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White Guard turbine house description. Analysis of the interior of the turbine house in the novel The White Guard

Lesson - workshop in 11th grade

“M.A. Bulgakov. The image of the House in the novel " White Guard».

Lesson objectives:

    show in development the image of the House in M.A. Bulgakov’s novel “The White Guard”, its philosophical depth and capacity;

    consolidate knowledge, skills and abilities in analyzing a work of art;

    to develop in students the skills of attentive, thoughtful reading;

    develop creativity, imagination, and the ability to work independently;

    cultivate love for the Fatherland and moral ideals.

Equipment:

1) M.A. Bulgakov’s novel “The White Guard”.

    Cards with tasks for groups.

    On the board are statements by Pestalozzi (Swiss teacher), Byron, M.Yu. Lermontov.

A person, like a bird, does not look for a new nest if he is happy in the old one.

Pestalozzi.

Where they love us, only there is a beloved hearth.

Byron.

Believe me, happiness is only there.

Where they love us, where they believe us!

M.Yu. Lermontov.

During the classes.

I. Q. Guys, what do you think a person (you) needs to be happy? Write it down.

ABOUT.– love - favorite job - understanding

- family - friends - Motherland, etc.

native home

Q. Which of the following can you include in the concept of “Home”? U. How many meanings are there in this little word - Home! This is the personification of the Motherland, the family hearth, where everything is warmed with love, where we are understood and will always be accepted. The theme of the House is traditional for Russian literature. It sounds especially alarming in the literature of the twentieth century.

V. Which of the Russians writers of the 19th century century, believed that family and home are the source of life, and rewarded his favorite heroes with this happiness? Name a poet of the early twentieth century whose work contains the theme of home?

ABOUT. L.N. Tolstoy believed that home and family bring goodness, peace, and harmony into a person’s spiritual life. The theme of the house is also heard in many of S.A. Yesenin’s poems: “Go away, my dear Rus'...”, “Soviet Rus'”, “The feather grass is sleeping. Dear Plain..”, “Letter to Mother”, etc.

U. The image of the House, practically absent in Soviet prose of the 20s, is given one of the main places in M.A. Bulgakov’s novel “The White Guard”.

II. "Immersion in the text." The class works in pairs, having the right to choose one of the tasks. The guys re-read the text, write down individual words, phrases and sentences, and discuss.

a) Describe the Turbins’ house, noting details that emphasize the stability of life in this family. (chap. 1,2)

b) Tell us about the inhabitants of this House. (ch.1,2,3)

c) What does the Lisovich house look like? (Ch. 3.15). Can it be called home with a capital “H”? Why?

d) What is the fate of the House in the whirlwind of war? (Ch. 1,2, 3, 19,20).

e) Read Alexei Turbin’s dream about a mortar (chapter 12). What does it symbolize?

III. Hearing responses. General discussion.

Beauty and tranquility are the main components of the atmosphere of the Turbino House, which is probably why it is so attractive to others. Outside the windows the storm of revolution is raging, but here it is warm and cozy. Here is the black clock in the dining room. Here are “old red velvet furniture”, “beds with shiny pine cones”, “a bronze lamp with a lampshade”..

You walk through the rooms and inhale the “mysterious” smell of “antique chocolate”, feel the heat of the stove with Dutch tiles. This stove is the center of the home; here the body and soul are warmed up. On the surface of the stove there are inscriptions and drawings made in different time and family members and friends of the Turbins. Here are humorous messages, declarations of love, menacing prophecies, and words with deep meaning - everything that the life of the family was “rich” with at different times.

The inhabitants of the House on Alekseevsky Spusk jealously protect the beauty and comfort of home, the warmth of the family hearth. Despite the anxiety, the tablecloth is “white and starchy”, there are cups with delicate flowers on the table.. There are always calm “cream curtains” on the windows, on the piano open notes the immortal “Faust”, there are flowers on the tables, “affirming the beauty and strength of life.”

Life in this Home goes as if in defiance of the surrounding unrest, bloodshed, devastation, and bitterness of morals. The stronghold of the Turbino House persists with all its might and does not want to surrender to the revolution. Neither street shooting, nor news of death royal family At first they cannot make its old-timers believe in the reality of the formidable elements. The cold, deathly breath of the blizzard era (both literally and figuratively) first touched the inhabitants of this island of comfort and warmth with the arrival of Myshlaevsky. Then Thalberg's flight. Only then did the household feel the inevitability of the approaching catastrophe. Suddenly the realization came that “the crack in the vase of Turbino’s life” had formed not now, but much earlier, and all that time while they stubbornly refused to face the truth, life-giving moisture, “ good water“She left through it unnoticed,” and now, it turns out, the vessel is almost empty. The dying mother left her children a spiritual will: “Live together...”, “and they will have to suffer and die,” “their lives were interrupted at dawn.”

The mistress and soul of this House is Elena Turbina-Talberg, “beautiful Elena,” the personification of beauty, kindness, and Eternal Femininity. The “Bright Queen” mother conveyed her warmth to Elena, so there, in the huge and alarming City, guns thunder, but here it is always cozy and warm.

From here the dishonest and two-faced Talberg leaves at a “rat’s pace”, and the Turbins’ friends heal their wounded bodies and souls in him. This cozy House also gives shelter to the cute eccentric Lariosik. And even the opportunist and coward Lisovich, nicknamed Vasilisa, who hates his neighbors, seeks protection in him.

But “it’s getting scarier and scarier all around. In the north the blizzard howls and howls, but here underfoot the disturbed womb of the earth muffles and grumbles dully.” Step by step, chaos takes over the living space of the House, introducing discord into the “commonwealth of people and things.” War reigns in the House. Here are its “signs”: the smell of iodine, alcohol, ether, a Browning in a box outside the window, the wounded Alexey Turbin. The lampshade is pulled off the lamp, there are no roses on the table, Elenin’s faded bonnet, like a barometer, indicates that the past cannot be returned, and the present is bleak.

The image of a mortar that the wounded Alexey imagines, a mortar that filled the entire space of the apartment, is a symbol of the destruction to which the war exposes the House.

The Turbins had to endure a lot during the winter of 1918/19. But, despite the adversity, at the end of the novel, everyone gathers in their House for a common meal. Laughter and music are heard. The house survived, and that's the main thing.

U. The house on Alekseevsky Spusk, in which the writer settled the heroes of The White Guard, is his childhood home. And since you have mentally visited the Turbins, you can firmly say that you have visited the Bulgakovs. In the very house where the future writer spent his childhood and student youth, and the year and a half that he spent in Kyiv at the height of the Civil War. “The Bulgakov family,” said the writer’s high school classmate K. Paustovsky, “was well known in Kyiv - a huge, branched, thoroughly intelligent family. Outside the windows of their apartment one could constantly hear the sounds of a piano, the voices of young people, running, laughing, arguing and singing.” Warm comfort, friendly mutual understanding, and an atmosphere of high intelligence invariably reigned here.

IV. Try to draw a model of the world. What place does the House occupy in it?

(Mars and Venus - World - City - Home)

Model of the universe

Mars Venus

WAR REVOLUTION


CHAOS DESTRUCTION

In the center is the Turbin House, a “quiet haven” that resists all winds and storms.

IN. Why M.A. Does Bulgakov pay so much attention to the image of the House? What does the author claim by this?
ABOUT. Paying so much attention to depicting the life of the Turbins' house, Bulgakov defends eternal, enduring values ​​in his novel - Home, Motherland, Family. The author claims that man is not a steppe plant, tumbleweed, which the autumn wind drives across the steppe. For a full-blooded one, healthy life Everyone needs to love their Family, their Home.

U. The author of “The White Guard” was far from those who in the 20s called for “renouncing the old world” and “destroying it to the ground.” On the contrary, the theme of saving spiritual, moral, cultural traditions, which is embodied in the image of the House, the author poetizes all the best that happened in the past. In the life destroyed by the revolution there was a happy childhood of Bulgakov and his heroes, wonderful books, music, culture, there were good human relations and, most importantly, there were high moral principles, according to which even “not a single person should break his word of honor, because otherwise it will be impossible to live in the world.”

V. Let's make a conclusion in four lines:

1) topic; -cosy; HOUSE - warms;

2) description of the topic in - big; - helps;

words-signs(Which); - friendly; - protects;

3) description of the action in - warm, etc. - covers, etc..

4) one word or phrase that summarizes - SHELTER;

what was said . - FORTRESS;

- THE BEGINNING OF TIME;

- BASIS OF BASICS, etc.

VI. Summarizing. Introspection. The goal is to analyze your feelings, thoughts, sensations

1) What did our conversation today make you think about?

2) Did you feel comfortable in the lesson?

3) What new things have you discovered about yourself?

U. The workshop gave me the opportunity to look into myself, into my inner world and think about the good and eternal. The house protects a person from animals, from evil people, all sorts of troubles. It gives warmth, comfort, peace. Saves from cold, rain, wind. In it we sleep, eat, work, nurse children, pray to God, sing songs, tell fairy tales... A house is a whole world. It is very important to have your own Home, without it a person cannot be happy. Do you know any proverbs about Home? (Houses and walls help. My home is my fortress. It’s good when visiting, but at home it’s better. Your own hut is your own womb. A family in a heap is not scary even a cloud.)

The image of the house in the novel “The White Guard” is central. He unites the heroes of the work and protects them from danger. Turning events in the country instill anxiety and fear in the souls of people. And only home comfort and warmth can create the illusion of peace and security.

1918

Great is the year one thousand nine hundred and eighteen. But he is also scary. Kyiv was occupied by German troops on one side and the hetman's army on the other. And rumors about Petlyura’s arrival instill increasing anxiety in the already frightened townspeople. Visitors and all sorts of dubious characters are scurrying around on the street. Anxiety is even in the air. This is how Bulgakov depicted the situation in Kyiv in Last year war. And he used the image of the house in the novel “The White Guard” so that its heroes could hide, at least for a while, from the impending danger. The characters of the main characters are revealed within the walls of the Turbins’ apartment. Everything outside of it is like another world, scary, wild and incomprehensible.

Intimate conversations

The theme of home plays an important role in the novel The White Guard. The Turbins’ apartment is cozy and warm. But here, too, the heroes of the novel argue and conduct political discussions. Alexei Turbin, the oldest resident of this apartment, scolds the Ukrainian hetman, whose most harmless offense is that he forced the Russian population to speak a “vile language.” Next, he spews curses at representatives of the hetman’s army. However, the obscenity of his words does not detract from the truth that lies within them.

Myshlaevsky, Stepanov and Shervinsky, younger brother Nikolka - everyone is excitedly discussing what is happening in the city. And also present here is Elena, the sister of Alexei and Nikolka.

But the image of the house in the novel “The White Guard” is not the embodiment of a family hearth and not a refuge for dissident individuals. This is a symbol of what is still bright and real in a dilapidated country. A political change always gives rise to unrest and robbery. And the people in Peaceful time, it would seem, quite decent and honest, in difficult situations show their true face. Turbines and their friends are few of those who have not been made worse off by the changes in the country.

Thalberg's betrayal

At the beginning of the novel, Elena's husband leaves the house. He runs into the unknown in a “rat run.” Listening to her husband’s assurances that Denikin will soon return with the army, Elena, “old and ugly,” understands that he will not return. And so it happened. Thalberg had connections, he took advantage of them and was able to escape. And already at the end of the work, Elena learns about his upcoming marriage.

The image of the house in the novel “The White Guard” is a kind of fortress. But for cowardly and selfish people, it is like a sinking ship for rats. Talberg flees, and only those who can trust each other remain. Those who are not capable of betrayal.

Autobiographical work

Based on own life experience Bulgakov created this novel. “The White Guard” is a work in which the characters express the thoughts of the author himself. The book is not national, since it is dedicated only to a certain social stratum close to the writer.

Bulgakov's heroes turn to God more than once in the most difficult moments. There is complete harmony and mutual understanding in the family. This is exactly what I imagined perfect home Bulgakov. But perhaps the theme of the house in the novel “The White Guard” is inspired by the author’s youthful memories.

Universal hatred

In 1918, bitterness prevailed in the cities. It had an impressive scale, as it was generated by the centuries-old hatred of peasants towards nobles and officers. And to this we should also add anger local population in relation to the occupiers and Petliurists, whose appearance is awaited with horror. The author depicted all this using the example of the Kyiv events. And only the parental home in the novel “The White Guard” is a bright, kind image that inspires hope. And here it’s not only Alexey, Elena and Nikolka who can take refuge from the external storms of life.

The Turbins’ house in the novel “The White Guard” also becomes a haven for people who are close in spirit to its inhabitants. Myshlaevsky, Karas and Shervinsky became relatives to Elena and her brothers. They know about everything that happens in this family - about all the sorrows and hopes. And they are always welcome here.

Mother's testament

Turbina Sr., who died shortly before the events described in the work, bequeathed her children to live together. Elena, Alexey and Nikolka keep their promise, and only this saves them. Love, understanding and support - the components of a true Home - do not allow them to perish. And even when Alexey is dying, and doctors call him “hopeless,” Elena continues to believe and finds support in prayers. And, to the surprise of the doctors, Alexey recovers.

The author paid much attention to the interior elements in the Turbins' house. Small details create a striking contrast between this apartment and the one on the floor below. The atmosphere in Lisovich's house is cold and uncomfortable. And after the robbery, Vasilisa goes to the Turbins for spiritual support. Even this seemingly unpleasant character feels safe in Elena and Alexei’s house.

The world outside this house is mired in confusion. But here everyone still sings songs, sincerely smiles at each other and boldly looks danger in the eyes. This atmosphere also attracts another character - Lariosik. Talberg's relative almost immediately became one of his own here, which Elena's husband failed to do. The thing is that the arriving guest from Zhitomir has such qualities as kindness, decency and sincerity. And they are mandatory for a long stay in the house, the image of which was depicted so vividly and colorfully by Bulgakov.

"The White Guard" is a novel that was published more than 90 years ago. When a play based on this work was staged in one of the Moscow theaters, the audience, whose fates were so similar to the lives of the heroes, cried and fainted. This work became extremely close to those who lived through the events of 1917-1918. But the novel did not lose relevance even later. And some fragments in it are unusually reminiscent of the present time. And this once again confirms that the present literary work always, at any time relevant.

Composition

Civil war... Chaos... Shots... Bad weather...

City. A feeling of anxiety that everyone experiences. Fear is in the souls of people. Where can I find peace?

M. Bulgakov brings his heroes into the family. It is she, the Turbin family, who resists the nightmare and horror that reigns in the City. The city is fear. Home is cream curtains and a starched tablecloth. These are the Turbines themselves. Only here, where there are roses on the table, where the woman is a demigod, do people warm up from the cold of the City and find peace and peace of mind.

For Bulgakov, both in life and in books, family is sacred, it is a place where a person finds peace, which he so lacks outside the home. The law of this family is honor. Honor lies not only in loyalty to the fatherland and oath, but also in loyalty and devotion to all family members. And in this Family there is a cult of decency. Decency in everything: both in relation to each other and in relation to those who come to the Turbins’ house.

"The White Guard" - a novel about a terrible snowstorm civil war, which shakes the Turbins’ house, where “the best cabinets in the world are filled with books that smell of mysterious, ancient chocolate, with Natasha Rostova,” Captain's daughter" Books that raised the young Turbins. Comfort, poetry of home, warmth of family... The tiled stove in the dining room becomes almost a symbol of the stability and indestructibility of this family.

At the beginning of the novel, the Turbins suffered grief - their mother died: “Why such an insult? Injustice?" This death is terrible for children, but it is not related to war. Life is death, there’s no escape. But it’s insulting and unfair when the death is absurd and violent. The Turbins’ house survived, although it had cracked: “For many years before his death, in house No. 13 on Aleksandrovsky Spusk, the tiled stove in the dining room warmed and raised little Elenka, Alexey the elder and very tiny Nikolka. ... But the clock, fortunately, is completely immortal, the Saardam Carpenter is immortal, and the Dutch tile, like a wise rock, is life-giving and hot in the most difficult times.”

Talberg, Elena's husband, a man alien to the Turbins (just as Berg and Vera herself are alien to the Rostovs), flees the City. Talberg left home and family, but childhood friends came to the house - Myshlaevsky, Shervinsky, Karas. They love this house, they live up to the spirit of this house, they are defenders of the City.

Bulgakov's "White Guard" is full of everyday details, objects that surround the heroes. These are the same “talking” objects as the “book shelf” in village house Larins for Tatiana, “Lord Byron’s portrait” in Onegin’s office, the nanny’s chest on which the girls of the Rostov family confided their secrets to each other. These things are included in spiritual world heroes, but things seemed to have absorbed their mysterious and poetic world. Everyday details are especially important, because any home, any family contains trinkets beloved by each family member, some dear to his heart.

Young Turbin’s life “was interrupted at dawn.” And yet they resisted, withstood internally, preserving what they absorbed into themselves in this house, the house that became Noah’s Ark during the flood.

The Turbins’ dying mother, Anna Vladimirovna, bequeathed: “Amicably... live.” And they lived together. They loved each other, loved their home and took care of it. When Elena finally decided to leave the city with her husband (he’s a husband!), she, “thinner and strict,” instantly began packing her suitcase, and the room became “disgusting, like in any room, where packing is chaos, and even worse, when the shade is pulled off the lamp!” The lampshade becomes in the novel a symbol not only of the House, but also of the Soul, human decency, conscience, and honor. Bulgakov writes: “Never run like a rat into the unknown from danger. Doze by the lampshade, read - let the blizzard howl, wait until they come to you.”

What was cursed for decades, ridiculed as philistinism, was contemptuously called “everyday life”, for Bulgakov - the foundation of life, something that cannot be destroyed. Therefore, in the Turbins’ house, “the tablecloth, despite the guns and nonsense, is white and starchy.” This is from Elena, who cannot do otherwise, this is from Anyuta, who grew up in the Turbins’ house... In the vase there are blue hydrangeas and two gloomy and sultry roses, “affirming the beauty and strength of life, despite the fact that on the approaches to the City there is an insidious enemy who , perhaps, can break the snowy, beautiful City and trample the fragments of peace with his heels.”

House. Family. "The beauty and strength of life." Behind the cream curtains the world is "dirty, bloody and meaningless." But here they know how to live: dream, read, have fun, make jokes. This House is contrasted with the apartment of engineer Lisovich, in which a mouse disturbed the silence of the night. She “gnawed and gnawed, importunately and busily, an old rind of cheese in the buffet, cursing the stinginess of the engineer’s wife, Vanda Mikhailovna.” The cursed Wanda was fast asleep in her cool and damp apartment. Lisovich himself was hiding money in secret places at that time.

In the description of this “house” everything has a minus sign, everything from the apartment to its owners. The bedroom “smelled of mice, mold, and grumpy, sleepy boredom.” This silence of “sleepy boredom” is broken from above from the Turbins’ apartment by “laughter and vague voices” and the sounds of a guitar. The Lisovichs have duplicity and cowardice, cowardice and readiness to betray... But also a readiness to seek salvation from “these” who are from the apartment on the floor above, which means the conviction that “these” will not sell.

It is no coincidence that it was to the Turbins, who personified family peace and comfort, that Lariosik settled in, this little funny man, almost a boy.

There, beyond the threshold of the House, the Family is “alarming.” The author constantly uses this word: “it’s alarming in the City.” Elena's gaze is alarmed, and Thalberg's favor is alarming. And this anxiety goes away only when a person comes home. That is why childhood friends Myshlaevsky and Shervinsky appear so often in the Turbins’ house.

Why are heroes so drawn to the Turbin family? Yes, because the basis of family is love. Love for each other, from which grew love for each person. Beneficial family love, which made the house a Home, the family a Family. This is the most important idea in Bulgakov’s novel “The White Guard”.

Other works on this work

“Every noble person is deeply aware of his blood ties with the fatherland” (V.G. Belinsky) (based on the novel “The White Guard” by M.A. Bulgakov) “Life is given for good deeds” (based on the novel “The White Guard” by M. A. Bulgakov) “Family Thought” in Russian literature based on the novel “The White Guard” “Man is a piece of history” (based on M. Bulgakov’s novel “The White Guard”) Analysis of Chapter 1, Part 1 of M. A. Bulgakov’s novel “The White Guard” Analysis of the episode “Scene in the Alexander Gymnasium” (based on the novel “The White Guard” by M. A. Bulgakov) Thalberg's flight (analysis of an episode from Chapter 2 of Part 1 of M. A. Bulgakov's novel “The White Guard”). Struggle or surrender: The theme of the intelligentsia and revolution in the works of M.A. Bulgakov (novel "The White Guard" and plays "Days of the Turbins" and "Running") The death of Nai-Turs and the salvation of Nikolai (analysis of an episode from chapter 11 of part 2 of M. A. 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Bulgakov’s novel “The White Guard” Problems of the novel by M. A. Bulgakov “The White Guard” Discussions about love, friendship, military duty based on the novel “The White Guard” The role of Alexei Turbin's dream (based on the novel by M. A. Bulgakov “The White Guard”) The role of the heroes’ dreams in M. A. Bulgakov’s novel “The White Guard” The Turbin family (based on the novel by M. A. Bulgakov “The White Guard”) The system of images in M. A. Bulgakov’s novel “The White Guard” Dreams of heroes and their meaning in M. A. Bulgakov’s novel “The White Guard” The dreams of the heroes and their connection with the problems of M. A. Bulgakov’s novel “The White Guard”. The characters’ dreams and their connection with the problems of M. Bulgakov’s novel “The White Guard” Dreams of the heroes of M. A. Bulgakov’s novel “The White Guard”. (Analysis of Chapter 20 of Part 3) Scene in the Alexander Gymnasium (analysis of an episode from Chapter 7 of M. 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But the development of the situation leads to an expansion of the novel’s space: the house is replaced by a square, the square by space. House, City and Space represent three spatial and semantic centers towards which the action gravitates.

The Turbins' house is a clock playing a gavotte, a tiled stove exuding warmth, red velvet furniture, the best cabinets in the world with books that smell of chocolate, and finally, the famous cream curtains... Life, which in our eyes has become a symbol of the strength of being. By poetizing everyday life, the home in all its fragility and defenselessness, Bulgakov’s novel opposes the fundamental homelessness of post-October literature, its rebellion against the home, its striving for distant and great goals, which supposedly alone can save a person from orphanhood and alienation.

But the Turbins’ house is not only a solid way of life, it is also the people inhabiting it, it is a family, it is a certain psychological and cultural make-up that the writer defends.

Mention in “The White Guard” of the names of Tolstoy and Pushkin, as well as their heroes, quotes from Lermontov, Dostoevsky, I. Bunin, D. Merezhkovsky, philosopher S. N. Bulgakov, images of the Saardam Carpenter, the quietest Tsar Alexei Mikhailovich appearing on the pages of the novel. Alexander the First, the music of great composers sounding on the pages of the novel act as symbols of the cultural structure that formed the main asset of the characters - their psychological appearance: moral health, integrity, sincerity, goodwill, loyalty, the ability to love each other and perform miracles in the name of love, as he does Elena literally resurrects Alexei.

The turbines feel a connection not only with each other, but also with Russian statehood and history. The comparison with “The Captain’s Daughter” specified by the epigraph emphasizes that this is an ordinary noble family. This emphasis is as important for Bulgakov as it was for Pushkin, who chose historical novel Grinev and Mironov. We are talking about those on whom Russian statehood rested, because neither the Grinevs nor the Turbins were private people. The figure of the Baptist of Rus' floats in the heights above the Turbins; in the old gymnasium, Alexey, seeing Alexander the Great on horseback in front of the troops in the picture, asks himself: was it really that? In the Turbins' house, the Captain's Daughter and Natasha Rostova remind of the trials of Russian statehood.

The turbines are given by the author at the moment when the family suffers a loss (the death of the mother), when the beginnings of chaos and discord that are alien to it invade the House. The new face of the City becomes their symbolic embodiment. The city appears in the novel in two time coordinates - past and present. He is not hostile to the House in the past. The city, with its gardens, steep streets, Dnieper steeps. The Vladimir Hill with the statue of St. Vladimir, preserving the unique appearance of Kyiv, the foremother of Russian cities, appears in the novel as a symbol of Russian statehood, which is threatened to be destroyed by waves of rapid decline, Petliurism, and “clumsy peasant wrath.”

The introduction into the text of a quotation from Bunin's story "" prompts us to compare the City, rushing in the ocean of popular anger, with the apocalyptic image of a ship of civilization, on the deck of which passengers are dancing, not remembering the zinc coffin lying in the hold and not seeing the laughing Devil on the rock, watching the human comedy .

Blood is flowing on the streets, the snow is turning black, and nameless dead bodies are piled up in the hold of the City-Ship. Statehood is dying, Christian culture is dying.

Under Bulgakov's pen, the universal cataclysm turns into an eccentric spectacle, the central scene of which is a parodic service in an Orthodox cathedral, with a devil in a cassock in the bell tower. Apocalyptic motifs sometimes sound tragic, sometimes they take on a comic tone; Thus, the scene with the theft of Vasilisa’s globe watch travesties the Gospel “and there will be no more time.”

The Turbin family, two brothers and a sister, each of whom has their own ancestral traits, are trying to decide how to live. The support of the family in the novel is Elena, the embodiment of femininity, comfort, and devotion, who tries in vain to preserve the old moral structure of the house. Against her background, the older brother, Alexey Turbin, who bears the brunt of confusion and confusion, looks like a person who has difficulty in following a certain line of behavior. Eighteen-year-old Nikolka, in contrast, is much more actively looking for his place in events and is capable of active independent actions.

The worst thing about the Turbins’ situation is the loss of their social role, the loss of an unshakable rating system, making it difficult for them to solve the problem of honor. Turbins understand honor as direct adherence to one’s duty, as adherence to one’s monarchical ideals, an oath of allegiance to the Tsar and the Fatherland. But the empire, which it was a matter of duty and honor for a Russian officer to serve, has sunk; there is no army, no weapons, no idea.

In Tolstoy, the fate of the fatherland was decided by individual human actions, which added up to an event that turned history. In Bulgakov, Turbin does not shake hands with Talberg, Nai-Tours saves the cadets from a senseless death, Nikolka Turbin pays her debt to the memory of Nai-Tours, burying his body in the ground. But these moral actions They don’t change anything at all in the general balance of power, they don’t save the City from destruction. History laughs at Turbin, taking on the appearance of a “nightmare in checkered trousers”: “You can’t sit on a hedgehog with your naked profile!.. A holy country is wooden, poor and... dangerous, but for a Russian man honor is just an extra burden.”

Bulgakov's history pushes a person onto the path of relativism, cowardice, and double-dealing. But can the author and his favorite characters accept this path? What, according to Bulgakov, can it be moral behavior in a situation that turns a satanic face towards a person? The answer to this question is connected with Bulgakov’s belief in the existence of a higher authority, for which the moral efforts of people are not lost, whose energy can accomplish a miracle - such as the salvation of Alexei Turbin. Bulgakov makes it possible to feel the limit of despair of the heroes, the abyss that has opened up before them, from which an outcome is possible through the miracle of love: the resurrection of Alexei Turbin, the movement of his soul from hatred to love. Bulgakov's heroes are parting with old dreams, but do not intend to get carried away by creating another myth about a country of social justice. Preserving themselves as a cultural force, preserving Russian culture - this is the path they choose, discovering the will to continue history, as the writer who created them discovers.

Turning to national-historical issues, M. Bulgakov in The White Guard, using intertextual connections, accompanying the plot plan with the development of polysemantic leitmotifs, creates philosophical novel, which considers as the basis of human behavior in a situation of extreme concentration of historical evil.

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ANALYSIS OF THE THEME OF FAMILY VALUES IN THE NOVEL BY M.A. BULGAKOV "WHITE GUARD"

ANALYSIS OF THE INTERIOR OF THE TURBINE HOUSE IN THE NOVEL “THE WHITE GUARD”

The interior of the Turbins' house appears in Bulgakov's novel on the very first pages and will be reproduced by the author many times throughout the novel. Historical time and the events taking place, great, close in scale to the biblical ones, have already been comprehended by the author in the first sentence of the work: “Great and terrible was the year after the birth of Christ 1918, from the beginning of the second revolution.” History is inscribed in this tragic union of the era and world events. ordinary family Turbins, whose existence becomes the focus of all the key problems and characteristic features of the time and is divided by a milestone revolutionary year into 2 stages: BEFORE and AFTER. The death of the head of the family - the mother, the center of the entire former Turbino “cosmos” - also occurred in terrible year, the first “from the beginning of the revolution”: the coincidence of family and historical catastrophes becomes for Bulgakov a great omen of future sad events. And the only protection, “a ship of salvation in a terrible sea of ​​disasters” becomes for the Turbins their home, left to them by their parents as a special spiritual world, an ark that stores lasting, eternal values.

Let's look at the first picture of the Turbino house. By drawing it, the author emphasizes antiquity - tradition (the word translated means “transmission”), habitability, the long-established way of life and family relations. The atmosphere of the house is shrouded in childhood impressions, preserved by memory, strengthened by habits that have become part of the character of the Turbin family itself. The center of the interior - and the whole house - is a “blazing hot” tiled stove, a legendary hearth, a “wise rock”, a symbol of comfort and well-being, tranquility and inviolability family traditions. She's the keeper family history: inscriptions different years, made by the children's hands of the little Turbins, and by guests of the house, and by gentlemen in love with Elena - this is an “album”-chronicle, a Book from which you can “read” how the family lived in this house. Warmth, happiness and wise carelessness emanate from these tiles.

From the same home stove a person “dances” in life, Bulgakov believes: what he was taught at home, what he remembered and learned from his parents, in the family, will determine his moral character, his destiny, his purpose.

And the Turbins learn from their home: their life is subordinated to the order that, according to Bulgakov, was given to man from time immemorial by his ancestors; This is how their house is built. Each room has its own purpose: the dining room, the children’s room, the parents’ bedroom, “all seven dusty and full rooms that raised the young Turbins” - these are special microworlds, necessary components big world The family, shown through the eyes of not only the author, who recreated the world of his own childhood in this interior, but also the adult Turbins: “this tile, and the furniture of old red velvet, and beds with shiny cones, the best cabinets in the world with books that smell of mysterious ancient chocolate ..." - all these are his memories and everlasting memory his heroes.

The image of this particular collective hero - the Turbin family, which formerly included the elders, the founders, the creators of the tradition, and is now beheaded, but still living and preserving its world - is interesting to the author. But not so much social status The Turbins (a family of intellectuals) worries the author about their spiritual state, brought up, “grown” within the walls of this house. Not only the material wealth of a wealthy family (“golden cups, silverware”), but also spiritual treasures fill him: “as one often read at ... the tiled square “The Carpenter of Saardam” (a book about Peter I), the historical figures of Alexei Mikhailovich are well known to Turbin, Louis XIV(even if at first the acquaintance took place on the patterns of worn carpets); The characters of Russian literature have become almost like family (“cabinets with books (...), with Natasha Rostova, the Captain’s daughter...”). Pushkin’s “Take care of honor from a young age,” learned by the Turbins from childhood, will be constantly felt in every action of each of them.

The entire interior is based on personification: hot tiles, and the lights of Christmas candles, and ancient photographs taken back then “when women wore funny sleeves with bubbles at the shoulders,” and the hero of the children’s book Saardamsky Carpenter, and even beds with shiny bumps seem alive … As in Andersen’s fairy tales, these things live their own special life, accessible only to a child’s understanding, and respond to every call of our inner voice. The author's ability to verbally reproduce the perception of the world that distinguishes a child from an adult is amazing.

special, distinctive feature Bulgakov's author's style is his careful and close attention to details, which makes his style similar to the creative style of his beloved Gogol and is clearly manifested in this interior. The smell of pine needles from the festive tree and “mysterious old chocolate” emanating from books, a bronze lamp under the lampshade (another eternal symbol integrity and eternity of home comfort), “wonderful curls” on Turkish carpets and music, the “native voice” of watches - this is the unique and fragile world that the Turbines will protect from the terrible destructive misfortunes that surged with the waves of the civil war.

An important item in Turbino’s domestic world is the clock: “bronze, with gavotte” - in the mother’s bedroom, “black wall” with a tower strike - in the dining room. The symbolism of watches is one of the most “talking” in world art. In Bulgakov, it takes on new meanings: if in the period before the start of the revolution, clocks playing their music were a sign of habitability, movement, seething life within these walls, now, after the death of their father and mother, their hands are counting down the last hours of a beautiful, but fading former life. But the author does not believe in the possibility of the death of this house. And even in the style of this fragment, in the use of repetitions (the refrain is “beaten with a tower battle” twice), he asserts eternity, the inviolability of both material symbols (a clock and a bronze lamp) and spiritual ones, because “the clock, fortunately, is completely immortal, immortal and the Saardam Carpenter, and the Dutch tile, like a wise rock, life-giving and hot in the most difficult times.” This is the main goal of creating the interior of the Turbins’ house.