The artistic method of Turgenev the novelist. About the creative method

In the socio-psychological novels "Rudin", "The Nest of Nobles", "On the Eve", "Fathers and Sons", the stories "Asya", "Spring Waters", images of the outgoing noble culture and new heroes of the era of commoners and democrats, images of selfless Russian women . In the novels "Smoke" and "Nov" he depicted the life of Russians abroad, the populist movement in Russia.

Roman I. S. Turgenev "Fathers and Sons" (1862), caused conflicting opinions. Critics understood and read the novel in different ways, interpreted the main idea and problems of this work in different ways. Most saw him eternal problem fathers and children, the problem of generational change. That is, the main conflict of the novel was interpreted as an age-related one. But the struggle of "fathers" and "children" in Turgenev's novel is not only a clash of different generations, but also of ideologies and worldviews. The confrontation between the heroes in the novel has another meaning - it is philosophical reflections on the eternal movement of life and the eternal struggle of the old and the new, about the place and activity of man on earth. Therefore, one of the most interesting problems in the novel is the problem of the doer, the problem of the positive hero.

In the era described by the writer, a new type of figure begins to form: a raznochinets-democrat, a man of action, a pragmatist and a materialist. Turgenev managed to see and capture (of course, in his own way and very subjectively) the birth of the hero of the new time. Therefore, the central place in the novel is occupied by the figure of Evgeny Vasilyevich Bazarov. This hero of the 28 chapters of the novel is not present in only two. All other persons are grouped around him, in relationships with him and with each other, revealing their characters, thereby emphasizing the originality of his personality. Like Chatsky in "Woe from Wit" by A. S. Griboedov, Bazarov is opposed to all the actors: the nobles Kirsanov, and Odintsova, and Kukshina with Sitnikov, and even his own parents. He is from a completely different environment, and this is manifested in his views and words. This is especially noticeable in relationships with a friend, beloved woman and parents.

In the novel, Turgenev uses exact dating, showing the reader the specific time of the action. The story of the novel begins in 1859 on May 20 and ends in the winter of 1860. The conciseness of Turgenev's narrative is also striking. Pictures of the life of Russian society of that time fit into the framework of a small work.

The sharp difference between Bazarov and the surrounding noble landowners is striking at the first acquaintance with the hero. All the smallest details of the portrait characteristics (a weathered red hand, a hoodie with tassels, whiskers, a strong-willed face, rude manners) - all this indicates that we have a man of action who does not consider it necessary to observe the rules of good manners, so essential in noble life.

Turgenev talks very sparingly about the biography of his hero. From the novel we learn that Yevgeny Bazarov is the son of a regimental doctor, the grandson of a deacon, that he is a graduate of the Medical and Surgical Academy. "His main subject is the natural sciences," says Arkady. "Yes, he knows everything." Indeed, the hero is very knowledgeable in the field of medicine, chemistry, physics, and zoology. But Turgenev does not tell the reader in what field Bazarov's talent will unfold. Judging by the hints of Arkady, he is not destined for a medical career at all. The author himself saw a revolutionary in Bazarov. “And if he is called a nihilist,” the author wrote in a letter to K. Sluchevsky, “then it should be read: a revolutionary.” How does this revolutionary spirit manifest itself in the hero? Of course, Turgenev could not openly portray the revolutionary activities of Bazarov. But he managed to convey to the reader exactly this idea, showing the inner world of his hero, his level of thinking and worldview. Turgenev immortalized the Bazarov type by introducing the concepts of "nihilism" and "nihilist" into the Russian language.

What is the nihilism of the hero? What does he express? Bazar's nihilism, which denied authority, was born in an era of a turning point in public consciousness. It is associated with the assertion of a materialistic worldview, with the development of science, primarily natural science. A feature of Bazarov's nihilism was that the hero did not take anything on faith, he strove to test everything with life and practice. A distinctive feature was also the complete denial of art, music and other manifestations of the spiritual life of people. But this peculiarity of views gave rise to contradictions. Bazarov experiences for himself what he despised, what he called "romanticism, nonsense, rottenness, art."

The strongest blow, which led to the hero's internal conflict with himself, produced love, the existence of which he had previously completely denied. "Here you go! Baba got scared!" - thought Bazarov, and, lounging in an armchair no worse than Sitnikov, spoke exaggeratedly cheekily. "Love for Odintsova splits the hero's soul into two parts. Now two personalities live in him. One of them is a convinced opponent of romantic feelings. The other is a passionately loving person who with a genuine mystery of high feeling: "... He would easily cope with his blood, but something else entered into him, which he did not allow, which he always mocked, which revolted all his pride. " Bazarov confesses his love, but he sees that his feeling is not mutual.He leaves the house of Odintsova, trying to suppress the raging feeling in himself.

Although the character of Anna Sergeevna Odintsova has much in common with the character of Bazarov, she does not dare to marry him, as she prefers calmness and confidence in tomorrow: "Calm is still the best thing in the world." Yes, and Bazarov himself is difficult to imagine the same family man as Arkady will become. The result of the spiritual discord, the tragic love of the hero was the collapse of his entire worldview.

A special role in the novel is played by Bazarov’s relationship with a friend, Arkady Kirsanov: “Bazarov has no friend, because he has not yet met a person who has not given up before him. Arkady wants to be the son of his age and puts on Bazarov’s ideas, which they absolutely cannot grow up with him." Arkady's nihilism is a song "from someone else's voice." Yevgeny Bazarov wanted to re-educate Arkady, make him "his own", but very soon became convinced that this was not feasible. And yet it is hard for Bazarov to part with Arkady, to whom he was sincerely attached.

In the novel, Arkady is the best of Bazarov's "disciples". His other "followers" are caricatured. Sitnikov and Kukshina vulgarize the ideas of the raznochintsy-democrats. They see in nihilism only one thing - the denial of all the old moral norms. That is why these characters are so repulsively ugly and funny. For them, nihilism is just a new fashion.

Turgenev once again takes his hero in the same circle, makes him meet the same people and clarify his relationship with them to the end. But now, neither in Maryino nor in Nikolsky, we no longer recognize the former Bazarov: his brilliant disputes fade, unhappy love burns out, the essentially important thing - the treatment of people - becomes meaningless. And only in the final last time flare up to finally fade away, its unsettling but loving life soul. "Death reconciles Bazarov with life. In the face of death, the supports that once supported Bazarov's self-confidence and cynicism turned out to be weak: medicine and the natural sciences, unable to turn the tide of events, retreated, leaving Bazarov alone with himself. And then forces came to the rescue, once denied by him, but kept in the depths of his soul. It is with their help that the hero fights death and boldly looks into her eyes. What is the hero at this moment? The dying Bazarov is simple and human: there is no need to hide his "romanticism", and now "now the hero's soul is freed from the chains of false theories. He thinks not about himself, but about his parents, preparing them for a terrible end. Love for a woman, love for father and mother merge in the mind of the dying Bazarov with love for the Motherland. The hero realizes that Bazarov- Russia does not need a nihilist, that he is superfluous in this world, that his activities are useless: “Russia needs me ... No, apparently not needed. And who is needed? A shoemaker is needed, a tailor is needed, a butcher ... sells meat ... "

Ivan Sergeevich Turgenev was born into a wealthy noble family. He spent his childhood in the family estate of his mother, Spasskoe-Lutovinovo. Since 1827 he lives in Moscow and studies in various private boarding schools. In 1833 he entered Moscow University, in 1834 he was transferred to St. Petersburg University, from which he graduated in 1837 in the verbal department of the Faculty of Philosophy. Turgenev's first literary experiments were romantic poems and the dramatic poem "The Wall" (1834). In 1838, Turgenev listened to lectures on classical philology and philosophy in Berlin, together with N.V. Stankevich and M.A. Bakunin, members of the famous Russian circle of Stankevich, who, each in their own way, played a huge role in the formation of his worldview and political views (Bakunin would later emigrate to Europe and become the creator of a new revolutionary doctrine - anarchism, as well as the founder of the First International). After the publication of the poem “Parash” in 1843, Turgenev became close to V.G. Belinsky and with writers natural school(N.A. Nekrasov, D.V. Grigorovich, I.I. Panaev, etc.), and in 1847 the first Turgenev essay from the future series “Notes of a Hunter” - “Khor and Kalinich ".

"Notes of a Hunter" (first published as a separate book in 1852) laid the foundation for the all-Russian fame of Turgenev. For the first time in Russian literature, Turgenev presented the images of peasants as complex and deep personalities, with a special worldview, type of thinking and spirituality. Turgenev endowed the people with feelings that were previously attributed only to heroes from the nobility: love for beauty, artistic talent, the ability for sublime sacrificial love, deep and peculiar religiosity. In "Notes of a Hunter" the skill of Turgenev as a landscape painter was also clearly manifested.

In 1844, Turgenev for the first time heard the singing of the famous French singer Pauline Viardot during her tour in St. Petersburg and falls in love with her for life. Soon he leaves for her in Paris. Polina was married to the director of the Grand’ Opera, Louis Viardot, and Turgenev could only become her devoted admirer and friend at home, dooming himself to the “loneliness of a familyless bean” (as H.H. complains in the story “Asya”). Subsequently, Turgenev repeatedly approached and diverged from Viardot, but did not part with her until his death. The theme of love becomes the leading one in his work and at the same time begins to sound like an inescapable tragedy. Perhaps none of the Russian classics was able to depict the development of life with such charming poetry and subtle psychological nuance. love relationships, which, however, for the protagonist always end in separation or death.

In 1850, upon returning from Europe, Turgenev actively participates in the work of the Sovremennik magazine and begins to look for ways to big prose genres. From stories and essays, he moves to the genre of the story ("Mumu", 1854 and "Inn", 1855). All more writer departs from the peasant theme and takes as the subject of the image the noble intelligentsia, with its painful search for spiritual and socio-political ideals. The beginning was laid back in 1850 with the story “The Diary of a Superfluous Man”. From 1855 to 1862, Turgenev wrote, following the traditions of Dickens, J. Sand and Lermontov, whole line sociopsychological novels. According to L.V. Pumpyansky, early novels Turgenev are, first of all, novels of the face (in contrast to the novels of the act, like “Crime and Punishment” or “Anna Karenina”), where the main purpose of the image is the personality of the hero in her social aspect: as representing time, ideological or political movement, this or that social force. The novel is built as a trial of the hero's social significance - as a detailed answer to the question of whether the social force represented by this character is productive, whether it is capable of playing a positive role in further development Russia. In "Rudin" (1855), the main character is a typical intellectual-idealist of the 40s. - member of Stankevich's circle; in "The Nest of Nobles" (1859) - Slavophile Lavretsky. In the novel "On the Eve" (1860), Turgenev's attention is attracted by the Bulgarian Insarov, a fighter for the liberation of his country from the Turkish yoke. In "Fathers and Sons" (1862), for the first time, the main character is not a nobleman, but a democrat-raznochinets Bazarov.

Being himself a Western liberal in his political views, Turgenev tried to be as objective as possible when depicting public controversy and disputing sides, so that his novels would not lose in artistry and historical value. Unlike the philosophical novels of Tolstoy or Dostoevsky, which required a long assimilation cultural consciousness nation, Turgenev's novels, due to their relevance, immediately received universal recognition and caused heated discussions in the press.

According to G.B. Kurlyandskaya, Turgenev had a special ability to “correctly guess the originality of turning points in Russian social history, when the struggle between the old and the new becomes extremely aggravated ... He managed to convey the ideological and moral atmosphere of each decade of Russian public life in the 1840s-1870s, create an artistic chronicle ideological life of the “cultural stratum” of Russian society”. “During all this time,” Turgenev wrote already in 1880, “I tried, to the best of my ability and ability, to conscientiously and impartially portray and translate into proper types and what Shakespeare called “the body and pressure of time”, and that rapidly changing physiognomy of the Russian people of the cultural layer, which mainly served as the subject of my observations.

In between novels, Turgenev writes a number of stories, such as Asya (1958), Faust (1856), First Love (1860), the article Hamlet and Don Quixote (1860), which is important for understanding philosophy writer.

In 1867, the novel "Smoke" appeared, which describes the life of Russian nobles abroad and their complete social failure and isolation from Russian reality. Main character novel, Litvinov, is poorly defined as an individual and no longer claims to be progressive. The main ideas of the author are expressed in “Smoke” by the Westerner Potugin, who, following Chaadaev, denies Russia any cultural and historical significance. Needless to say, the novel was very hostilely received by the Russian public, but Turgenev's friend G. Flaubert greatly admired him.

Turgenev spends the last 20 years of his life mainly abroad, in Baden-Baden and Paris, together with the family of Pauline Viardot, where he becomes close to the most prominent classics of French literature - G. Flaubert, E. Zola, the Goncourt brothers, A. Daudet. In his work, he refers at this time to the past - to the family chronicle ("The Brigadier", 1868, "The Steppe King Lear", 1870) or to the motives of the stories of the 50s. (“Spring Waters”, 1872, “Unfortunate”, 1869). In 1877 Turgenev wrote his last novel“Nov”, dedicated to the activities of the populist revolutionaries.

Thanks to his extensive connections and popularity in the artistic circles of France, Germany and England, Turgenev turned out to be an important connecting link between Russian and European literature, was a recognized master of French prose writers and organized the first translations of Pushkin, Gogol, Lermontov into European languages. His own works were often published in translation in the West even earlier than in Russian.

At the end of his creative career, Turgenev returns to romantic motives and writes several fantastic things: “The Song of Triumphant Love” (1881), “ Clara Milic” (published in 1883), as well as a cycle of symbolic miniatures “Poems in Prose” (1882). In 1883, Turgenev died in Bougival, not far from Paris, at the villa of P. Viardot.

CHARACTERISTICS OF ARTISTIC METHOD AND PSYCHOLOGISM OF TURGENEV. Turgenev is rightly considered the best stylist of Russian prose of the 19th century. and the finest psychologist. As a writer, Turgenev is primarily “classical” in the most varied senses of the word. “Classicism” (a unique embodiment of perfection) corresponded to the very spirit of his work. Artistic ideals for Turgenev were "simplicity, calmness, clarity of lines, conscientiousness of work." This meant "calm", resulting "from strong conviction or deep feeling”, “reporting... that purity of outline, that ideal and real beauty, which is true, the only beauty in art”. This calmness gave concentration of contemplation, subtlety and infallibility of observation.

A refined esthete, Turgenev considered the creation of beauty to be the main thing in art. “The beautiful is the only immortal thing, and as long as even the slightest remnant of its material manifestation continues to exist, its immortality is preserved. Beauty is poured everywhere, its influence extends even over death. But nowhere does it shine with such force as in human individuality; here it speaks to the mind most of all” (from a letter to Pauline Viardot dated August 28, 1850). So, Turgenev sees manifestations of beauty primarily in nature and in the human soul, depicting both with extraordinary skill. Both the human person and nature were the subject of his tireless philosophical reflections - mainly in the spirit of natural philosophy. German romanticism(Hegel, Schelling and Schopenhauer). Classicality in the depiction of characters was manifested by Turgenev in the fact that he painted his heroes always calm and noble in expressing feelings. Even their passions are introduced within certain limits. If the hero fusses, gesticulates excessively (like Sitnikov in “Fathers and Sons”), then Turgenev despises him and seeks to completely discredit him.

According to P.G. Pustovoit, Turgenev always “went from a “living face” to an artistic generalization, therefore it was extremely important for him that the heroes have prototypes (the prototype of Rudin is Bakunin, Insarov is the Bulgarian Katranov, Bazarov is the doctor Dmitriev)”. But from a specific person, the writer still needs to do a huge creative way to a collective artistic type, an exponent of the psychology of his entire estate and the ideologist of a certain socio-political direction. Turgenev himself wrote that one should “try not only to catch life in all its manifestations, but also to understand the laws by which it moves and which do not always come out; you need to get to the types through the play of chances - and with all that, always remain true to the truth, not be content with superficial study, avoid effects and falsehood. Already from these words we see how difficult creative process is typing. Create artistic type- means to understand the laws of the life of society, to identify in a huge number of people those features that determine its current spiritual state, predetermine its development or, conversely, stagnation. It can be said, for example, that Turgenev revealed to his contemporaries the type of "nihilist". After the release of Fathers and Sons, this word became firmly established in cultural use and became the designation of a whole social phenomenon.

The main principle of critical realism is that a person is simultaneously given as a derivative of the society around him and at the same time as opposed to the environment that gave birth to him, wishing to self-determine himself in it and, in turn, influence it. Turgenev always shows the characters of the characters in dynamics, in development, and how harder character, the more the author of the scenes needs to reveal it. So, in "Fathers and Sons" we see not only the evolution of Bazarov's character and views, but also the return of Arkady "to square one", with a complete rejection of the ideology of nihilism. Even such “established” characters as the Kirsanov brothers undergo a series of life upheavals on the pages of the novel, partly changing their attitude, if not to life, then to themselves.

Turgenev reveals the character of his hero not directly in his social activities, but in ideological disputes and in the personal, intimate sphere. The hero must not only be able to justify his public position(as a rule, all Turgenev's heroes succeed in this easily - Rudin, Lavretsky, Bazarov), but also to prove their capacity, to take place as a person. To do this, he is subjected to a “test of love”, because it is in it, according to Turgenev, that the true essence and value of any person is revealed.

Turgenev's psychologism is usually called "hidden", because the writer never directly depicted all the feelings and thoughts of his characters, but gave the reader the opportunity to guess them by external manifestations. (For example, by the way Odintsova “with a forced laugh” tells Bazarov about the proposal made by Arkady to Katya, and then in the course of the conversation “laughs again and quickly turns away”, her feelings become clear: confusion and annoyance, which she tries to hide behind laughter.) “A poet must be a psychologist, but secret: he must know and feel the roots of phenomena, but he represents only the phenomena themselves - in their heyday and withering” (from a letter to K. Leontiev dated October 3, 1860).

Considering this, Turgenev apparently withdraws from the personal assessment of the hero, giving him the opportunity to express himself in dialogue and in action. “Exactly ... to reproduce the truth, the reality of life, is the highest happiness for a writer, even if this truth does not coincide with his own opinion". He very rarely resorts to a direct depiction of the thoughts of the hero in internal monologue or explains to readers his state of mind. Direct assessments by the author of what the hero said are also not frequent (such as: “My grandfather plowed the land,” Bazarov replied with haughty pride”). Throughout the novel, the characters behave completely independently of the author. But this external independence is deceptive, because the author expresses his view of the hero by the plot itself - the choice of situations in which he places him. Checking the hero for significance, the author proceeds from his own hierarchy of values. So, Bazarov finds himself in a noble environment alien to him (he even compares himself with “flying fish”, only for a short time able to “hold on in the air, but should soon plop into the water”) and is forced to take part in solemn visits, evenings, balls , he falls in love with the aristocrat Odintsova, accepts a challenge to a duel - and in all these noble contexts his virtues and weaknesses are revealed, but again from the point of view of the nobles, whose position the reader stands imperceptibly.

However, further Turgenev always brings his hero into contact with the metaphysical aspects of being that give meaning to life - love, time and death, and this test deepens a person, reveals his strengths and weak sides makes you reconsider your worldview. Due to the inclusiveness and global nature of these categories, we get the impression that the hero is judged by “life itself”. But in fact, the author himself is hiding behind it, deftly “changing weapons” in order to “attack” his hero from his unprotected side.

The author's position is also clearly expressed in the hero's background, where in very accurate and ironic brief formulations, his entire previous life appears before us - always in the subjective author's coverage. The hero and his actions are characterized directly and unambiguously, so that the reader should immediately develop a stable and definite image. The same thing happens in the epilogue, when the author finally places all the characters in the places destined for them by life and their fate directly embodies the author's judgment on them.

The writing

In the artistic worldview of I. S. Turgenev, a huge role was played by the school of German classical philosophy, which he went through while studying at the University of Berlin. Schelling and Hegel gave the Russian youth of the 1830s a holistic view of the life of nature and society.

For philosophical thought Western Europe Russia responded with life and fate. It took upon itself the heavy burden of the practical realization of the most abstract dreams of mankind.

In accordance with Russian traditions, young Turgenev and his friends in Berlin, in Stankevich's circle, talked about the advantages of popular representation in the state, about the fact that \"the mass of the Russian people remains in serfdom and therefore cannot use not only state, but also universal rights ... And therefore, first of all, it is necessary to desire the deliverance of the people from serfdom and the spread among them mental development\". At the same time, Stankevich took from everyone\"a solemn promise \" in the dissemination of education in Russia. Probably this\"solemn promise \" and Turgenev remembered, calling him his\"annibal oath \".

In January 1847, the magazine\"Sovremennik\" published an essay from the folk life\"Khor and Kalinych\", which, unexpectedly for the author and some members of the editorial board, was a great success with readers.

In two peasant characters, Turgenev presented the main forces of the nation. The practical Khor and the poetic Kalinich are serfs, dependent people, but slavery did not turn them into slaves; spiritually they are richer and freer than the miserable half-tykins.

Inspired by success, Turgenev writes other stories. Following\"Khorem and Kalinych\" they are printed in\"Contemporary\". And in 1852 \"Notes of a hunter \" for the first time came out as a separate edition.

In this book, Ivan Sergeevich acted as a mature master folk story, here a peculiar anti-serfdom pathos of the book was determined, which consisted in the depiction of strong, courageous and bright folk individuals, whose existence turned serfdom into the shame and humiliation of Russia, into a social phenomenon incompatible with the moral dignity of a Russian person.

Turgenev's narrator plays an important role as the unifying beginning of the book. He is a hunter, and hunting passion, according to Turgenev, is generally characteristic of a Russian person; \"Give a peasant a gun, even if tied with ropes, and a handful of gunpowder, and he will go to roam... through the swamps and through the forests, from morning to evening \". On this common basis for the master and the peasant, the special, open nature of the relationship between the narrator and people from the people is tied up in Turgenev's book.

Narration from the perspective of a hunter frees Turgenev from a one-sided, professional view of the world. The book retains the unintended simplicity of spoken language. The author's creative efforts in it remain imperceptible, the illusion arises that it is life itself that shows us vivid folk characters, amazing pictures of nature.

In\"Notes of a hunter \" provincial Russia is depicted, but Turgenev opens the curtain of the provincial scene widely, it is clear what is happening there, behind the scenes, in state Russia.

The book originally included 22 essays. In 1874, the writer supplemented it with three works: \"The End of Chertopkhanov\",\"Living Powers\" and \"Knocks\", placed one after the other before the final essay\"Forest and Steppe\".

Gradually, from essay to essay, from story to story, the thought of the incongruity and absurdity of the feudal system grows in the book. Any foreign native felt freer in Russia than a Russian peasant. For example, in the story \"Ovsyannikov's Odnodvorets \" the Frenchman Lezhen turns into a nobleman. Particularly striking is the image of Stepushka from \" raspberry water\". Turgenev shows in this story the dramatic consequences of serf relations, their corrupting effect on the psychology of the people. A person gets used to the unnatural order of things, begins to consider it the norm of life and ceases to be indignant at his position: \"That Stepushka sits under the fence and gnaws a radish\" The same story shows the lordly indifference, callousness, stupidity towards the peasant Vlas, who, having lost his son, goes to Moscow on foot and asks the master to reduce his quitrent. But instead of sympathy, the master drove poor Vlas away. Stepushka into an excited state, despite the fact that he is very downtrodden, unrequited and timid. In the history of Vlas, he apparently found a repetition of his miserable fate. In Stepushka, sensitivity to someone else's suffering suddenly breaks through.

Friendliness, compassion, a lively talent for understanding, acute to the point of humanity, brought up in the life of the people - these qualities attract the author\"Notes...\" in Russian life. Notable in this regard is the story\"Death \". Russian people die surprisingly, because even at the hour of the last test they think not of themselves, but of others, of their neighbors.

Maxim: \"Forgive me, guys, if anything... \" The old landowner: \"She took a kiss, put her hand under the pillow and breathed her last\" (I wanted to give a ruble to the priest for her own waste).

In\"Notes of a Hunter\" we observe the musical talent of the Russian people. Kalinich sings, and the sober, business-like Khor pulls him up, in \"Singers \" from Yakov's song it blew something familiar and immensely wide... The song brings people together, through individual destinies it leads to the fate of the all-Russian.

In a word, Turgenev is a realist. He shows how the singing of Jacob affects the souls of those around him, how this impulse is replaced by spiritual depression.

It is impossible not to notice the sharp observation of the writer for the finest details of the human soul, the huge intense spiritual work in the image human destinies, characters in connection with love for all living things, for \"Goodness and Beauty \", which is rooted not only in the natural softness of Turgenev's character.

The artistic integrity of \"Hunter's Notes\" as a single book is also supported by the art of Turgenev's composition. Unusually sensitive to everything momentary, able to catch the wonderful moment of life, Turgenev was also free from everything personal and selfish. \"Our time," he said, "requires to capture the present...\" All his works not only fell into \" this moment\" of the public life of Russia, but at the same time they were ahead of him. An impartial, unselfish love for life allowed him to be a prophet. In his works, he constantly runs ahead.

Turgenev sketches the character of the landowner Polutykin with light strokes. In passing, he reports about his passion for French cuisine and about another idle undertaking - the lord's office. The author speaks in passing about Polutykin for a reason: this landowner is so empty compared to the full-blooded characters of the peasants. Unfortunately, the Polutykin element is by no means accidental and harmless. Turgenev will resurrect French predilections in a more significant image of the landowner Penochkin.

The unity of the book is created through complex links between its individual characters. Similar, for example, are the portrait characteristics of poetically gifted heroes. In the image of the living soul of the Russian people, Turgenev walks the ascending ladder of goodness, truth and beauty. artistic connection heroes is accompanied by a related landscape motif. Reading \"Hunter's Notes \", we feel that Turgenev peers long and intently into the image of nature before it\"shows \" a man in front of him.

The main idea of ​​\"Hunter's Notes\" is Turgenev's concept of Russian national character: distrust of violent passions and impulses, wise calmness, restrained manifestation of spiritual and physical forces. \" tragic fate tribe \" Turgenev saw in the civil immaturity of the people, born for centuries serfdom. Russia needs enlightened and honest people, historical figures, designed to enlighten\"mute \" Russia.

180 years have passed since the birth of Ivan Sergeevich Turgenev, but even in our time of financial crises, living below the poverty line for most Russians, it is also not easy to instill in the people a sense of civic consciousness. The life of our country is a continuous chain of dramatic inconsistencies. However, Turgenev's words about the Russian language, spoken by him 116 years ago, inspire hope:

\"In the days of doubt, in the days of painful thoughts about the fate of my homeland, you are my only support and support, O great, powerful, truthful and free Russian language! Without you, how not to fall into despair at the sight of everything that happens at home "But you can't believe that such a language was not given to a great people!\"

ESSAY
Typological and individual features in the novel by I.S. Turgenev "The Nest of Nobles"

Key words: TURGENEV, "NOBLE NEST", TYPOLOGICAL FEATURES, INDIVIDUAL FEATURES, LIZA KALIINA, LAVRETSKII, GENRE UNIQUENESS
The object of the study is the novel by I.S. Turgenev "The Nest of Nobles".
The purpose of the work is to analyze the novel by I.S. Turgenev "The Nest of Nobles" and consider the main typological and individual features of the work.
The main research methods are comparative and historical-literary.



The materials of this study can be used as methodological material in preparing teachers for lessons in Russian literature in high school.

INTRODUCTION 4
CHAPTER 1 GENESIS OF THE NOVEL GENRE IN I.S. TURGENEV 7
1.1 The origins of I.S. Turgeneva 7
1.2 Genre originality of the novel by I.S. Turgenev "Noble Nest" 9
CHAPTER 2 PRINCIPLES OF INTERNAL ORGANIZATION, TYPOLOGICAL AND INDIVIDUAL FEATURES OF THE NOVEL "NOBLE NEST" I.S. TURGENEV 13
2.1 "The Nest of Nobles" as the most perfect of Turgenev's novels of the 1850s. 13
2.1 The author's concept of the hero as an individual trait in the novel "The Nest of Nobles" by I.S. Turgeneva 16
CONCLUSION 24
LIST OF USED SOURCES 26

INTRODUCTION

I.S. Turgenev holds an outstanding place in the development of Russian literature of the 19th century. At one time, N.A. Dobrolyubov wrote that in contemporary realistic literature there is a “school” of fiction writers, “which, perhaps, by its main representative, we can call “Turgenev's”. And as one of the main figures in the literature of that time, I.S. Turgenev "tried" himself literally in almost all the main genres, becoming the creator of completely new ones.
However, novels occupy a special place in his work. It was in them that the writer most fully presented living picture complex, tense social and spiritual life of Russia.
Each Turgenev novel that appeared in print immediately found itself in the center of criticism. Interest in them does not dry out even today. In recent decades, much has been done in the study of Turgenev's novels. This was largely facilitated by the publication complete collection works of the writer in 28 volumes, carried out in 1960-1968, and after him a 30-volume collected works. New materials about the novels have been published, versions of texts have been printed, research has been carried out on various problems, one way or another related to the genre of Turgenev's novel.
During this period, the 2-volume "History of the Russian Novel", monographs by S.M. Petrov, G.A. Byaly, G.B. Kurlyandskaya, S.E. Shatalov and other literary critics. Of the special works, one should, perhaps, single out the fundamental research of A.I. Batyuto, a serious book by G.B. Kurlyandskaya " artistic method Turgenev the novelist ", a small but very interesting work by V.M. Markovich" Man in the novels of I.S. Turgenev" and a number of articles.
In the last decade, a number of works about Turgenev have appeared that, in one way or another, are in contact with his novelistic work. At the same time, the research of the last decade is characterized by the desire to take a fresh look at the writer's work, to present it in relation to modernity.
Turgenev was not only a chronicler of his time, as he himself once noted in the preface to his novels. He was an amazingly sensitive artist, able to write not only about the current and eternal problems of human existence, but also had the ability to look into the future, to become, to a certain extent, a pioneer. In connection with this idea, I would like to note the publication of the book by Yu.V. Lebedev. With good reason, we can say that the named work is a significant monographic study carried out at the modern scientific level, carrying to a certain extent a new reading of the novels by I.S. Turgenev.
Substantial monographs about a writer are not so common. That is why it is especially necessary to note the book of the famous Turgenevologist, A.I. Batyuto "Creativity of I.S. Turgenev and the critical and aesthetic thought of his time". Considering the specifics of the aesthetic positions of Belinsky, Chernyshevsky, Dobrolyubov, Annenkov and correlating them with the literary and aesthetic views of Turgenev, A.I. Batyuto creates a new ambiguous concept of the writer's artistic method. At the same time, the book contains many different and very interesting observations in the artistic specificity of I.S. Turgenev’s novels.
The relevance of the course work is due to the fact that in modern literary criticism there is a growing interest in the work of I.S. Turgenev and the modern approach to the writer's work.
The purpose of this work is to analyze the novel by I.S. Turgenev "The Nest of Nobles" and consider the main typological and individual features of the work.
This goal allowed us to formulate the following objectives of this study:

reveal the origins of the writer's novel creativity;
to analyze the genre originality of the novel by I.S. Turgenev "Noble Nest";
consider the novel "The Nest of Nobles" as the most perfect of Turgenev's novels of the 1850s;
designate the author's concept of the hero as personality trait in the novel "The Nest of Nobles" by I.S. Turgenev.

The object of this study was the novel by I.S. Turgenev "The Nest of Nobles".
The subject of the research is typological and individual features in the writer's novel.
The nature of the work and the tasks determined the research methods: historical-literary and system-typological.
The practical significance lies in the fact that the materials of this study can be used as methodological material in preparing a teacher for lessons on Russian literature in high school.
Structure and scope of work. Course work consists of an introduction, two main chapters, and a conclusion. The total volume of work is 27 pages. The list of sources used is 20 items.

CHAPTER 1

THE GENESIS OF THE NOVEL GENRE IN THE WORKS OF I.S. TURGENEV

1.1 The origins of I.S. Turgenev

Creativity I.S. Turgenev in the 1850s most fully expressed the features of the literary era and became one of its characteristic and striking manifestations. During this unusually fruitful period, the writer goes from "Notes of a Hunter" to "Rudin", "The Noble Nest", "On the Eve", develops a special (lyrical) type of story. In 1848 - 1851 he was still under the influence of the "natural school", trying his hand at dramatic genres. Significant for I.S. Turgenev was 1852. In August, the Hunter's Notes are published as a separate edition.
Despite the great success of The Hunter's Notes, the former artistic style could not satisfy the writer by the fact that the range of his talent is immeasurably higher than the artistic experience that he accumulated in the Hunter's Notes.
I.S. Turgenev begins a creative crisis. He noticeably cools towards the essay genre. This is largely due to the fact that the writer's sketchy style was not suitable for creating large epic canvases. The genre boundaries of the essay did not allow him to show the hero in the context of a wide historical time, limited the scope of the interaction of the individual with the world around him, forced him to work in a narrow stylistic key.
Other principles for depicting reality were needed. Therefore, in 1852 - 1853 before I.S. Turgenev faces the problem of a “new manner”, which is marked by the transition of Turgenev’s prose from works of a small genre (“Notes of a Hunter”) to larger epic forms - stories and novels. At the same time, the artistic structure of the "hunting" cycle was already pushing in search of a new style, testifying to the writer's inclination to great shape.
To replace the creative manner in the prose of I.S. Turgenev was influenced by the change in subject matter and his refusal to depict "peasant life as defining the whole feature of the writer's vision." The writer's turn to a new topic was associated with the tragic events of the 1848 revolution in France, which dramatically influenced his worldview. I.S. Turgenev begins to doubt the people as a conscious creator of history, he now places his hopes on the intelligentsia as a representative of the cultural stratum of society.
In his view of the Russian life of the noble circle close to him, I.S. Turgenev sees "the tragic fate of the tribe, the great social drama." The writer closely peers into the essence of the life drama of many representatives of the noble circle and tries to identify its origins and designate the essence.
In the first half of the 1950s, I.S. Turgenev. At this time, he writes a number of articles and reviews on works of various kinds and genres. In them, the writer tries to comprehend the ways of developing his creativity. His thoughts rush to the great form epic kind- a novel, for the creation of which he is trying to find more perfect means of reproducing reality. Theoretically, these thoughts of I.S. Turgenev develops in a review of the novel by E. Tur "The Niece", where he sets out in detail his literary and aesthetic views.
The writer believes that the lyric in the narrative fabric of the work should not prevent the creation of full-blooded artistic images and types, objective in their basis. “Simplicity, calmness, clarity of lines, conscientiousness of work, that conscientiousness that is given by confidence” - these are the ideals of the writer.
Many years later, in a 1976 letter to I.S. Turgenev will once again express his thoughts on the requirement for true talents: “If you are more interested in the study of the human physiognomy than in the presentation of your own feelings and thoughts; if, for example, it is more pleasant for you to correctly and accurately convey the appearance of not only a person, but also a simple thing, than to express passionately what you feel when you see this thing or this person, then you are an objective writer and can take up a story or a novel. . However, according to I.S. Turgenev, this type of writer must have the ability not only to capture life in all its manifestations, but also to understand the laws by which it moves. Such are Turgenev's principles of objectivity in art.
Tales and novels by I.S. Turgenev, as it were, are arranged in "nests". They precede the novels of the writer of the story (or story), which have a distinct philosophical content and love story. First of all, the formation of Turgenev's novel went through the story, both as a whole and in individual works ("Rudin", "The Noble Nest", "Smoke", etc.).
So, the new style, which organically absorbed the best of the writer's previous experience, is connected with the principle of the objective in art, with an attempt to embody simple, clear lines in the works and create a Russian type, with a turn to the large genre form of the novel, with a change in subject matter.

1.2 Genre originality of the novel by I.S. Turgenev "Noble Nest"

Such works as "Eugene Onegin", "A Hero of Our Time", "Dead Souls" laid a solid foundation for the future development of Russian realistic novel. The artistic activity of Turgenev as a novelist unfolded at a time when Russian literature was looking for new ways, turning to the genre of the socio-psychological, and then the socio-political novel.
Many researchers note that the novel by I. S. Turgenev in its formation and development was influenced by all literary forms in which his artistic thought was clothed (essay, story, drama, etc.).
Until recently, the novels of I.S. Turgenev were studied mainly as "history textbooks". Modern scientists (A.I. Batyuto, G.B. Kurlyandskaya, V.M. Markovich and others) have already paid attention to the correlation of the socio-historical plot with the universal content in Turgenev's novel. This gives reason to believe that the novels of I.S. Turgenev gravitate toward the socio-philosophical type. In this central genre form of Russian novel XIX century, as V.A. Nedzvetsky rightly believes, such a common feature as “comprehension of the problems of modernity through the prism of the “eternal” ontological needs of man and humanity” manifested itself.
The socio-historical and universal-philosophical aspects are inextricably linked in the novel "The Noble Nest" by the writer, the search and fate of the main characters (Russian people) are correlated with the eternal problems of being - this is the general principle of the internal organization of the writer's novel.
An essential species feature of the "Noble Nest" I.S. Turgenev is an in-depth psychologism. Already on the first pages of the novel, there is a tendency to increase the psychologization of the characters of Fyodor Lavretsky, Lisa Kalitina.
The originality of Turgenev's psychologism is determined by the author's understanding of reality, the concept of man. I.S. Turgenev believed that the human soul is a sacred thing, which should be touched with care and caution.
Psychologism I.S. Turgenev “has rather rigid boundaries”: characterizing his heroes in the novel “The Nest of Nobles”, he, as a rule, reproduces not the stream of consciousness itself, but its result, which finds external expression - in facial expressions, gestures, a brief author’s description: “ A tall man entered, wearing a neat frock coat, short trousers, gray suede gloves, and two ties, one black on top, the other white on the bottom. Everything in him breathed decency and decency, starting with a handsome face and smoothly combed temples to boots without heels and without a squeak.
It is no coincidence that the writer's basic principle psychological method formulated as follows: "The poet must be a psychologist, but secret: he must know and feel the roots of phenomena, but represents only the phenomena themselves - in their heyday or withering."
V.A. Nedzwiecki refers Turgenev's novels to the "personal novel of the 19th century" type. This type of novel is characterized by the fact that both in terms of content and structure it is predetermined by the history and fate of the “modern man”, a developed and aware of his rights personality. The "personal" novel is far from being infinitely open to worldly prose. As N.N. Strakhov noted, Turgenev, as far as he could, sought and depicted the beauty of our life. This led to the selection of phenomena primarily spiritual and poetic. V.A. Nedzvetsky rightly notes: “The artistic study of the fate of a person in indispensable connection and correlation with his practical duty to society and the people, as well as the universal turn of problems and conflicts, naturally gave the Goncharov-Turgenev novel that broad epic breath” .
The first period of the writer's novelistic work dates back to the 1850s. During these years, a classic type of Turgenev's novel developed ("Rudin", "The Noble Nest", "On the Eve", "Fathers and Sons"), which absorbed and deeply transformed the artistic experience of the novelists of the first half of the century, and subsequently had a versatile influence on the novels of 1860 - 1880 -s. "Smoke" and "Nov" represented a different genre type, associated with a different historical and literary environment.
Turgenev's novel is inconceivable without a major social type. This is one of the essential differences between Turgenev's novel and his story. A characteristic feature of the structure of Turgenev's novel is the emphasized continuity of the narrative. The researchers note that “The Nest of Nobles, written in the heyday of the writer’s talent, is replete with scenes, as if not completed in their development, full of meaning that was not revealed to the end. The main goal of I. S. Turgenev is to draw only in the main features the spiritual appearance of the hero, to talk about his ideas.
Lavretsky is the spokesman for the next stage in the social history of Russia - the 50s, when the "deed" on the eve of the reform acquires features of greater social concreteness. Lavretsky is no longer Rudin, a noble educator, estranged from all soil, he sets himself the task of learning to plow the land and morally influence folk life through its deep Europeanization.
I.S. Turgenev draws representatives of his time, so his characters are always confined to a certain era, to a certain ideological or political movement.
A characteristic feature of his novels, the writer considered the presence in them of historical certainty, associated with his desire to convey "the very image and pressure of the time." He managed to create a novel about the historical process in its ideological expression, about the change of historical eras, about the struggle of ideological and political trends. Roman I.S. Turgenev became historical not in terms of theme, but in terms of the way it is depicted. With keen attention following the movement and development of ideas in society, the author is convinced of the unsuitability of the old, traditional, calm and extensive epic narrative for reproducing modern, seething social life.
G.B. Kurlyandskaya, V.A. Nedzvetsky and others note those features of the style in which the genre closeness of Turgenev's novel of the story affected: conciseness of the image, concentration of action, focus on one hero, expressing the originality of historical time, and, finally, an expressive ending. In the novel, a different angle of view on Russian reality than in the story (not “through oneself”, but from the general to the individual), a different structure of the hero, hidden psychologism, openness and semantic mobility, incompleteness genre form. Simplicity, conciseness and harmony are the features of the structure of Turgenev's novels.

CHAPTER 2

PRINCIPLES OF INTERNAL ORGANIZATION, TYPOLOGICAL AND INDIVIDUAL FEATURES OF THE NOVEL "NOBILITY'S NEST" by I.S. TURGENEV

2.1 "The Nest of Nobles" as the most perfect of Turgenev's novels of the 1850s.

The second novel "The Nest of Nobles" occupies a special place in the epic prose of I.S. Turgenev is one of the most poetic and lyrical novels. The writer writes with exceptional sympathy and sadness about the people of the class to which he belongs by birth and upbringing. This is an individual feature of the novel.
"The Nest of Nobles" is one of the most remarkable artistic creations of I.S. Turgenev. This novel has a very compressed composition, the action takes place in a short time - a little more than two months - with great compositional rigor and harmony. Each plot line of the novel goes into the distant past and is drawn very consistently.
The action in The Noble Nest develops slowly, as if corresponding to the slow course of life of a noble estate. At the same time, every plot twist, every situation is clearly motivated. In the novel, all the actions, sympathies and antipathies of the characters stem from their characters, worldview and the circumstances of their lives. The denouement of the novel is deeply motivated by the characters and upbringing of the main characters, as well as the prevailing circumstances of their lives.
About the events of the novel, about the drama of the heroes I.S. Turgenev narrates calmly in the sense that he is completely objective, seeing his task in the analysis and faithful reproduction of life, not allowing any interference in it by the will of the author. His subjectivity, his soul I.S. Turgenev shows in that amazing lyricism, which is the originality of artistic manner writer. In The Noble Nest, lyricism is poured like air, like light, especially where Lavretsky and Liza appear, surrounding the sad story of their love with deep sympathy, penetrating into the pictures of nature. Sometimes I.S. Turgenev resorts to the author's lyrical digressions, deepening certain motives of the plot. There are more descriptions in the novel than dialogues, and the author often says what happens to the characters than shows them in actions, in action.
The psychologism of the novel "The Nest of Nobles" is enormous and very peculiar. I.S. Turgenev does not develop a psychological analysis of the experiences of his heroes, as his contemporaries F.M. Dostoevsky and L.N. Tolstoy. He confines himself to the most necessary, focusing the reader's attention not on the process of experiencing itself, but on its internally prepared results: it is clear to us how love for Lavretsky gradually arises in Liza. I.S. Turgenev carefully notes the individual stages of this process in their external manifestation, but we can only guess about what was going on in Lisa's soul.
Lyricism in the novel is manifested in the depiction of the love of Lavretsky and Liza Kalitina, in the creation of a lyrical image-symbol of the "noble nest", in poetically expressive pictures of nature. The opinion of a number of researchers that I.S. Turgenev does in the "Noble Nest" one last try find the hero of the time in the advanced nobility needs to be adjusted. In Turgenev's novel, along with understanding the historical decline of the "noble nests", the "eternal" values ​​of the culture of the nobility are affirmed. For the writer, noble Russia is an inseparable part of national Russian life. The image of the "noble nest" is "a repository of the intellectual, aesthetic and spiritual memory of a generation".
I.S. Turgenev leads his heroes along the road of trials. Lavretsky's transitions from hopelessness to an extraordinary upsurge, born of the hope of happiness, and again to hopelessness create an internal drama of the novel. Liza also experienced the same vicissitudes, for a moment she surrendered herself to the dream of happiness and then felt all the more guilty. Following the story of Lisa's past, forcing the reader to wish her happiness with all her heart and rejoice in it, Lisa suddenly suffers a terrible blow - Lavretsky's wife arrives, and Lisa remembers that she has no right to happiness.
In the epilogue of "The Noble Nest" there is an elegiac motif of the transience of life, the rapid run of time. Eight years passed, Marfa Timofeevna passed away, mother Liza Kalitina passed away, Lemm died, Lavretsky aged in body and soul. During these eight years, finally, a turning point took place in his life: he stopped thinking about his own happiness and achieved what he wanted - he became a good owner, learned to plow the land, improved the life of his peasants. In the scene of Lavretsky's meeting with the young generation of the noble nest of the Kalitins, I.S.'s presentiment is expressed. Turgenev's departure into the past of an entire era of Russian life.
The epilogue of the novel is a concentrated expression of all its problems, symbolic, figurative meaning. It contains the main lyrical-tragic motif, conveys the atmosphere and mood of withering, filled with the poetry of sunset. At the same time, I.S. Turgenev shows that in Russian society new, better, forces of light are latently maturing.
If in "Rudin" I.S. Turgenev was mainly attracted by the sphere of mental life and spiritual development of Russian society, then in The Nest of Nobles, with all the writer’s attention to some problems of the early 40s related to Westernism and Slavophilism, his main interest focused on the life of the soul and heart of the heroes of the novel . Hence the emotional tone of the narration, the predominance of the lyrical beginning in it.
"The Nest of Nobles" is the most perfect of Turgenev's novels. As N. Strakhov noted, "Turgenev, as far as he could, sought and portrayed the beauty of our life." The artistic study of the fate of the hero in accordance with his duty to society and the people was combined with universal problems.
The novel "The Nest of Nobles" was an expression of I.S. Turgenev about the Russian man and his historical recognition, which is a typological feature of all the writer's novels.
The theme of the novel is quite complex. This is the search for the meaning of life; the question of the good character; this is the fate of the motherland, which is the most important thing for a writer; the women's question is treated in a peculiar way in the novel; the problem of generations, widely reflected in the novel, precedes the appearance of "Fathers and Sons"; the work also touches upon such an important issue for the writer as the fate of talent and its connection with the homeland.

2.1 The author's concept of the hero as an individual trait in the novel "The Nest of Nobles" by I.S. Turgenev

In his novels, I.S. Turgenev, as a rule, accurately indicates the time of action (a typological feature): the events in the novel refer to 1842, when the differences between the Westernizers and the Slavophiles were determined. An attempt to instill in the young Lavretsky, through the system of home education, Western, by nature rational, idealism in his nature ended in failure. The image of Lavretsky, who is still Ap. Grigoriev called "Oblomovite", was close to Russian readers of the Slavophile and soil orientation: he was met with approval by F.M. Dostoevsky.
In the article "About "Fathers and Sons"" I.S. Turgenev, again calling himself a Westerner, explained the appearance of the hero of the Slavic orientation in his work by the fact that he did not want to sin against the truth of life, as it seemed to him at that time. In the face of Panshin, "Turgenev exposes that Western orientation, which is a separation from the people's soil, a complete inattention to everything" people "". Lavretsky is "an exponent of the general democratic sentiments of that noble intelligentsia, which strove for rapprochement with the people." The whole novel is to some extent a polemic between Lavretsky and Panshin. Hence the intensity of the dispute and the intransigence of these characters.
I.S. Turgenev divides the characters into two categories according to the degree of their closeness to the people and taking into account the environment that shaped their characters. On the one hand, Panshin is a representative of the bureaucracy, bowing to the West, on the other hand, Lavretsky, brought up, despite his father's Anglomanship, in the traditions of Russian folk culture.
On the one hand, Varvara Pavlovna Lavretskaya, who surrendered herself to the Parisian manners and customs of a semi-bohemian, although not alien to aesthetic inclinations, on the other, Liza Kalitina with a keen sense of her homeland and closeness to the people, with a high consciousness of moral duty. The basis of the motives of both Panshin and Varvara Pavlovna is selfishness, worldly well-being. It should agree with V.M. Markovich, who classifies Panshin and Varvara Pavlovna as characters “occupying the“ lowest level ”among actors novel, which corresponds to the views of Turgenev. Both Varvara Pavlovna and Panshin do not rush about, but immediately rush to real life values.
I.S. Turgenev describes Panshin as follows: “For his part, Vladimir Nikolaich, during his stay at the university, from where he left with the rank of an actual student, met some noble young people and became a member of the best houses. He was welcomed everywhere; he was very good-looking, cheeky, amusing, always in good health and ready for anything; where necessary - respectful, where possible - impudent, excellent comrade, un charmant garcon (charming fellow (French)). The treasured realm opened before him. Panshin soon understood the secret of secular science; he knew how to be imbued with a real respect for its rules, he knew how to deal with nonsense with half-mocking dignity and to show that he considered everything important to be nonsense; danced well, dressed in English. In a short time he was known as one of the most amiable and dexterous young people in Petersburg. Panshin was really very dexterous, no worse than his father; but he was also very gifted. Everything was given to him: he sang sweetly, briskly painted, wrote poetry, played very well on stage. He was only in his twenty-eighth year, and he was already a chamber junker and had a very good rank. Panshin firmly believed in himself, in his mind, in his insight; he went forward boldly and cheerfully, at full speed; his life flowed like clockwork. He was accustomed to being liked by everyone, old and young, and imagined that he knew people, especially women: he knew well their ordinary weaknesses. As a person not alien to art, he felt in himself both heat, and a certain enthusiasm, and enthusiasm, and as a result of this he allowed himself various deviations from the rules: he drank, got acquainted with persons who did not belong to the world, and generally behaved freely and simply; but in his soul he was cold and cunning, and during the most violent revelry his intelligent brown eye watched and looked out for everything; this brave, this free young man could never forget himself and be completely carried away. To his credit, it must be said that he never boasted of his victories.
Panshin is opposed in the novel by Lavretsky, who seeks to merge with the elements of the national, with the "soil", with the village, with the peasant. For ten chapters (VIII - XVII) I.S. Turgenev widely expanded the hero's background, depicted the whole world of a past life with its social order and mores. It is no coincidence that I.S. Turgenev abandoned the original name "Lisa" and preferred the name "Nest of Nobles" as the most appropriate to the problems of the planned work. No less detailed is the genealogy of the Kalitin family. The prehistory of the heroes as an epic basis for the narration of the present is an important genre component of Turgenev's novel and an individual feature in the novel "The Nest of Nobles". In the genealogies of the heroes, the writer's interest in the historical development of Russian society, in the change of various generations of noble "nests" is revealed.
A biographical digression about Lavretsky's ancestors is important for revealing his character. Close to the people through his mother, he is endowed with that responsiveness that helped him survive the tragedy of personal feelings and understand his responsibility to his homeland. This consciousness is figuratively expressed by him as a desire to plow the land and plow it as best as possible. Even in the author’s description of Lavretsky’s image, there are purely Russian features, in contrast to Panshin’s description: “From his red-cheeked, purely Russian face, with a large white forehead, a slightly thick nose and wide, regular lips, one could smell steppe health, strong, durable strength. He was well built, and his blond hair curled on his head like a young man's. In his eyes alone, blue, bulging and somewhat motionless, one could notice either thoughtfulness or fatigue, and his voice sounded somehow too even.
The difference between Lavretsky and other Turgenev's heroes lies in the fact that he is alien to duality and reflection. It combined the best features of Rudin and Lezhnev: the romantic daydreaming of one and the sober determination of the other. I.S. Turgenev is no longer satisfied with the ability to wake people up, which he appreciated in Rudin. Lavretsky is placed above Rudin by the author. This is another individual feature in the author's concept of the writer.
The center of the novel, its main storyline is the love of Fyodor Lavretsky and Liza Kalitina. Unlike previous works by I.S. Turgenev, both central hero, each in its own way, are strong and strong-willed people (an individual trait). Therefore, the theme of the impossibility of personal happiness is developed in The Nest of Nobles with the greatest depth and with the greatest tragedy.
In the "Nest of Nobles" there are situations that largely determine the problems and plot of the novels by I.S. Turgenev: the struggle of ideas, the desire to convert the interlocutor to "their faith" and a love collision. So, Liza criticizes Lavretsky for indifference to religion, which for her is a means of resolving the most painful contradictions. She considers Lavretsky a close person, feeling his love for Russia, for the people.
As a rule, researchers ignore the fact that Lavretsky is clearly striving for faith (in its confessional
etc.................

Turgenev's novels characterize a special type of time and space within which the events of the work are contained. As a rule, these are two or three summer months, the heyday of nature and human feelings. Turgenev in all novels follows the principle of drawing parallels between human life and nature. The plot is based on a story about the trials of heroes by love: the ability of heroes to deep feelings is an important feature of the characteristics of the character of the novel. It is no coincidence that semantically key episodes take place in the open air: in the garden (Lisa and Lavretsky), near the pond (Natalya and Rudin), at the window of Odintsov and Bazarov, which is open to the garden), in the grove (Marianna and Nezhdanov). A symbolic role is also assigned to the time of day. As a rule, this is an evening or a night when a person's feelings are especially aggravated and the moment of spiritual unity or discord is more deeply motivated. In these plot nodes of the narrative, Turgenev's thought about man as a part of nature and about active birth in its formation is clearly manifested. spirituality personality. The features of the chronotope also determine the composition of images, the methods of their psychological characteristics. Turgenev is interested in the process of experiencing itself, he does not endow the characters with a tendency to analyze, giving the reader the right to judge for himself the scale of feelings experienced by the hero. Emotional reflection is more than an analysis of what happened.

(example “Odintsova stretched out her hands forward, and Bazarov rested his forehead against the glass” a strong and heavy passion, similar to malice, trembled in him).

Turgenev is a master of portrait chaoacteristics, and providing the hero, he is obliged to show all the details that outwardly define the hero for us. The portrait becomes a form of expression author's position. The principles of characterization are developed by Turgenev while working on his first novel, Rudin. Turgenev assigns a special role portraits of women images. They are imbued with soft lyricism, in a woman Turgenev sees a being of a higher order. Most often, it is girls and women who bring to life the best spiritual qualities of heroes. This is what happens with Rudin, Lavretsky, Bazarov, Nezhdanov.

The poetics of Turgenev's novel is characterized by an appeal to the method of gradual, concentric disclosure of characters. Its reality is manifested in the chapter devoted to the description of the visit of Bazarov and Arkady to Kukushkina. The author leads the reader along the street of the provincial town, gradually approaching the heroine's house. Captures the details imbued with the author's irony.

The landscape in the works of Tugenev is not just a description of nature. This is the key to characterizing the character. picturesque landscape. What is important is what is grasped first, which does not require the ordering of successively named phenomena. ,Such a landscape is built on simple motives: light and sound. Landscape is a means of psychological characteristics of the characters. For example, the function of the landscape-mood in the Noble Nest.

Turgenev's organization of the narrative is not in time (which characterizes the classical form of literature), but in the spatial dimension inherent in painting. A special role is played in novels - the phenomenon of synesthesia - the transfer of visual and auditory impressions in a verbal image. Since the beginning of the 70s, Turgenev's landscape has been undergoing evolution, acquiring impressionistic features. Landscape mood is the most important form of expression of feelings in the novel Nov.
Almost all of Turgenev's novels are based on a love affair. The test of love determines the development of action in them: events characterize the experiences of the characters.

Another important difference in the compositional structure of the novels is the symmetry in the placement of characters. Turgenev was repeatedly reproached for the fact that this principle of creating images is archaic, focused on the traditions of French classical comedy, but it is in this archaism that the deep meaning of his technique manifests itself. Symmetry contains a hidden comparison, a comparison that implies the activity of the reader's position. (So in fathers and children, the system of images makes up pairs: Bazarov-Odintsova, Arkady-Katya, Nikolai Petrovich-Fenechka, Pavel Petrovich-Princess R.)

Turgenev, like many other Russian writers, went through the school of romanticism. It was a hobby that had to be overcome. The romantic beginning in the work of early Turgenev became the basis for the development of an artistic system by the writer, which would then become part of his creative method.

Already in early works Turgenev - the dramatic poem "The Wall" - sound the motives of world sorrow, the loneliness of a person who feels like a stranger in the world of beautiful and harmonious nature. In the poem "The Conversation", the idea that the "impudent feast of people" is opposed by the greatness of nature becomes a cross-cutting theme. The poem "Conversation" in composition (dialogue-dispute of an old hermit and a young man) and rhythm resembles Lermontov's "Mtsyri". Here one of the main themes of Turgenev's work arises - the problem of "fathers" and "children", their mutual misunderstanding. The hero of the Conversation, a young man infected with reflection, is the predecessor of " extra people in stories and novels of the writer. He is psychologically opposed to Mtsyri, he is a symbol of "broken strength."

"Wall" and "Conversation" - pure romantic works with pronounced attributes of romance. The main subject of the image is the inner world of a person, the content is the spiritual search for the ideal-beautiful.

In the poem Parasha (1843), written in imitation of Eugene Onegin in terms of plot and verse, social motives sound, although painted in romantic tones. The meaning of the poem is revealed in the contrasting contrast of satirical pictures of landlord life with the depth of the heroine's longing for a romantic ideal, which has no place in the vulgar everyday life.

The study of the living ties between man and society, man and nature, outlined in early works, will be continued in the works of the late 40s and early 50s. The era of the 40s, not without the influence of V. Belinsky, declared war on romanticism as an obsolete literary movement. In this struggle, Turgenev took a special position. Without rejecting the romantic means of depicting heroes, Turgenev saw the "insufficiency" of romanticism in its indifference to pressing social issues, public problems. These ideas are reflected in the stories "Andrey Kolosov", "Three Portraits", "Breter". In Breter, a story almost unnoticed by modern Turgenev, romanticism, which took on ugly egoistic forms in the image of Avdey Luchkov, was severely sentenced, as well as Kister’s good-heartedness, who died in a collision with the reality of life. At the same time, Turgenev sees the vitality of many forms of romanticism, without which the artist could not imagine art. In this case, we are not talking about romanticism as a literary movement, but about romance as a special type of attitude to life.

Romantic start in creative method Turgenev manifests itself in different ways. One way of expressing the romantic is portrait and landscape. The landscape in the works of Turgenev is not just a description of nature, human environment, is the key to characterization. Turgenev's landscape is characterized by picturesqueness: what is important is what is grasped by the first impression, which does not require the ordering of successively named phenomena. Such a landscape is built on simple motifs: light and sound, which are important not in themselves, but as forms into which the impression of the hero is cast. The landscape itself ceases to be a description of the nature surrounding a person: it becomes a means of psychological characterization of the hero, a “picture” of his state of mind. Such, for example, is the function of landscape-mood in the twentieth chapter of the novel "The Nest of Nobles", which is compositionally separated into a separate chapter. Often, referring to the creation of a landscape, Turgenev creates pictures of nature in transition time days - morning or evening ("Three Meetings", "Calm", "Nest of Nobles", "Fathers and Sons"): the transmission of the dynamics of the movement of nature is the key to the secrets of the movement of the hero's soul. No less important in creating the psychological image of the character is the motif of the road in the landscape sketches of the writer's stories and novels. Turgenev develops a special poetics of the landscape as a close space in which a person lives. So, it is no coincidence that the novel "Fathers and Sons", dedicated to acute problem modernity, opens with a landscape of the road, and ends with a landscape sketch of Bazarov's grave: a philosophical reflection on the life path traveled by the hero.

The romantic in the portrait turns out to be connected not so much with the hero, whose appearance appears before the reader. The romantic portrait in Turgenev's works rather characterizes the character in whose perception the image is given. The portrait of the “mysterious princess R.”, with whom Pavel Kirsanov is in love, is primarily evidence of the hero’s admiration for the romantic ideal of a woman of mystery. Lisa Kalitina is also "seen" through the eyes of Lavretsky, a romantic and idealist. Panshina Turgenev "deprives" the ability to "portrait" Lisa: he lacks the romantic beginning necessary for this: his pragmatic nature is sharply satirically outlined. Thus, the poetic, idealizing principle, characteristic of many of Turgenev's heroes, is an essential positive character trait of his characters.

Another important technique for creating a psychological drawing is detailing. The idealizing, romantic beginning receives an artistic embodiment in the combination of the real and the fantastic. The originality of the psychological appearance of romantic nature was fully manifested in the first significant work Turgenev's Notes of a Hunter. The main character of the cycle is the author-narrator, the complexity of whose inner world is determined by the combination of two storytelling planes: sharply negative image feudal reality and romantically direct perception of the secrets of nature. In one of the best stories cycle "Bezhin Meadow" nature appears in the perception of the heroes as a living force that speaks to a person in its own language. Not everyone can understand this language. In the perception of the author, the real detail becomes a symbol of the mystical: the dove is the “soul of the righteous”, and the “groaning sound”, which inspires awe in those gathered around the fire, is the voice of a marsh bird. The narrator, wandering through the forest, lost his way in the dark (a real detail) and “suddenly found himself over a terrible abyss” (a romantic touch), which turned out to be a prosaic ravine. The ability to perceive the miraculous, the desire to join the mystery of nature and man becomes the emotional key of the story, performing the function of characterizing the narrator.

The hero's ability for a romantic experience becomes a sign of the wealth of his nature. “In its most essential meaning, romanticism is nothing but the inner world of a person’s soul, the innermost life of his heart,” Turgenev wrote. The writer's interest in the "mysterious source of romanticism" is especially noticeable in his later works: "The Song of Triumphant Love" (1881), "Prose Poems" (1878-1782), "Clara Milic (After Death) (1883). In these works, romance is not just combined with a realistic type of image - it becomes one of the elements of style. The inner world of the heroes of the "Song of Triumphant Love" - ​​Muzio, Valeria - is drawn mysterious, mysterious, inexplicable from the point of view of common sense. Philosophical problems freedom and will, good and evil, feelings and duty are resolved in later works Turgenev is not in a direct clash of opinions, as was the case in Rudin, Fathers and Sons, Novi. The author does not explain the origin of Mucius' magical power, does not give a clue to the appearance of a lock of dead Clara's hair on the hero's pillow in a locked room: he leaves room for the reader's imagination to work. The picture of the world created in Turgenev's "mystical" stories testified not to the writer's rejection of realism, but to a desire to better understand the origins of the universe. The fantastic in the later works of the writer is a form of being real world not yet understood and explained by man. Turgenev's romantic grotesque turns out to be no less effective method of characterizing a person than the depiction of "life in the forms of life itself."