« Noble nest" - one of the most remarkable works of art Turgenev. The subtlety in the expression of feelings, the emotional experiences of the characters, the lyricism that permeates the entire novel, the drama of the scenes and the extraordinary poetic pictures of nature - all this captivates the reader.
The most striking episode, combining both lyricism and subtle psychological analysis, and the beauty of nature, is the scene of the explanation of Lisa and Lavretsky (Chapter 34). It follows an episode depicting Lavretsky's dispute with Panshin. This sequence of episodes is not accidental. After all, the dispute showed that Lavretsky and Lisa had a lot in common: “...they both realized that they had come together closely that evening, they realized that they both loved and disliked the same thing.” For this reason, the scene of the argument, as it were, prepares the scene for the explanation of Lisa and Lavretsky.
After leaving the Kalitins, Lavretsky does not go home. He wanders across the field, and as if some unknown force brings him back to the Kalitins’ house. “It’s not for nothing,” thinks Lavretsky. The hero’s state of mind is conveyed by the description of nature: “Everything was quiet all around.” It is interesting that the motif of silence, silence is present not only in this episode, but is the main feature in the depiction of the relationship between Lisa and Lavretsky. Silence and silence give the scenes with the participation of these characters a certain emotionality.
Hearing Lavretsky's voice, Lisa quietly goes out into the garden, and then follows Lavretsky without resistance. Her amazed state at that moment is conveyed by her “pale face, motionless eyes, and all her movements.” She doesn't understand where she is. Only after hearing Lavretsky’s declaration of love for her, Lisa understands what happened to her, but still refuses to believe it. She answers Lavretsky with her characteristic religiosity: “It’s all in God’s power...”
To Lavretsky's question about their future fate Lisa doesn't give a direct answer. But she does not resist the hero when he tries to kiss her. This testifies to the strength and completeness of the feeling that the girl experiences for Fyodor Ivanovich.
It would seem that the scene of declaration of love requires a large dialogue between the characters in which they would express their feelings. But with Turgenev everything is different. Very great place takes up a description of the state of the characters, but at the same time, the writer does not analyze in detail the mental state of the characters. And yet Turgenev manages to convey the fullness inner life Lisa and Lavretsky. This is achieved thanks to the unity of their moods, through pauses (this is evidenced by the abundance of ellipses in remarks), through glances, facial expressions (“Liza slowly looked at him,” “she was no longer crying and looked at him carefully with her wet eyes,” “raised glances towards him”, “lowered her eyes”, “fixed eyes”) or intonation. A feeling of a single internal movement is created. The lovers understand each other without words, as indicated by the author’s remarks:
“What’s wrong with you?” Lavretsky said and heard a quiet sob, his heart sank... He realized what these tears meant. “Do you really love me?”
This episode shows Turgenev's skill in conveying a person's inner experiences. The writer does not use bright romantic colors, but achieves a sublime mood in the depiction of love.
Turgenev very subtly conveys the state of his heroes through a description of nature
In general, in the story about the relationship between Lisa and Lavretsky, there is a constant change in the light and dark colors of nature, depending on the changes in the fate of the heroes. The night when Lavretsky confesses his love for Liza is quiet and bright. It was on this quiet and bright summer night that they connected their lips in a kiss for the only time.
The calm landscape conveys all the purity and sincerity of the heroes’ love for each other. The description of the landscape, the leisurely actions of the characters, pauses in their remarks create a feeling of slowness of action
There is no impetuosity or outburst of feelings in the movements of Lisa and Lavretsky. The entire scene of the declaration of love is imbued with lyricism, even with some kind of mood of decay. The atmosphere in which the scene was written suggests that not everything will be so smooth in the relationship between the lovers.
Indeed, in the following chapters the reader will understand that the scene of Lavretsky and Lisa’s declaration of love is the only bright moment in their relationship. Only then could the heroes openly, without any obstacles, be happy.
This episode, masterfully developed by Turgenev, can rightfully be called one of the best in the novel. It not only helps to reveal the characters' characters, but also conveys one of the most important moments in their lives - a declaration of love, a short but happy time of mutual feeling.
In this episode, all the basic techniques and features of Turgenev’s style are revealed. From this passage we can judge in a creative manner writer, his views on many life issues.
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Characteristics of the image of Lisa Kalitina
At first glance, Lisa Kalitina is an ordinary provincial young lady who plays the piano every day and obeys her mother in everything. Probably, a good match was waiting for Lisa, an enviable groom, and she would have lived her life like many of her contemporaries. But in fact, she was a special girl, not like the others. The author himself especially singles her out from all the characters in his novel. With the appearance of each hero, his backstory is described, and not only him, but also his family, only we learn about Lisa first from the characteristics given to her by others. Lavretsky, after several fleeting meetings with her, thinks like this: “Nice girl, something will come of her? She's pretty too...
Explanation of vulgarity in the stories of A. P. Chekhov
At the time of his highest creative flowering, Chekhov wrote several stories about the intelligentsia. He sounds the alarm, warning that people called to lead the people are turning into ordinary people, degrading under the influence of the environment in which they find themselves. The most powerful, in my opinion, is the story “Ionych” (1898). The plot of the story is simple: young, smart man ends up in the gray, musty town of S....
Characteristics of the image of Lavretsky in the novel “The Noble Nest”
Turgenev conceived the novel “The Noble Nest” back in 1855. However, at that time the writer experienced doubts about the strength of his talent, and the imprint of personal unsettlement in life was also imposed. Turgenev resumed work on the novel only in 1858, upon his arrival from Paris. The novel appeared in the January book of Sovremennik for 1859. The author himself later noted that “The Noble Nest” was the greatest success that had ever befallen him. Turgenev, who was distinguished by his ability to notice and depict something new and emerging, reflected modernity in this novel, the main moments in the life of the noble intelligentsia of that time. Lavretsky, Panshin, Liza are not abstract images created by the head, but living people - representatives of the generations of the 40s of the 19th century....
Glory bought with blood (analysis of Lermontov’s poem “Motherland”)
What was new was that Lermontov, with greater acuteness than Pushkin, realized the need to merge with the people, and perhaps even subordinate the advanced nobility to them. Dobrolyubov wrote that Lermontov early experienced “the shortcomings modern society"and "knew how to understand" that "salvation from... the wrong way is found only among the people.” This conviction was constantly strengthened by Lermontov, as evidenced by “Cossack Lullaby” (1839). glorifying the courage of ordinary Cossacks, and especially the poem “Motherland” (1841), where the poet’s “holy” and “reasonable” (N. A. Dobrolyubov) love for the fatherland was manifested....
Episode of the death of Valet (analysis of part 5 of chapter 31 of M. Sholokhov’s novel “Quiet Don”)
On the pages of Sholokhov’s epic novel “ Quiet Don"we see the most tragic conflicts, the most intricate contradictions, the most unprecedented passions and difficulties, from which sometimes the only way out is death, self-destruction. Let us consider and analyze the episode of the death of Valet in the novel “Quiet Don”. Valet is a worker from Sergei Platonovich's mill. Then, as the novel progresses, he appears before us as a soldier and serves in the 318th Chernoyarsk Regiment. Hard Times reigned: trenches, military operations, uprisings, the unpredictability of a new day. The novel ends with an episode in which Valet is destined to die, precisely “destined”, because his comrade Mikhail Koshevoy remains alive, and he is entitled to less cruel punishment. If we consider this episode in detail, then nothing foreshadowed trouble: “The fog foamed in the steppe, swirled in the gullies, nicked in the depressions, licked the spurs of the Yarov. The mounds covered with it brightened. Quails squawked in the young grass. Yes, a month floated in the heavenly heights, like a fully mature water lily flower in a pond overgrown with sedge and bream. They walked until dawn. Stozhary has already faded. The dew has fallen. The village of Nizhne-Yablonovsky was approaching.” This is exactly how Sholokhov describes the state of nature. Suddenly, almost out of nowhere, Cossacks appear and attack Koshevoy and Valet. Here the whole course of events is already turning against them: “the grass is low, the month is bright... We got caught...”. A shot also sounds randomly and inexplicably: “A hundred fathoms moved silently. Then a shot..." Everything happens as if according to a clearly thought out scheme by someone, but at the same moment it is impossible to guess what will happen next. Koshevoy remains alive, although it is clear from everything that he would rather accept death than endure humiliation and deprivation, and the Cossacks utter the following phrase: “They killed a man, but they pitied you.” It's like they did you a favor. This statement greatly hurt Mishka’s pride, but he did not lose heart. As for the shot and abandoned Valet, he was “cleaned up two days later” by two Yablonovsky Cossacks. They dug a shallow grave because the ground was hard and the work was slow. However, according to the same Cossacks, the burial place was fertile. This is what they say: “Yes... the guy will have to lie in good soil, at a height... There are winds here, dryness, sun... It won’t deteriorate soon.” The author is laconic in this description, his grief for the hero is felt. But the later description is quite vivid: “After half a month, the tiny mound was overgrown with plantain and young wormwood, wild oats began to sprout on it, the side of the colza turned yellow in a lush color, sweet clover hung like shag tassels, there was a smell of thyme, milkweed and copperhead.” Sholokhov also notes that an old man erected a chapel on this site: “In the steppe, a chapel remained to grieve the eyes of passers-by with an eternally sad look, to awaken inarticulate melancholy in their hearts.” Despite all the tragedy of the plot, the author finally turns the reader’s hopes to the best, brightest and kindest: “And a little later, right next to the chapel, under a hummock, under a shaggy cover of old wormwood, a female little bustard laid nine smoky blue spotted eggs and sat on them, warming them with the warmth of his body, protecting them with a glossy feathered wing.” This is the content of the final episode of the novel. ...
Question 2
Origin of music(this is the most normal thing I could find, the rest of what I saw he would definitely say nonsense (this is from a huge encyclopedia of music))
Music (Greek musa - muse). Music is an art form that affects a person through sound images that reflect his various experiences and life around him. Unlike spatial arts(painting, sculpture, architecture), music, along with choreography, theater and cinema, belongs to the temporary arts. One of the main features of music is that it really exists only in performance, in live sound.
Syncretism- a combination or fusion of “incomparable” ways of thinking and views. Denotes coherence and unity ( syncretic).
Most often the term Syncretism is applied to the field of art, to facts historical development music, dance, drama and poetry. According to A. N. Veselovsky’s definition, syncretism is “a combination of rhythmic, orchestic movements with song-music and elements of words.” The study of the phenomena of syncretism is extremely important for resolving questions of the origin and historical development of the arts. The very concept of “syncretism” was put forward in science in opposition to abstract theoretical solutions to the problem of the origin of poetic genera (lyric poetry, epic and drama) in their supposedly sequential emergence.
In the construction of A. N. Veselovsky, the theory of syncretism basically boils down to the following: during the period of its inception, poetry not only was not differentiated by genre (lyrics, epic, drama), but in general it itself did not represent the main element of a more complex syncretic whole : the leading role in this syncretic art was played by dancing - “rhythmic orchestic movements accompanied by song-music”
3. Music of Romanticism
Music of the Romantic period is a professional term in musicology that describes a period in the history of European music, which roughly covers the years 1800-1910.
The music of this period developed from the forms, genres and musical ideas established in earlier periods such as classical period. Although romanticism does not always mean romantic relationship However, this plot was the main one in many works on literature, painting and music created in the era of romanticism.
Ideas and the structure of works that were established or just emerging in earlier periods were developed during romanticism. As a result, works related to Romanticism are perceived by listeners (both in the 19th century and today) as more passionate and emotionally expressive. Romantic composers tried to use musical means express the depth and richness of a person’s inner world. The music becomes more prominent and individual. Song genres are being developed, including ballads.
It is generally accepted that the immediate predecessors of romanticism were Ludwig van Beethoven - in Austro-German music and Luigi Cherubini - in French; Many romantics (for example, Schubert, Wagner, Berlioz) considered K.V. to be their more distant predecessor. Gluck. The period of transition from classicism to romanticism is considered pre-romantic period- a relatively short period in the history of music and art.
The main representatives of romanticism in music are:
in Austria - Franz Schubert and Franz Liszt, as well as the late romantics - Anton Bruckner and Gustav Mahler;
in Germany - Ernest Theodor Hoffmann, Carl Maria Weber, Richard Wagner, Felix Mendelssohn, Robert Schumann, Ludwig Spohr;
in Italy - Niccolo Paganini, Vincenzo Bellini, early Giuseppe Verdi;
in France - D. F. Aubert, Hector Berlioz, J. Meyerbeer and representative late romanticism Cesar Frank;
in Poland - Frederic Chopin.
In Russia, Alexander Alyabyev, Mikhail Glinka, Alexander Dargomyzhsky, Mily Balakirev, N.A. Rimsky-Korsakov, Mussorgsky, Borodin, Cesar Cui, P.I. Tchaikovsky worked in line with romanticism.
Synesthesia
(from ancient Greek synaisthesis - co-sensation) A concept meaning a form of perception characterized by connections between feelings in the psyche, as well as the results of their manifestations in specific areas of art: a) poetic tropes and stylistic figures associated with intersensory transfers; b) color and spatial images evoked by music; c) interactions between the arts (visual and auditory). Thus, literary expressions include expressions like “The sound of the flute is dawn-blue” (K. Balmont), paintings include paintings by M. K. Ciurlionis and V. Kandinsky, and musical expressions include works by N. A. Rimsky-Korsakov, implying This is the existence of special “synesthetic” genres (program music, musical painting) and types of art (light music, synesthetic film). All levels of S. are determined by a basic psychological phenomenon (intersensory communication). The literal decoding of the concept of S. as “co-sensation” does not correspond to the real content of this phenomenon. S. is rather “co-representation”, “sympathy”. There may be similarity in content and emotional impact (the synesthetic analogies “timbre - color”, “tonality - color” are based on this). The last type of S. is most inherent in art. Moreover, in each type of art, the totality of its inherent characteristics forms its own so-called “synaesthetic fund.”
Music in the novel by I.S. Turgenev "The Noble Nest"
Roman I.S. Turgenev's "The Noble Nest" was written in 1858. The author himself subsequently noted that “The Noble Nest” was the greatest success that had ever befallen him.
Home storyline The novel reflects the love story of the main characters - Lisa Kalitina and Lavretsky. We can talk about the predominance of a romantic mood in the novel, which is also associated with the image of the old musician Lemm, a representative of German romantic culture. The romantic mood of the novel is created and supported by the music constantly sounding from the pages of the book, because music is capable of expressing the most subtle shades of human feelings and experiences, revealing inner world person. Music enhances and highlights the emotionality of the novel. The music is composed by the characters themselves; it reflects their state of mind at certain moments, conveys the everyday atmosphere surrounding them, complementing the beauty of nature, enhancing the lyricism and general poetic flavor of the novel.
Music has always played a huge role in the life of I.S. Turgenev and the characters of his works. (The children will easily remember the story “Asya”, the novel “Fathers and Sons”.) But music for a writer, or more precisely, the attitude of the heroes of the novel to music, is also a means of characterizing the characters, a way of expressing the author’s attitude towards them.
Panshin.
“Marya Dmitrievna doted on him,” “Gedeonovsky... ingratiated himself with a young brilliant official from St. Petersburg,” Lisa likes him, Lenochka adores him
What causes this attitude? (He is dexterous, smart, good-looking, amiable, talented.)
Talents - “...He sang sweetly, drew smartly, wrote poetry, played quite well on stage”
In this fragment, Turgenev, characterizing his hero, expresses the opinion of some of his contemporaries. Romance, like folk song, V mid-19th centuries considered a superficial and frivolous genre of music. Such works were looked upon as things that could entertain and relieve boredom. The lyrics of the romances told about sadness, sadness, heartache, and unrequited love. This is exactly the romance performed by Panshin.
How does Panshin’s attitude to music characterize him? (Frivolity, superficiality, emptiness, vanity, falsehood, narcissism.)
Varvara Pavlovna“played several Chopin mazurkas, then just coming into fashion”
Here we again encounter the concept “ light music”, according to Turgenev. We are talking about the mazurka - a Polish folk dance.
Waltz is ballroom dance, which had been banned by the Church for a long time and was again coming into fashion at that time. The waltzes of the Austrian composer Johann Strauss were especially popular in aristocratic salons.
The waltz corresponds to her character, condition, lifestyle
I was delighted with Italian music”; “She played Liszt twice and was so sweet, so simple - lovely!”
Franz Liszt- a famous Hungarian musician - traveled throughout Europe, giving concerts in the richest and most famous salons. It was considered great luck to get this fashionable pianist to perform in the house at a party or ball.
Turgenev expresses his attitude towards Varvara Pavlovna in a way already known to us - she, like Panshin (unlike Lemm, Lavretsky and Liza), sings a romance.
It is no coincidence that Varvara Pavlovna was greeted at the Kalitins’ house in the same way as Panshin: dryly by Marfa Timofeevna, with delight by Marya Dmitrievna, who immediately noticed that Varvara Pavlovna should get to know Panshin, who “composes very nice things” and “only one can fully appreciate her.” And indeed, Panshin and Varvara Pavlovna reveal kinship of souls and complete like-mindedness
To which of the novel's heroes was fate as merciless as to Lavretsky? What else unites Lavretsky and Lemma? (“...A lively imagination”, “courage of thought”, “something good, honest” - these words of Turgenev about Lemma can also be attributed to Lavretsky.)
But the main thing is the love of music: Lemm “knew music thoroughly,” “an admirer of Bach and Handel, an expert in his field,” “would have ranked among the great composers of his homeland” (chapter 5). Lavretsky “passionately loved music, practical, classical” (chapter 21).
How does Lemma characterize his passion for this kind of music? Why is he composing a cantata as a gift for Lisa? Why is this music close to him? ( Cantata - a solemn song, mainly choral.)
Lemm's feelings are manifested either in gloomy awkwardness, or in music, in which his soul is revealed. There are two episodes in the novel when Lemme expresses his feelings through music (chapters 26 and 34).
Lisa- the only heroine whose wonderful image is drawn with deep sympathy and light sadness. Lisa appears in the novel at the end of the third chapter and does not say a word throughout the entire fourth chapter. But we already have an idea of her through the gift she receives from Lemm. What kind of gift is this? ( Spiritual cantata.)
What do we learn about the cantata from chapter five? How does this gift characterize Lisa? ( Religiosity, spirituality, sublimity, and besides, this gift already predicts Lisa’s future fate - entering a monastery.)
How does Lemm characterize his student? ( “She is very pure in heart” - ch. 23.)
Lisa's purity of heart and clarity of soul are evident in the church.
Like all the characters in the novel, Lisa knows and loves music. She asks Panshin to find for her the Oberon Overture from the opera by K.M. Weber
Carl Weber- compatriot and contemporary Lemma, they were even born in the same year. This is no coincidence; the character and destinies of these people have a lot in common: life’s difficulties, adversity, great efficiency, hard work. Weber is known as the founder of German romantic opera, Lemm is also a romantic at heart
In Beethoven's music one can hear heroic, courageous, decisive, and tragic intonations. Beethoven's whole life is a struggle. The struggle with oneself, with society, with illness, death. Liza also struggled with herself, with her feelings for Lavretsky. Turgenev thus emphasizes the complex, painful, tragic character a girl's choice between life among people and serving God.
Having finished reading the novel, we said goodbye not only to its heroes, but also to Russia, which we had lost. It's about the highest level musical culture, which was possessed by representatives of the noble society of that time. Saturating, imbuing his novel with music, Turgenev counted on the reader who knows perfectly well what a cantata and a mazurka are, what are the differences between Bach and Chopin, and why Panshin fails to finish playing a Beethoven sonata, but he performs the romance with ease and more than once . We, the generation of the 21st century, are “terribly far” from such an ability to understand classical music, and this does not decorate us at all.
The novel contains the music of Beethoven, Weber, Donizetti, Strauss, Alyabiev.
Music and poetry
Ode (from the Greek ōdē - song), a genre of lyric poetry and music. In antiquity, the word "O." at first it had no terminological meaning, then it began to mean a predominantly lyrical choral song written in stanzas of a solemn, upbeat, moralizing nature (especially the songs of Pindar). In the Renaissance and Baroque periods (16th-17th centuries), the term "O." came into use to designate pathetically high lyricism, focusing on ancient examples, primarily on Pindar, partly on Horace (P. Ronsard in France, G. Chiabrera in Italy, A. Cowley and J. Dryden in England, G. R. Weckerlin in Germany). In the era of classicism (17th-18th centuries), poetry was canonized as the leading genre of high lyricism (F. Malherbe, Voltaire, J.B. Rousseau, E. Lebrun - France). Its metrics and stanzas have been simplified, compositional techniques were regulated ("quiet" or "swift" attack, the presence of digressions, permitted "lyrical disorder"), spiritual, solemn ("Pindaric"), moralizing ("Horatian"), and love ("Anacreontic") were distinguished. O. is included in Russian poetry for the first time in V. K. Trediakovsky (1734). Two tendencies are fighting here, one is closer to the Baroque tradition (the demand for “delight” - M. V. Lomonosov, V. P. Petrov), the other is rationalistic - close to the Enlightenment (the demand for “naturalness” - A. P. Sumarokov, M. M. Kheraskov). In the era of pre-Romanticism (late 18th century) genre features Forms are “loosening” (the poetry of G. R. Derzhavin), attempts to imitate ancient forms are becoming more frequent (F. Klopstock, F. Hölderlin - Germany). In the era of romanticism, the word "O." is already applied to a poem without canonical genre signs ("odes" by P. B. Shelley, J. Keats, A. Lamartine, V. Hugo, A. Manzoni, etc.); in Russia it is closely connected with the tradition of civil poetry ("Liberty" by A. N. Radishchev, "Civil Courage" by K. F. Ryleev). In the 19th-20th centuries. genre system in lyric poetry the concept of O. is eroded and falls out of use, appearing in poetry only sporadically ("Ode to the Revolution" by V.V. Mayakovsky).
From the 17th century in Western European countries the term "O." began to mean vocal-instrumental piece of music, written for court holidays, in honor of an event or a noble person. In England, such works were close to the cantata (G. Purcell, G. F. Handel, etc.), in Germany, along with cantata-like O. (J. S. Bach. “Funeral Ode”; L. Beethoven, finale of the 9th symphony ) were also created by O. in the form of songs with accompaniment. In subsequent times, O. arose for the most various compositions, including purely instrumental ones; among their authors are L. Cherubini, F. David, F. Liszt, J. Bizet, I. F. Stravinsky, S. S. Prokofiev (“Ode to the End of the War” for 8 harps, 4 flutes, double basses, winds and percussion instruments, 1945).
Lyrics silver age diverse and very musical. The epithet “silver” itself sounds like a bell. The Silver Age gave us a whole constellation of poets. Poets-musicians. Poems of the Silver Age are the music of words. In these verses there was not a single extra sound, not a single unnecessary comma, not a single point placed out of place.
At the beginning of the 20th century. there were many literary trends. This is symbolism, and futurism, and even the ego-futurism of Igor Severyanin. All these directions are very different, have different ideals, pursue different goals, but agree on one thing: it is necessary to frantically work on rhythm, in words, in order to bring the playing and manipulation of sounds to perfection. In my opinion, the futurists especially succeeded in this. Futurism completely abandoned the old literary traditions, “old language”, “old words”, declaring the search for the basis of versification new form words, independent of content, i.e., in other words, the invention of a new language. Working on words, on “taming” sounds, became an end in itself, sometimes even to the detriment of meaning. Take, for example, V. Khlebnikov’s poem “Perverten,” each line of which is a palindrome. New words appeared, were invented, and were composed.
The cult of form did not last long; futurism quickly became obsolete. But the work of the futurists was not in vain. In their poems, meaning was added to their almost perfect mastery of words, and they sounded like beautiful music. Let's remember Boris Pasternak's poem "Blizzard". The song of the blizzard can be heard already in the first lines. Just one sentence, and you were spinning, carried away by a snowstorm... Boris Pasternak began as a futurist. B. Pasternak's talent and futuristic mastery of form gave amazing results.
Unlike futurism, symbolism proclaimed not only the cult of the form of verse, but also the cult of symbols: abstraction and concreteness must be easily and naturally merged in a poetic symbol, like “on a summer morning, rivers of water are harmoniously merged sunlight". This is what happens in the poems of K. Balmont, similar to the rustling of leaves. For example, his mysterious, enigmatic poem “Reeds”.
7 + 8. Russian icon painting on biblical subjects. Russian icon painting on the lives of saints. (everything is very close here. Just read, maybe you’ll remember something)
An icon is a picturesque, less often a relief image of Jesus Christ, the Mother of God, angels and saints. It cannot be considered a painting; it reproduces not what the artist has before his eyes, but a certain prototype that he must follow.
Initially, the samples were Greek frescoes. It was from there that the first icon painters came to Russian soil. One of them was Theophanes the Greek.
As a rule, icons were painted by monks who fasted for 10 days before creating them. The icon was painted on a linden or pine board. It was strengthened with transverse dowels so that it would not warp or bend. Previously, a pavolok (canvas) was glued onto it, which held the primer, the so-called “gesso” (a mixture of fish glue and chalk). Everything was well dried and polished with horsetail. For special solemnity, the finest gold or silver leaf was laid. Highlighting from under the paint layer, this shine fascinated and captivated a person!
And now the board is ready for painting.
Bogomaz, as the icon painters were called, used natural paints for painting and kept the tricks of their craft a secret. Looking at the images, it is not difficult to determine where and in what century they were painted. Thus, the icons of the Novgorod and Vladimir schools were especially loved.
The oldest surviving one is “The Savior Not Made by Hands,” created in Novgorod in the 12th century and now owned by the Tretyakov Gallery.
A very important and widespread type of depiction of the Savior in ancient Russian art was the type called “Savior Almighty”. The concept of “Almighty” expresses the basic idea of Christian doctrine about Jesus Christ. “Savior Almighty” is a half-length image of Jesus Christ in his left hand with the Gospel - a sign of the teaching he brought to the world - and with his right hand, his right hand, raised in a gesture of blessing addressed to this world. But not only these important semantic attributes unite the images of the Almighty Savior. The artists who created them sought with particular completeness to endow the image of Jesus Christ with divine power and grandeur.
A mosaic image of the Savior Almighty in the dome of one of the ancient temples- St. Sophia Cathedral in Kyiv (1043-1046).
There were also numerous iconographic images of the Almighty Savior. And among them, perhaps the most famous is the icon painted at the beginning of the 15th century by the greatest Russian artist Andrei Rublev. It is now called “Zvenigorod Spas” after the place where it was found in the city of Zvenigorod.
With the same attributes of the Lord of the world as the Savior Almighty - with the Gospel in his left hand and his right hand raised in blessing - Jesus Christ was also depicted in the common compositions “The Savior on the Throne”. His royal power was indicated here by the very sitting on the throne (throne). In these images it was especially clear that the Lord of the world is also his judge, since “having sat on the throne,” the Savior will execute his final judgment over people and the world.
Images of the Virgin Mary
Next to the images of the Savior with ancient Russian art in its own way
sense and significance, according to the place they occupy in consciousness
niya and in the spiritual life of people, there are images of the Mother of God - the Virgin Ma-
ria, from which the Savior became incarnate, became man - images
his earthly mother. And Christians have a firm belief that, having become the Mistress
peace, the Mother of God became the unchanging intercessor of people: the eternal
maternal compassion gained its highest fullness, her heart,
“pierced” by the great torments of the Son, forever responded to countless
constant human suffering.
Tradition said that the first icons of the Mother of God were created
even during her lifetime, that they were written by one of the apostles, the author of Evan-
helium Luke. The works of the evangelist artist included
icon "Our Lady of Vladimir", which was considered the patron-
nissa of Russia, now in the collection of the Tretyakov Gallery
yardarms There is chronicle news that this icon was brought
on in beginning of XII century to Kyiv from Constantinople (as they called it in Rus'
capital of Byzantium, Constantinople). The name "Vladimirskaya" is half-
lived in Rus': he took her with him from Kyiv, going to the north
eastern lands, Prince Andrei Bogolyubsky. And here in the city
In Vladimir, the icon gained its glory. In the center of the icon is located
half-length image of the Mother of God with a baby in her arms, who
gently presses against her cheek.
Image of Mary and the baby in positions of mutual caress -
in Russian it was designated as "Tenderness". Holding you close to your right
hand of the baby Son, gently bending his head towards him, left hand
Mary extends her hand to him in a gesture of supplication: pierced by her ma
mother's sorrow for him, she brings her sadness to him, her
eternal intercession for people. Capable of resolving maternal
what sadness, the baby Son is depicted here to answer her prayer:
in his face, in his gaze turned to his mother, there is a mysterious
There was childish gentleness and deep, ineffable wisdom.
The veneration of “Our Lady of Vladimir” led not only to
mu that in Rus' there were many copies of it, many of its re-
Torenium. Obviously, largely thanks to the love for this ancient icon
not, especially in the northeastern Russian lands, widespread
The “Tenderness” type to which she belonged was wounded.
“Tenderness” is the famous “Our Lady of the Don” - icon,
according to legend, it got its name due to the fact that Dmitry
Donskoy took her with him to the Don, to the battle on the Kulikovo field, where
a great victory was won over the Tatars.
In addition to images like "Tenderness", numerous and beloved
We were images of the Mother of God with a baby in her arms, which
were called "Hodegetria", which means "Guide". In the room
positions "Hodegetria", the Mother of God is depicted in the frontal, torso
feminine pose. Only right hand Virgin Mary low and calm
raised in a gesture of supplication addressed to her son. Sometimes "Our Lady"
Hodegetria" is called "Our Lady of Smolensk". The fact is that
according to the chronicle, the oldest of those brought to Rus'
lists "Odigitri" was located in Smolensk.
There are several more images of different compositions.
niya of the Mother of God. These include: “Our Lady of Kazan”, “God-
Mother of Tikhvin", "Our Lady of Oranta (praying)", "Our Lady
Sign".
In addition to the icons we have considered, there are several more
zhetnyh groups: icons depicting various holidays, for example
measures, Christmas, Presentation, Dormition and many others; icons with pictures
the battles of various saints, for example, St. George the Victorious, apostle
tolov Peter and Paul, Kozma and Demyan and many others. All these
icons are painted according to certain canons, i.e. rules, I determine-
overall plot and composition of the image.
The works of Andrei Rublev
The works of Andrei Rublev belong to the highest achievements of Russian and world spiritual art, which embodied a sublime understanding of the spiritual beauty and moral strength of man in Holy Rus'. These qualities are inherent in the icons of the Zvenigorod rank (“Savior”, “Apostle Paul” (located in the Russian Museum), “Archangel Michael”, all from the turn of the 14th-15th centuries), where laconic smooth contours and a broad brushwork style are close to the techniques of monumental painting.
Painting the Assumption Cathedral in Vladimir in 1408, Andrei Rublev for the first time acted as a bearer of an independent worldview and style, diverging from the Byzantine tradition. Of the surviving frescoes, the most significant is the composition “The Last Judgment”. If Theophanes the Greek, depicting this scene, saw in God a formidable and incorruptible Judge who pronounces sentence on people, and they await His decision in horror. Then Andrei Rublev’s traditionally menacing scene turns into bright holiday Divine justice. The people depicted on the frescoes do not experience fear of punishment, but hope for forgiveness and faith in a merciful God. The idea of forgiveness triumphs here.
Russian icon painting, following Andrei, also revises the Byzantine tradition of depicting God. Rublev in his famous icon “Zvenigorod Spas” embodies the image of the spiritual ideal of the Russian man of his time. In Christ, Andrew’s love of peace and meekness were united with fortitude, strength and courage. Human kindness and calm wisdom are revealed in the eyes of the Savior.
The crowning achievement of Andrei Rublev’s work was his famous “Trinity”. It was written by order of the Monk Nikon, a student of Sergius of Radonezh. The chronicler notes that Nikon “ordered to paint an image of the Holy Trinity in praise of his father Sergius the Wonderworker” for the Trinity Monastery founded by his teacher.
Traditional biblical story- the appearance of three angels to Abraham - the icon painter filled with deep poetic and philosophical content. This icon symbolically embodied humanity’s dream of a perfect world where harmony, love and friendship will reign. The softness and tenderness of the angelic faces depicted on the icon is balanced by calm confidence and inner strength in their gaze. All three angels are remarkably similar to each other. They seem to be reflected in each other, representing an indissoluble unity. The theme of Rublev's “Trinity” is the consonance of souls, their unity. Looking at the icon, we seem to see one soul in three faces. Andrei Rublev managed to express with a brush and paint the difficult-to-understand Christian dogma of the Holy Trinity, teaching about the trinity and one essence of the three Divine Persons. It is no coincidence that Rublev’s work is called “theology in colors.”
Recent years Andrei Rublev spent his life in the Moscow Andronikov Monastery, surrounded by students and followers. With them he painted the monastery cathedral church Spasa. It was there that the famous icon painter died, according to the chronicler, “at an advanced age on January 29, 1430.”
The work of Andrei Rublev belongs to the highest achievements of world art, embodying a sublime understanding of spiritual beauty. This is a world of “light sadness” (as Pushkin said four hundred years ago) extra years later), raising a person above the drama and roughness of life. This is a captured silence that draws a person into its special atmosphere.
The Sistine Chapel (Italian: Cappella Sistina) in Rome, a former house church in the Vatican. Built in 1473-1481 by the architect Giorgio de Dolci, commissioned by Pope Sixtus IV, hence the name.
The Vatican is rich in museums like no other state in the world. Among them is the Sistine Chapel. On its vaults, Michelangelo created a fresco that gave him fame as a great painter and became one of the most famous works Renaissance. The bodies of people and celestial creatures are intertwined in the story biblical history humanity. Christian legend and pagan worship of the beauty and strength of the human body. Two opposite and usually opposing elements are united here by creative genius.
Michelangelo is often called the titan of the Renaissance. And this “title” belongs to him by right. But he is also the creator of the titans. Because the heroes of the Sistine painting are not ordinary people and not even ideal representatives “designed” by the artist’s genius human race. This super being, whose powers exceed the limits of our understanding. Their muscular bodies conceal divine power.
Images Old Testament prophets and Sibyls (ancient priestesses endowed with the gift of foresight), who predicted the birth of Christ, serve as a frame for the central part of the painting. The Chronicle of the Creation of the World and the story of Noah are its subjects. But it seems that the artist was not satisfied with the characters and space of the chosen stories. He draped and framed them with a network of images. The figures of men, women, and children, sometimes taking the form of marble sculptures, are woven into an ornamental pattern across the vast expanse of the Sistine ceiling. Their bodies are as perfect as Adam's body. The hero of the most famous fragment of the famous painting, captured at the moment when the Lord gives him a soul, without which not even the most beautiful body will not gain life and eternity.
To paint the ceiling it was necessary to install scaffolding. Michelangelo came up with a structure made of beams that did not touch the walls, which had long been covered with frescoes. Since then, such scaffolding has been constantly used when painting the ceiling and the upper part of the walls. The construction of scaffolding was only the beginning of a whole series of difficulties. Michelangelo called from Florence the best masters fresco painting and set to work with them. The artist did not like outside participation. Moreover, the pride of these people, with Michelangelo’s exactingness and his hot, nervous temperament, would inevitably lead to quarrels. One day, arriving at the chapel, they did not find the artist there; he disappeared, and it was impossible to catch him either on the scaffolding or at home. Several days passed like this.
9 biblical scenes in the center.
"Creation of the Sun, Moon and Plants." God flies, as if among the peals of thunder, stops for a moment... tension - the Sun and the Moon were created. We see him from a perspective, we see his gaze, both hands create it at the same time, but in the right there is more strength and expressiveness. God is depicted here twice. The second time it is visible from the back, like a whirlwind flying into the depths: just a moment of the hand - and the world of plants is created. The repetition of the same figure does not mean a return to primitive storytelling techniques, it is a desire for dynamic movement. In each muscle of the Creator, as well as in general, there is so much immense strength and power that the luminaries and worlds seem only to be sparks flying out of this titanic being.
"The Creation of Adam". The figure of God the Creator is completely different when he creates man. The naked, beautiful creature stretched out on the top of the mountain still lacks the breath of life. But now, carried by the clouds, the creator descends from the heavenly heights. In a frantic whirlwind, like a fireball, like force gathered by a cloak, surrounded by angels, God flies up to the motionless Adam. His face is beautiful and complacent, his movement is easy and free; all parts of His body are in complete rest, just as an eagle descends smoothly on outstretched wings. Their outstretched fingers almost touch, and, like an electric spark, the spirit of life penetrates Adam's body. In Adam there is an unheard of combination of melting strength with complete impotence. He is still unable to stand up or turn his head. And at the same time – what power! The contrast of two contours is unusually expressive: a curved one along the outstretched leg and along the torso and a straight one along the shoulders. Lifelessness turns into energy before our eyes. The first man awakens.
"The Creation of Eve". God the Father appears on stage for the first time; he is huge and must bend in a tight frame. He does not grab Eve by the elbow, does not drag her towards him, as the early masters liked to portray. With a calm gesture, he just tells her: get up. For Eve, surprise and joy of life turn into grateful worship. Sensual beauty in the spirit of the High Roman Renaissance triumphs here: massive, heavy forms.
"The Fall." The paradise landscape is shown by the wavy line of the soil and the tree trunk - a real landscape of the sculptor. What is memorable is the group of exiles pushed to the very edge and the striking line that leads to them from the reclining Eve through the hand of the tempter and the sword of the angel. What is this ominous gap of emptiness worth between the tree and the expelled Adam?
“The separation of light from darkness” no longer depicts human figures, but the elements of nature, the elementary forces of energy. In the whirlwind, God, as it were, separates himself from the chaos of the universe, from darkness into light.
Prophets and Sibyls.
Michelangelo reaches his utmost depth in the individual figures of the prophets and sibyls. Previously, images of prophets differed only in names and attributes. Michelangelo characterizes them by age, by the properties of the prophetic gift, embodying either inspiration itself, silent reflection, or the ecstasy of divination. Michelangelo starts with calm figures. Deep mystery surrounds the beautiful figures of the Sibyls.
The Erythraean Sibyl is full of noble and calm solemnity. The Sibyl sits in profile, ready to leaf through a book, while the putto lights the lamp. This is just preparation for action. On the same side a little further is the Persian Sibyl. The old woman sits sideways, pushing the book towards her eyes and turning it towards the light, like a short-sighted woman. She seems to devour the text of the book - the source of her inspiration. Isaiah listens, Ezekiel questions. The eyes of the Delphic Sibyl are open in fear. But the pace intensifies, passive preparation has given way to active activity.
The beautiful figure of a young man, full of divine fire and attention - the prophet Isaiah. The voice of the Almighty suddenly tore him from the ground, from the book in which he was immersed; now an angel, God's messenger, whispers heavenly truths to him; it is as if another world is opening up before him, he sees the Eternal One, hears His words proclaiming the destinies of the peoples; the prophet turns his face to him and with an involuntary movement pulls his right hand towards him.
Young Daniel holds an open book on his lap. He read something in it, and now, turning away sharply, he quickly writes it down on a small remote control. A harsh light falls on his forehead and chest, his cloak is crumpled, his hair is tousled, this is a thinker burning with creative fire. Towards the end of the ceiling the movement becomes even more intense. The Libyan Sibyl and Jeremiah are like contrasts to each other. The Sibyl is entirely built on external movement. She twists in an unusually sharp turn, so that we see both her face and her back at the same time. This external tension of the pose is further emphasized by the fantasy of the toilet: a combination of complex heavy folds covering the body and complete nudity. Even the putti are amazed and whisper, pointing to the African prophetess.
Never before has any artist depicted deep thought with such force as Michelangelo did in the person of the prophet Jeremiah. It shocks precisely with its simplicity, like a mighty dark block, freezing in tragic despair. His entire majestic figure breathes hopeless sadness. Not a gesture, not a tear, not a sob - the left hand hung limply, the right hand covered the mouth with a seal of silence. He mourns the fate of his people. Heavy thoughts bent the figure of the elderly prophet. The elbow of his hand rests on the seat, and her hand, supporting his bowed head, is lost in thick beard, near the mouth. Even the folds of his clothes seem to speak of hidden sadness, which, however, are unable to disturb the harmonious structure of his soul and strong body. Only the shadows of mourning women in the depths - one of the most beautiful creations of Michelangelo - give way to the great
- Personality and character of Lavretsky.
- Lisa Kalitina - the best female image author.
- What interferes with the characters' feelings?
Ivan Sergeevich Turgenev is the greatest Russian classic, who was called “the singer of noble nests.” The writer noted in the draft manuscript that “The Noble Nest,” conceived in 1856, “developed” into a novel in 1858. The writer’s new work did not go unnoticed. The enthusiasm for the novel was unanimous. “The Noble Nest,” according to the author, was the greatest success that the writer has ever experienced. In the work, readers and critics were captivated by “the bright poetry spilled in every sound of this novel.” One of the main themes of the novel is the feelings and experiences of the main characters, their relationships. This is most clearly shown in the example of the love between Liza Kalitina and Lavretsky. From the very first appearance of these characters on the pages of the novel, there is a feeling that there is some kind of obstacle, an insurmountable obstacle to the development of their relationship. I would like to understand what is the matter, what prevents two people from loving each other? In order to understand this problem, it is necessary to analyze the characteristics of these characters.
The country was going through new times (Nicholas I died, the Crimean War ended with the defeat of Russia). Society was faced with the question: how to live? “...What do you intend to do?” - one of the characters in Turgenev’s novel, Pan-shin, asks the main character, Lavretsky. “Plow the land,” Lavretsky replies, “and try to plow it as best as possible.” Pisarev noted that “Lavretsky’s personality bears a clearly marked stamp of nationality.” The Russian never betrays him, his simple but strong common practical sense and Russian good nature, sometimes angular and awkward, but always sincere and unprepared. Lavretsky is simple in expressing joy and grief; he has no exclamations and plastic gestures, not because he suppressed them, but because it is not in his nature.
Lavretsky has another purely Russian quality: light, harmless humor permeates almost every word of his; he jokes good-naturedly with others and, often assessing his situation, finds a comic side in it. He never falls into tragedy; on the contrary, his attitude towards his own personality remains humorous. He good-naturedly, with a tinge of quiet sadness, laughs at himself and at his hobbies and hopes. In his views, Lavretsky is close to Slavophilism. (A movement that arose in the 20s of the 19th century, rejecting serfdom, power over the person of the state bureaucracy. Slavophiles saw a way out for Russia in the Russian folk soul and, more broadly, in Slavic life.)
“Lavretsky defended the youth and independence of Russia... demanded, first of all, recognition of the people’s truth and humility before it.” Through this conviction of the hero, Turgenev expressed his understanding of time, although the ideas expressed by Lavretsky largely contradicted the views of the author. The image of Lavretsky had a special meaning for Turgenev: he is a truly autobiographical image, but this does not lie in the coincidence of any external features and events in the lives of the hero and the writer (there are very few of them), but in their internal similarity. “What could tear him away from that , which he recognized as his duty, the only task of his future.” The thirst for happiness is again the thirst for happiness!.. “You wanted to experience happiness in life a second time,” he (Lavretsky) said to himself, “you forgot that even that is a luxury, undeserved mercy, when it even once visits a person. It was not complete, it was false, you say; show your rights to complete, true happiness, look around, who is blissful around you, who is enjoying?
Lavretsky, like the author, survived a severe crisis, became stronger in misfortune and learned to face the approaching time without fear. The “feeling of homeland” helps him drive out “grief about the past” from his soul. In the hero’s farewell monologue, Turgenev’s voice is heard: “... he, a lonely, homeless wanderer, under the cheerful cries of the one who had already replaced him, reached him younger generation, looked back on his life. His heart felt sad, but not heavy and not regrettable: he had something to regret, nothing to be ashamed of: “Play, have fun, grow, young forces,” he thought, and there was no bitterness in his thoughts, “you have a life ahead of you.” , and it will be easier for you to live: you won’t have to, like us, find your way, struggle, fall and rise in the middle of the darkness; we were trying to figure out how to survive - and how many of us didn’t survive! - but you need to do something, work, and the blessing of our brother, the old man, will be with you. And all I have to do is give you my last bow; and although with sadness, but without envy, without any dark feelings, say, in view of the end, in view of the waiting God: “Hello, lonely old age! Burn out, useless life!
Lavretsky’s self-restraint was also expressed in his understanding of his own life goal: “to plow the land,” that is, slowly, but thoroughly, without loud phrases and excessive claims, to transform reality. This is the only way, according to the writer, that can be achieved to change the entire social and political life in Russia. Therefore, he pinned his main hopes primarily on inconspicuous “plowmen” such as Lezhnev (“Rudin”), and more later novels- Litvinov (“Smoke”), Solomin (“Nove”). The most significant figure in this series was Lavretsky, who shackled himself with “iron chains of duty.”
But even more than with the image of Lavretsky, the idea of the need to subordinate one’s life to duty is connected with the image of Liza Kalitina - one of Turgenev’s most remarkable creations. Pisarev called Lisa Kalitina "one of the most graceful female personalities ever created by Turgenev." He believed that the writer “showed shortcomings in Lisa’s personality feminine character" and "a fantastic fascination with misunderstood duty." But this is a very narrow interpretation of the heroine’s image. Lisa is an unusually integral and harmonious person. She lives in harmony with the world of people and nature, and when she loses this connection, she leaves to serve God, does not want to make any deals with her conscience, this contradicts her moral principles, and she will never step over them. And this makes Lisa Kalitina very similar to Tatyana Larina (“Eugene Onegin”). Inner Beauty Liza is embodied in complete and unconditional self-sacrifice, in an acute sense of the impossibility of “basing one’s happiness on the misfortune of another.” “Happiness does not lie in the pleasures of love alone, but in the highest harmony of the spirit” - these words of F. M. Dostoevsky contain the key to understanding the image of Liza Kalitina. Moral achievement lies in self-sacrifice. By fulfilling duty, a person gains moral freedom.
These ideas sounded very clearly in the novel “The Noble Nest.” Among the “Turgenev girls” Liza Kalitina occupies a special position. She also has integrity of character and a strong will, but she strives not for social and practical activities, but for improving her own personality. However, she does not seek to separate herself from the “universal world”, but tries to find an expression of the relationship between the world and the individual. Lisa feels not only the sinfulness of her desire for happiness, she is pierced by a feeling of guilt for the imperfection of the life around her and her class: “Happiness did not come to me; Even when I had hopes for happiness, my heart still ached. I know everything: my sins, and those of others, and how daddy acquired his wealth; I know everything. All this must be prayed away, it must be prayed away!” She does not know how to calm the spirit if she commits a “ruthless, inhumane act.” For her, happiness cannot be “stolen” from others. Lisa's self-sacrifice has a strong religious connotation.
As about Lavretsky, Turgenev could say about Liza: “In in this case“That’s exactly how life turned out in my opinion.” But this life was already outliving its life. The paths of Lavretsky and Lisa are, without a doubt, for progressives literary critics in the second half of the 50s of the 19th century, they were presented as paths leading to a dead end. Lavretsky is very similar to Oblomov (“Oblomov”), the hero of Goncharov’s novel. Oblomov, like Lavretsky, is endowed with wonderful spiritual qualities: kindness, meekness, nobility. He does not want and cannot participate in the bustle of the surrounding unfair life. But Turgenev, obviously, could not consider these personality traits of his hero sufficient for life. “As an activist, he is a zero” - that’s what most worried the author about Lavretsky.
Now, based on detailed analysis characters, views of Lisa and Kalitin, we can confidently say that there are no external obstacles to their feelings. The trouble is that the heroes have only themselves to blame for the death of their love. It is solely their character, outlook on life and goals in life that only hinders them. The heroes are unable to change, and do not consider it necessary; each of them continues their usual life path.
“The Noble Nest” is one of Turgenev’s most remarkable artistic works. The subtlety in the expression of feelings, the emotional experiences of the characters, the lyricism that permeates the entire novel, the drama of the scenes and the extraordinary poetic pictures of nature - all this captivates the reader.
The most striking episode, combining lyricism, subtle psychological analysis, and the beauty of nature, is the scene of the explanation of Lisa and Lavretsky (Chapter 34). It follows an episode depicting Lavretsky's dispute with Panshin. This sequence of episodes is not accidental. After all, this dispute showed that Lavretsky and Lisa had a lot in common: “...they both realized that they had come together closely that evening, they realized that they both loved and disliked the same thing.” Therefore, the scene of the argument, as it were, prepares the scene for the explanation of Lisa and Lavretsky.
After leaving the Kalitins, Lavretsky does not go home. He wanders across the field, and as if some unknown force brings him back to the Kalitins’ house. “It’s not for nothing,” thinks Lavretsky. The hero’s state of mind is conveyed by the description of nature: “Everything was quiet all around.” It is interesting that the motif of silence, silence is present not only in this episode, but is the main feature in the depiction of the relationship between Lisa and Lavretsky. Silence and silence give the scenes with the participation of these characters a certain emotionality.
Hearing Lavretsky's voice, Lisa quietly goes out into the garden, and then follows Lavretsky without resistance. Her amazed state at this moment is conveyed by her “pale face, motionless eyes, all her movements.” She doesn't understand where she is. Only after hearing Lavretsky’s declaration of love for her, Lisa understands what happened to her, but still refuses to believe it. She answers Lavretsky with her characteristic religiosity: “It’s all in God’s power...”
Lisa does not give a direct answer to Lavretsky’s question about their future fate. But she does not resist the hero when he tries to kiss her. This testifies to the strength and completeness of the feeling that the girl experiences for Fyodor Ivanovich.
It would seem that the scene of declaration of love requires a large dialogue between the characters in which they would express their feelings. But with Turgenev everything is different. A very large place is occupied by the description of the state of the characters, but at the same time, the writer does not analyze in detail the mental state of the characters. And yet Turgenev manages to convey the fullness of the inner life of Lisa and Lavretsky. This is achieved thanks to the unity of their moods, through pauses (this is evidenced by the abundance of ellipses in remarks), through glances, facial expressions (“Liza slowly looked at him,” “she was no longer crying and looked at him carefully with her wet eyes,” “raised glances towards him”, “lowered her eyes”, “fixed eyes”) or intonation. A feeling of a single internal movement is created. The lovers understand each other without words, as indicated by the author’s remarks:
“What’s wrong with you?” Lavretsky said and heard a quiet sob, his heart sank... He realized what these tears meant. “Do you really love me?”
This episode shows Turgenev's skill in conveying a person's inner experiences. The writer does not use bright romantic colors, but achieves a sublime mood in the depiction of love.
Turgenev very subtly conveys the state of his heroes through a description of nature. In general, in the story about the relationship between Lisa and Lavretsky, there is a constant change in the light and dark colors of nature, depending on the changes in the fate of the heroes. The night when Lavretsky confesses his love for Liza is quiet and bright. It was on this quiet and bright summer night that they connected their lips in a kiss for the only time.
The calm landscape conveys all the purity and sincerity of the heroes’ love for each other. The description of the landscape, the leisurely actions of the characters, pauses in their remarks create a feeling of slowness of action. There is no impetuosity or outburst of feelings in the movements of Lisa and Lavretsky. The entire scene of the declaration of love is imbued with lyricism, even with some kind of mood of decay. The atmosphere in which the scene is written prepares for the fact that not everything will be so smooth in the relationship between the lovers.
Indeed, in the following chapters the reader will understand that the scene of the declaration of love between Lavretsky and Lisa is the only bright moment in their relationship. Only then could the heroes openly, without any obstacles, be happy.
This episode, masterfully developed by Turgenev, can rightfully be called one of the best in the novel. It not only helps to reveal the characters' characters, but also conveys one of the most important points in their life - a declaration of love, a short but happy time of mutual feeling.
In this episode, all the basic techniques and features of Turgenev’s style are revealed. From this passage we can judge the writer’s creative style and his views on many life issues.
In the fate of the main character of “The Noble Nest”, according to the fair observation of V. Markovich, a biblical plot shines through prodigal son, who first left his native “nest” in pursuit of life’s pleasures, and then returned home after undergoing trials. The hero's story is written into history noble family Lavretsky for about 150 years of its existence, which significantly expands the time frame of the novel. We are talking about the nobility as an estate called upon to play a leading role in many areas of life in Russia. However, the actual existence of this class is almost illusory; its connections with the people are shallow and random.
The upbringing of Fyodor Lavretsky was entirely determined by the arbitrariness of his Anglomaniac father, from whose hands Fyodor emerged a man good health, but without any traditions, without social ideals and moral guidelines, without an inclination towards any cause. Youth, a vague need for love, infatuation with the first woman he met along the way, marriage, travel abroad, life without any hassle at the expense of the family inheritance - this is the first part of his life's path. Then a love disaster, a break with his wife, severe suffering and - a return to his homeland. Only now does true recognition of Russia begin, which Lavretsky deeply feels in the unchanged age-old everyday life, in its silence and slumber. Lavretsky suddenly realizes that he cannot live outside of Russia. The initial apathy (his inherent “Baybachism”) is replaced by the need for business and action. To the traditional Russian question “what to do?” he answers. "To plow the land." He suddenly realizes his role as a landowner and his duty - to lead the practical life of a village owner, taking care of the men entrusted to him.
In the character of the hero, Turgenev reveals deeply national traits, it’s not for nothing that he is the son of not only a master, but also a serf peasant woman. He owes such qualities as simplicity, breadth of mind and gentleness to his folk roots. At the same time, Lavretsky also has a lot of the opposite type of culture - noble. First of all, these are spiritual requests, impulses towards the absolute. In Russia, Liza Kalitina appears on Lavretsky’s path, in whom he feels a person who is not a stranger to the “nest”. In Lavretsky’s soul, the dream of a family home, a premonition of possible happiness, flares up with renewed vigor. However, external circumstances develop in such a way that, despite all their spiritual closeness, the heroes cannot unite their lives. The chance that determines their fate seems to Lavretsky immoral, devoid of logic and meaning; however, Lisa sees in it a manifestation of a deep pattern. “The most Russian” and the spiritually rich heroes of the novel not only strive for each other, but also disagree in their life positions. If Lavretsky defends the right to love and personal joy, then Liza feels the inevitability of retribution for the illicit hope of happiness. In comparison with Lavretsky, Liza has integrity of character and willpower, which, however, are not directed towards social activities, but to the spiritual deepening of one’s personality. Lisa is haunted by a feeling of guilt for the imperfections of her life as a whole. She goes to the monastery “to atone for the sins of her fathers.” It is appropriate to quote here the words of F.M. Dostoevsky, said about Lisa: “Happiness does not lie in the pleasures of love alone, but also in the highest harmony of the spirit.” In her self-sacrifice, Lisa gains inner freedom; and yet her appearance bears features of asceticism, and to a certain extent, religious exaltation.
Lavretsky is not like that. It expresses too much the suffering of the self-conscious individual. The hero’s mental anguish here is combined with the author’s own torment. The process of Lavretsky’s spiritual development (the most important in the novel) leads to the hero’s acquisition of inner integrity due to the renunciation of excellent claims and humility before reality. Trying to overcome “his loneliness, his weakness, his chance” in the face of the element of love beyond his control, Lavretsky turns to the values of national, popular and natural existence, accepting them as the highest historical necessity.