later Pavel Petrovich settled there and did not leave the village, even when Nikolai Petrovich left for St. Petersburg.
Pavel Petrovich arranged his life in an English way, he was known as a proud man among his neighbors, but he was respected for his excellent aristocratic manners, for rumors about his victories, for his masterful game of screw, and especially for his impeccable honesty. Living in the village, Pavel Petrovich retained all the severity and stiffness of the old secular habits.
The aristocrat Pavel Petrovich and the raznochinets, the son of the doctor Bazarov disliked each other at first sight. Bazarov was outraged by Kirsanov's panache in the provincial wilderness and especially by long pink nails. Later it turned out that in their views there is not a single point of contact. Pavel Petrovich valued “principles” above all else, without which, in his opinion, one cannot take a step, one cannot breathe. Bazarov, on the other hand, categorically did not recognize any authorities and did not take a single principle on faith.
Pavel Petrovich appreciates poetry, loves art. Bazarov, on the other hand, believes that "a decent chemist is twenty times more useful than any poet." Gradually, Pavel Petrovich develops a hostile feeling towards Bazarov - this plebeian without clan and tribe, without that high culture, whose traditions Pavel Petrovich felt behind him, towards this commoner, who dares boldly and self-confidently deny the age-old principles on which the existence of the elder Kirsanov is based.
Although Pavel Petrovich called himself a liberal and progress-loving person, by liberalism he understood the condescending aristocratic love for the patriarchal Russian people, whom he looked down on and despised (when talking with peasants, he frowns and sniffs cologne). Having not found a place for himself in modern Russia, after the weddings of Arkady and Katerina, Nikolai Petrovich and Fenichka, he went abroad to live out his life. He settled in Dresden and enjoyed general respect there as a perfect gentleman. However, life is hard for him: he does not read anything Russian, but on his desk there is a silver ashtray in the form of a peasant's bast shoes - all his connection with his homeland.
Another representative of the noble intelligentsia is Pavel Petrovich's brother, Nikolai Petrovich Kirsanov. He, too, was supposed to enter the military service, but broke his leg on the very day when the news of his appointment had already arrived. Nikolai Petrovich remained lame for the rest of his life. Unlike his older brother, Nikolai Petrovich read a lot. In 1835 he graduated from the university with the title of candidate. Soon after, his parents died, and he marries the daughter of the former owner of his apartment. He settled in the village, where he happily lived with his young wife. Ten years later, his wife died unexpectedly - Nikolai Petrovich survived it with difficulty, he was about to go abroad, but changed his mind and stayed in the village, took up household chores. In 1855, he took his son Arkady to the university, lived with him for three winters, during which he tried to make acquaintances with his comrades.
Nikolai Petrovich is modest, provincial, weak in character, sensitive and shy. Even his appearance speaks of this: completely gray-haired, plump and slightly hunched. He was somewhat ingratiatingly kind to Bazarov, was afraid of his older brother, and was embarrassed in front of his son. There is a lot in it that Bazarov hates so much: dreaminess, romanticism, poetry and musicality.
The figure of his brother stands next to Nikolai Petrovich in very contrast. Unlike him, Nikolai Petrovich tries to take care of the household, but at the same time shows complete helplessness. “His household creaked like an unoiled wheel, creaked like home-made furniture of raw wood.” Nothing worked out for Nikolai Petrovich: chores on the farm grew, relations with hired workers became unbearable, the peasants put on quitrent did not pay money on time, they stole the wood. Nikolai Petrovich cannot understand what is the reason for his economic failures. He also does not understand why Bazarov called him a "retired man."
In the ideological plan of the novel, the face of Nikolai Petrovich is determined by his reflections after the fight with the nihilists over evening tea: “... it seems to me that they are further from the truth than we are, but at the same time I feel that there is something behind them, what we don’t have, some kind of advantage over us ... Isn’t the advantage that they have fewer traces of nobility than us? ”,“ weak ”, more emotional than a brother.
The son of Nikolai Petrovich Arkady pretends to be a follower of Bazarov, before whom he revered at the university. But Arkady is just his imitator, a dependent person. The ostentatious desire to keep up with the times makes him repeat Bazarov’s thoughts that are completely alien to him, although the views of his father and uncle are much closer to Arkady. In his native estate, he gradually moves away from Bazarov, and acquaintance with Katya finally alienates Arkady. By definition, Bazarov, he is a gentle soul, a weakling. Bazarov is right in predicting to him that the energetic Katya, becoming his wife, will take everything into her own hands. In the epilogue of the novel, it is said that Arkady has become a zealous owner, and his farm is already generating significant income.
In the novel "Fathers and Sons" by the Kirsanov family, three characteristic types of liberal noble intelligentsia are presented: Pavel Petrovich, who does not accept any changes, Nikolai Petrovich, who tries to keep up with the times, but all his innovations fail, and, finally, Arkady, who, having no ideas of his own, uses those of others, confirming the fact that the youth of the nobility ceased to play any significant role in the progressive social movement, taking advantage of what the raznochintsy created.

(the essay is divided into pages)

I. S. Turgenev began work on the novel “Fathers and Sons” in early August 1860, and finished it in early July 1861. The novel appeared in the February book of the Russky Vestnik magazine. In the same year, it was published as a separate edition with a dedication to V. G. Belinsky.

The action of the novel takes place in the summer of 1859, the epilogue tells about the events that took place after the fall of serfdom in 1861. Turgenev follows, one might say, on the heels of the events of Russian life. He had never created a work, the content of which would almost coincide in time with the moment of work on it. With cursory but expressive strokes, on the very eve of the reform of 1861, Turgenev shows the crisis in the way of life of both the master and the peasant, the nationwide need to abolish serfdom. The theme of the crisis arises at the very beginning of the novel and in the sad appearance of a devastated Russian village, and in the features of the collapse of the patriarchal foundations of a peasant family noticed by the writer, and in the lamentations of the landowner Nikolai Petrovich Kirsanov, and in his son Arkady's reflections on the need for transformation.

The fate of Russia, the ways of its further progressive development deeply worried the writer. He is trying to show Russian society the tragic nature of the growth of conflicts. The stupidity and helplessness of all classes threatens to develop into confusion and chaos. Against this background, heated debates are unfolding about the ways to save Russia, which are waged by the heroes of the novel, representing the two main parts of the Russian intelligentsia - the liberal nobility and the democrats of the common people. These two groups represent socially different environments with directly opposite interests and views. On the one hand, these are “fathers” (Pavel Petrovich and Nikolai Petrovich Kirsanovs), on the other, “children” (Bazarov, Arkady).

The most striking, although not quite typical, representative of the cultural provincial nobility is Pavel Petrovich Kirsanov, Bazarov's main opponent. Turgenev presents the life path of this hero in some detail. The father of both Kirsanov brothers was a military general in 1812, a semi-literate, rude, but not an evil Russian man. All his life he pulled the strap, commanding first a brigade, then a division, and constantly lived in the provinces, where, by virtue of his character, he played a rather significant role. Their mother, Agafya Kuzminshn-na Kirsanova, belonged to the “mother commanders”, wore magnificent caps and noisy dresses, was the first to approach the cross in church, spoke loudly and a lot, in a word, lived for her own pleasure. Pavel Petrovich was born in the south of Russia and brought up at home, surrounded by cheap tutors, cheeky but obsequious adjutants and other regimental, staff personalities.

Pavel Petrovich entered the military service: he graduated from the Corps of Pages, and a brilliant military career awaited him. From childhood, Pavel Kirsanov was distinguished by remarkable beauty; besides, he was self-confident, a little mocking, he could not help but like. Having become an officer of the Guards Regiment, he began to appear in society. Women were crazy about him, and men envied him. Kirsanov lived at that time in the same apartment with his brother Nikolai Petrovich, whom he loved sincerely. In the twenty-eighth year, Pavel Petrovich was already a captain. But unhappy love for a woman with a mysterious look, Princess R., turned his whole life upside down. He retired, spent four years abroad, then returned to Russia, lived as a lonely bachelor. And so ten years passed, colorless, fruitless. When Nikolai Petrovich's wife died, he invited his brother to his estate Maryino, and a year and a half later Pavel Petrovich settled there and did not leave the village, even when Nikolai Petrovich left for St. Petersburg. Pavel Petrovich arranged his life in an English way, and began to read more and more in English. He rarely saw his neighbors, only occasionally went out only to the elections. Pavel Petrovich was reputed to be proud among them, but he was respected for his excellent aristocratic manners, for the rumors about his victories, for the fact that he skillfully played vint and always won, and especially for his impeccable honesty.

"Fathers and Sons" is one of the best novels by I. S. Turgenev. In this work, the writer brought to the stage a new man of the era, the “Russian Insarov”. Such is the protagonist of the novel, Yevgeny Bazarov, a raznochinets and a democrat by conviction.

Bazarov is opposed to all other characters, and above all to the Kirsanov family. In the images of the Kirsanovs, the author truthfully depicted the life and customs of the Russian nobility.

Acquaintance with the life of the Kirsanovs begins with a description of the estate of Nikolai Petrovich. Villages with low huts, crumbling roofs, devastated cemeteries, rickety churches. Men in rags, looking like beggars, miserable, stunted trees complete the picture of the decline of Maryino, where Nikolai Kirsanov and his brother Pavel live.

External signs serve only as confirmation of internal troubles. The owner of the estate, Nikolai Petrovich, is trying to keep up with the times, carrying out transformations in the economy, but he himself feels that his labors are wasted. He starts a farm, proud that he is "called red in the province", but he cannot find a common language with the peasants. Nikolai Petrovich complains to his son Arkady: “It’s impossible to fight on your own, to send for a camp commander - principles don’t allow, and nothing can be done without fear of punishment!”

A gentle and kind person by nature, Nikolai Petrovich tries to reconcile the old with the new both in himself and in those around him. He tries to smooth out the contradictions between his brother and Bazarov, does not know how to behave in a conversation with his son. But Nikolai Petrovich himself feels that he is "a retired man, his song is sung." It pains him to realize this, he does not want to believe in the correctness of Bazarov’s words, but he says to Pavel Petrovich: “It seems to me that they are further from the truth than we are, but at the same time I feel that there is something behind them that we we don't have any advantage over us..."

Nikolai Petrovich is afraid to recognize himself as a man of the past, but all his actions prove that he cannot keep up with the times. This simple Russian gentleman evokes a smile and a feeling of pity. The attitude of Nikolai Petrovich to Fenichka, his love for music and literature confirm the kindness of this person, in many ways close and understandable to Turgenev.

His brother Pavel differs sharply from Nikolai Petrovich. He has no doubt that he lives with the right ideas about people and events. Pavel Petrovich considers himself an aristocrat and puts the rights of the nobility at the forefront. He lives in the village with his brother, but retains all the aristocratic habits.

Pavel Petrovich dresses in the English manner, reads only English newspapers. A well-groomed face, hands with "long pink nails", a fragrant mustache distinguish him from the rest of the characters in the novel. Already from the first description of Pavel Petrovich, it is clear that this is a gentleman who knows his own worth. The impression created by appearance is strengthened after the story of Pavel Petrovich's life in Maryino. He inspires fear in the servants and Fenechka. The peasant, according to Bazarov, does not see his "compatriot" in Pavel Petrovich, because he "does not even know how to talk with him."

Zealously guarding his life from external intrusion, Pavel Petrovich immediately saw an enemy in Bazarov. Already at a meeting with a “nihilist”, he does not shake hands with him, and then asks his brother: “Who is this?” Pavel Petrovich feels what kind of opinion Bazarov has about him. This irritates the "county aristocrat". Politeness betrays him, in disputes he becomes harsh and rude. Trying to uphold my principles. Pavel Petrovich is constantly defeated. His “principles collapse under the influence of Bazarov’s words. Unable to overcome Yevgeny in a dispute, Pavel Petrovich began to hate him even more.

The apotheosis of the clash of heroes is a duel, for which Pavel Petrovich chooses an insignificant reason and tries to hide the true reason. The duel shows all the inconsistency of the noble "principles" of Pavel Petrovich. This honest, well-mannered man is a thing of the past. Turgenev, speaking of Pavel Petrovich, lying in bed after a duel, writes: "... His beautiful, emaciated head lay on a white pillow, like the head of a dead man ... Yes, he was a dead man." I immediately recall the words of Bazarov, who calls him an "archaic phenomenon." And if Nikolai Petrovich causes a kind smile with a touch of sadness, then his brother is worthy of only pity.

The soul of Pavel Petrovich has long been devastated, he has no future, but only the past. You understand this especially sharply when reading the epilogue of the novel. Pavel Petrovich lives in Dresden, he is as respectable as before, neat and noble, he does not read anything Russian. But "it's hard for him to live ... harder than he himself suspects." Bitterly clenching his teeth, Pavel Petrovich stands in thought without moving in the Russian church, “later he suddenly comes to his senses” and begins to pray. Only the Russian church in the center of Germany and an ashtray in the form of a peasant's bast shoes remained with this man.

But the fate of Nikolai Petrovich is by no means cloudless. His views, the activities of the world mediator "do not fully satisfy either the educated nobles ... or the uneducated." Nikolai Kirsanov also cannot get into the mainstream of a fast-flowing life.

The fate of the Kirsanov brothers is a reflection of the life of the Russian nobility of the post-reform era. I. S. Turgenev masterfully depicted the process of the gradual destruction of the “noble nests”, the death of the patriarchal way of life. A new, young force invaded the environment dear to the writer's heart.