Essay: I. S. Turgenev. "Nobles' Nest" Images of the main characters of the novel. Nobles' Nest The meaning of the name "Nobles' Nest"

03.11.2019

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Ivan Turgenev

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Contemporary

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Text of the work in Wikisource

A novel written by Ivan Sergeevich Turgenev in 1856-1858, first published in 1859 in the Sovremennik magazine.

Characters:

Fyodor Ivanovich Lavretsky (taken from his mother - raised by his aunt Glafira)
Ivan Petrovich (Fyodor’s father) - lived with his aunt, then with his parents, married Malanya Sergeevna, mother’s maid)
Glafira Petrovna (Fedora's aunt) is an old maid, with the character of a gypsy grandmother.
Pyotr Andreevich (Fyodor’s grandfather, a simple steppe gentleman; Fyodor’s great-grandfather was a tough, daring man, his great-grandmother was a vengeful gypsy, in no way inferior to her husband)
Gedeonovsky Sergey Petrovich, State Councilor
Maria Dmitrievna Kalitina, a wealthy landowner widow
Marfa Timofeevna Pestova, Kalitina's aunt, old maid
Vladimir Nikolaevich Panshin, chamber cadet, official on special assignments
Lisa and Lenochka (daughters of Maria Dmitrievna)
Christopher Fedorovich Lemm, old music teacher, German
Varvara Pavlovna Korobyina (Varenka), wife of Lavretsky
Mikhalevich (Fyodor’s friend, “enthusiast and poet”)
Ada (daughter of Varvara and Fyodor)

1 Plot of the novel
2 Accusation of plagiarism
3 Film adaptations
4 Notes

Plot of the novel

The main character of the novel is Fyodor Ivanovich Lavretsky, a nobleman who has many of the traits of Turgenev himself. Raised remotely from his paternal home, the son of an Anglophile father and a mother who died in his early childhood, Lavretsky is raised on the family country estate by a cruel aunt. Often critics looked for the basis for this part of the plot in the childhood of Ivan Sergeevich Turgenev himself, who was raised by his mother, known for her cruelty.

Lavretsky continues his education in Moscow, and, while visiting the opera, he notices a beautiful girl in one of the boxes. Her name is Varvara Pavlovna, and now Fyodor Lavretsky declares his love to her and asks for her hand. The couple gets married and the newlyweds move to Paris. There, Varvara Pavlovna becomes a very popular salon owner and begins an affair with one of her regular guests. Lavretsky learns about his wife’s affair with another only at the moment when he accidentally reads a note written from his lover to Varvara Pavlovna. Shocked by the betrayal of his loved one, he breaks off all contact with her and returns to his family estate, where he was raised.

Upon returning home to Russia, Lavretsky visits his cousin, Maria Dmitrievna Kalitina, who lives with her two daughters - Liza and Lenochka. Lavretsky immediately becomes interested in Liza, whose serious nature and sincere dedication to the Orthodox faith give her great moral superiority, strikingly different from Varvara Pavlovna's flirtatious behavior to which Lavretsky is so accustomed. Gradually, Lavretsky realizes that he is deeply in love with Lisa and, having read a message in a foreign magazine that Varvara Pavlovna has died, declares his love to Lisa. He learns that his feelings are not unrequited - Lisa also loves him.

Having learned about the sudden appearance of the living Varvara Pavlovna, Lisa decides to go to a remote monastery and lives the rest of her days as a monk. The novel ends with an epilogue, the action of which takes place eight years later, from which it also becomes known that Lavretsky returns to Lisa’s house, where her matured sister Elena has settled. There, after the passing years, despite many changes in the house, he sees the living room, where he often met with his beloved girl, sees the piano and the garden in front of the house, which he remembered so much because of his communication with Lisa. Lavretsky lives with his memories and sees some meaning and even beauty in his personal tragedy. After his thoughts, the hero leaves back to his home.

Later, Lavretsky visits Lisa in the monastery, seeing her in those short moments when she appears for moments between services.

Accusation of plagiarism

This novel was the reason for a serious disagreement between Turgenev and Goncharov. D. V. Grigorovich, among other contemporaries, recalls:

Once - it seems, at the Maykovs - he told the contents of a new proposed novel, in which the heroine was supposed to retire to a monastery; many years later Turgenev's novel " Noble nest“; The main thing woman's face it also retired to a monastery. Goncharov raised a whole storm and directly accused Turgenev of plagiarism, of appropriating someone else’s thought, probably assuming that this thought, precious in its novelty, could only appear to him, and Turgenev would not have had enough talent and imagination to reach it. The matter took such a turn that it was necessary to appoint an arbitration court composed of Nikitenko, Annenkov and a third party - I don’t remember who. Nothing came of this, of course, except laughter; but since then Goncharov stopped not only seeing, but also bowing to Turgenev.

Film adaptations

The novel was filmed in 1915 by V. R. Gardin and in 1969 by Andrei Konchalovsky. Soviet film starring Leonid Kulagin and Irina Kupchenko. See Nobles' Nest (film).

In 1965, a television film based on the novel was made in Yugoslavia. Directed by Daniel Marusic
In 1969, GDR television made a film based on novel I, S. Turgenev. Directed by Hans-Erik

Korbschmidt

Notes

1 2 I. S. Turgenev The Noble Nest // “Contemporary”. - 1859. - T. LXXIII, No. 1. - P. 5-160.

Ivan Sergeevich Turgenev
Novels	Rudin On the Eve of Fathers and Sons Smoke Nov
Stories and stories	Andrey Kolosov Three portraits Breter Petushkov Diary extra person Two friends Calm Notes of a Hunter (cycle) Mumu Inn After Death Yakov Pasynkov Correspondence Faust Asya Ghosts Pretty Spring Waters Steppe King Lear First Love
Dramaturgy	Lack of money Where it is thin, there it is torn Freeloader Breakfast at the leader Bachelor A month in the village Provintsialka
Other	Poems in prose Literary and everyday memories
Characters	Evgeny Bazarov Pavel Petrovich Kirsanov Nikolay Petrovich Kirsanov Dmitry Nikolaevich Rudin Elena Nikolaevna Stakhova Fedor Ivanovich Lavretsky
Related Articles	Turgenevs Polina Viardot Yulia Vrevskaya Tatyana Aleksandrovna Bakunina
Museums	Spasskoye-Lutovinovo Museum of I. S. Turgenev on Ostozhenka State literary museum I. S. Turgenev in Orel Dacha of I. S. Turgenev

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Nobles' Nest Information About

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 subsequently noted that “The Noble Nest” was the greatest success that had ever befallen him.

Turgenev, who was distinguished by his ability to notice and portray 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. Turgenev's novel contains not only poetry, but also a critical orientation. This work of the writer is a denunciation of autocratic-serf Russia, a departure song for the “nests of the nobility.”

The favorite setting in Turgenev’s works is “noble nests” with the atmosphere of sublime experiences reigning in them. Turgenev worries about their fate and one of his novels, which is called “The Noble Nest,” is imbued with a feeling of anxiety for their fate.

This novel is imbued with the awareness that the “nests of the nobility” are degenerating. Turgenev critically illuminates the noble genealogies of the Lavretskys and Kalitins, seeing in them a chronicle of feudal tyranny, a bizarre mixture of “wild lordship” and aristocratic admiration for Western Europe.

Let's consider ideological content and the system of images of the “Noble Nest”. Turgenev placed representatives of the noble class at the center of the novel. Chronological framework novel - 40s. The action begins in 1842, and the epilogue tells about the events that took place 8 years later.

The writer decided to capture that period in the life of Russia when concern for the fate of themselves and their people grew among the best representatives of the noble intelligentsia. Turgenev decided on the plot and compositional plan of his work in an interesting way. He shows his characters at the most intense turning points in their lives.

After an eight-year stay abroad, Fyodor Lavretsky returns to his family estate. He experienced a great shock - the betrayal of his wife Varvara Pavlovna. Tired, but not broken by suffering, Fyodor Ivanovich came to the village to improve the life of his peasants. In a neighboring city in his house cousin Marya Dmitrievna Kalitina, he meets with her daughter, Lisa.

Lavretsky fell in love with her pure love, Lisa reciprocated his feelings.

In the novel "The Noble Nest" great place the author pays attention to the theme of love, because this feeling helps to highlight everything best qualities heroes, to see the main thing in their characters, to understand their soul. Love is depicted by Turgenev as the most beautiful, bright and pure feeling that awakens the best in people. In this novel, like in no other novel by Turgenev, the most touching, romantic, sublime pages are dedicated to the love of the heroes.

The love of Lavretsky and Lisa Kalitina does not manifest itself immediately, it approaches them gradually, through many thoughts and doubts, and then suddenly falls upon them with its irresistible force. Lavretsky, who has experienced a lot in his life: hobbies, disappointments, and the loss of all life goals, - at first he simply admires Liza, her innocence, purity, spontaneity, sincerity - all those qualities that are absent from Varvara Pavlovna, hypocritical, depraved Lavretsky's wife, who abandoned him. Lisa is close to him in spirit: “Sometimes it happens that two people who are already familiar, but not close to each other, suddenly and quickly become close within a few moments - and the consciousness of this closeness is immediately expressed in their glances, in their friendly and quiet smiles, in themselves their movements. This is exactly what happened to Lavretsky and Liza." They talk a lot and realize that they have a lot in common. Lavretsky is serious about life, about other people, about Russia, Liza is also deep and strong girl having its own ideals and beliefs. According to Lemm, Lisa’s music teacher, she is “a fair, serious girl, with sublime feelings"Lisa is being courted by a young man, a metropolitan official with a wonderful future. Liza's mother would be happy to give her in marriage to him, she considers this a wonderful match for Liza. But Liza cannot love him, she feels the falseness in his attitude towards her, Panshin - a superficial person, he values \u200b\u200bthe external brilliance in people, not the depth of feelings. Further events The novels confirm this opinion about Panshin.

Only when Lavretsky receives news of the death of his wife in Paris does he begin to admit the thought of personal happiness.

They were close to happiness; Lavretsky showed Lisa a French magazine, which reported the death of his wife Varvara Pavlovna.

Turgenev, in his favorite manner, does not describe the feelings of a person freed from shame and humiliation; he uses the technique of “secret psychology,” depicting the experiences of his heroes through movements, gestures, and facial expressions. After Lavretsky read the news of his wife’s death, he “got dressed, went out into the garden and walked back and forth along the same alley until the morning.” After some time, Lavretsky becomes convinced that he loves Lisa. He is not happy about this feeling, since he has already experienced it, and it only brought him disappointment. He is trying to find confirmation of the news of his wife's death, he is tormented by uncertainty. And his love for Liza is growing: “He did not love like a boy, it was not becoming for him to sigh and languish, and Liza herself did not arouse this kind of feeling; but love for every age has its sufferings, and he experienced them fully.” The author conveys the feelings of the heroes through descriptions of nature, which is especially beautiful before their explanation: “Each of them had a heart growing in their chest, and nothing was missing for them: for them the nightingale sang, and the stars burned, and the trees whispered quietly, lulled by sleep, and the bliss of summer and warmth." The scene of the declaration of love between Lavretsky and Lisa was written by Turgenev in an amazingly poetic and touching way; the author finds the simplest and at the same time the most tender words to express the feelings of the characters. Lavretsky wanders around Lisa’s house at night, looking at her window, in which a candle is burning: “Lavretsky did not think anything, did not expect anything; he was pleased to feel close to Lisa, to sit in her garden on a bench, where she sat more than once... " At this time, Lisa goes out into the garden, as if sensing that Lavretsky is there: "In a white dress, with unbraided braids on her shoulders, she quietly walked up to the table, bent over it, put a candle and then looked for something, turning around; Facing the garden, she approached the open door and, all white, light, slender, stopped on the threshold."

A declaration of love takes place, after which Lavretsky is overwhelmed with happiness: “Suddenly it seemed to him that some wondrous, triumphant sounds were flowing in the air above his head; he stopped: the sounds thundered even more magnificently; they flowed in a melodious, strong stream - and in them, it seemed that all his happiness spoke and sang." This was the music that Lemm composed, and it completely corresponded to Lavretsky’s mood: “Lavretsky had not heard anything like this for a long time: a sweet, passionate melody embraced the heart from the first sound; it was all shining, all languishing with inspiration, happiness, beauty, it grew and melted; she touched everything that is dear, secret, holy on earth; she breathed immortal sadness and went to die in heaven." The music foreshadows tragic events in the lives of the heroes: when happiness was already so close, the news of the death of Lavretsky’s wife turns out to be false, Varvara Pavlovna returns from France to Lavretsky, as she was left without money.

Lavretsky endures this event stoically, he is submissive to fate, but he is worried about what will happen to Lisa, because he understands what it is like for her, who fell in love for the first time, to experience this. She is saved from terrible despair by her deep, selfless faith in God. Lisa goes to the monastery, wanting only one thing - for Lavretsky to forgive his wife. Lavretsky forgave, but his life was over; he loved Lisa too much to start all over again with his wife. At the end of the novel, Lavretsky, far from old man, looks like an old man, he feels like a man who has outlived his time. But the heroes' love did not end there. This is a feeling that they will carry throughout their lives. Last meeting Lavretsky and Lisa testifies to this. “They say that Lavretsky visited that remote monastery where Lisa had disappeared - he saw her. Moving from choir to choir, she walked close past him, walked with the even, hasty, humble gait of a nun - and did not look at him; only the eyelashes of the eye turned towards him trembled a little, only she tilted her emaciated face even lower - and her fingers clenched hands, entwined with rosaries, clung to each other even tighter." She did not forget her love, did not stop loving Lavretsky, and her departure to the monastery confirms this. And Panshin, who so demonstrated his love for Liza, completely fell under the spell of Varvara Pavlovna and became her slave

A love story in the novel by I.S. Turgenev's "The Noble Nest" is very tragic and at the same time beautiful, beautiful because this feeling is not subject to either time or the circumstances of life, it helps a person to rise above the vulgarity and everyday life that surrounds him, this feeling ennobles and makes a person human.

Fyodor Lavretsky himself was a descendant of the gradually degenerating Lavretsky family, once strong, outstanding representatives of this family - Andrey (Fyodor's great-grandfather), Peter, then Ivan.

The commonality of the first Lavretskys is ignorance.

Turgenev very accurately shows the change of generations in the Lavretsky family, their connections with - different periods historical development. A cruel and wild tyrant landowner, Lavretsky’s great-grandfather (“whatever the master wanted, he did, he hung men by the ribs... he didn’t know his elders”); his grandfather, who once “flogged the whole village,” a careless and hospitable “steppe gentleman”; full of hatred for Voltaire and the “fanatic” Diderot - these are typical representatives of the Russian “wild nobility”. They are replaced by those who have become acquainted with the culture, either by claims to “Frenchness” or by Anglomanism, which we see in the images of the frivolous old Princess Kubenskaya, who at a very old age married a young Frenchman, and the father of the hero Ivan Petrovich. Starting with a passion for the Declaration of the Rights of Man and Diderot, he ended with prayer services and baths. “A freethinker - began to go to church and order prayer services; a European - began to take a bath and have dinner at two o’clock, go to bed at nine, fall asleep to the chatter of the butler; statesman- he burned all his plans, all his correspondence, was in awe of the governor and fussed with the police officer." Such was the history of one of the families of the Russian nobility.

In the papers of Pyotr Andreevich, the grandson found the only old book, in which he wrote either “Celebration in the city of St. Petersburg of the peace concluded with the Turkish Empire by His Excellency Prince Alexander Andreevich Prozorovsky,” then a recipe for breast decoction with a note; "this instruction was given to General Praskovya Fedorovna Saltykova from the protopresbyter of the church life-giving Trinity Fyodor Avksentievich," etc.; except for calendars, a dream book and the work of Abmodik, the old man had no books. And on this occasion, Turgenev ironically remarked: “Reading was not his thing.” As if in passing, Turgenev points to the luxury of the eminent nobility. So , the death of Princess Kubenskaya is conveyed in the following colors: the princess “flushed, scented with amber a la Richelieu, surrounded by little black girls, thin-legged dogs and noisy parrots, died on a crooked silk sofa from the time of Louis XV, with an enamel snuffbox by Petitot in her hands.”

Admiring everything French, Kubenskaya instilled the same tastes in Ivan Petrovich and gave him a French upbringing. The writer does not exaggerate the significance of the War of 1812 for nobles like the Lavretskys. They only temporarily “felt that Russian blood was flowing in their veins.” “Peter Andreevich dressed an entire regiment of warriors at his own expense.” And that's all. Fyodor Ivanovich's ancestors, especially his father, loved foreign things more than Russian ones. The European-educated Ivan Petrovich, returning from abroad, introduced a new livery to the servants, leaving everything as before, about which Turgenev writes, not without irony: “Everything remained the same, only the quitrent was increased in some places, and the corvee became heavier, yes the peasants were forbidden to address the master directly: the patriot really despised his fellow citizens.”

And Ivan Petrovich decided to raise his son using the foreign method. And this led to a separation from everything Russian, to a departure from the homeland. "An Anglomaniac played a bad joke on his son." Separated from his native people since childhood, Fyodor lost his support, his real cause. It is no coincidence that the writer led Ivan Petrovich to an inglorious death: the old man became an unbearable egoist, with his whims he did not allow everyone around him to live, a pathetic blind man, suspicious. His death was a deliverance for Fyodor Ivanovich. Life suddenly opened up before him. At the age of 23, he did not hesitate to sit on the student bench with the firm intention of mastering knowledge in order to apply it in life and benefit at least the peasants of his villages. Where does Fyodor’s isolation and unsociability come from? These qualities were the result of a “Spartan upbringing.” Instead of introducing the young man into the thick of life, “they kept him in artificial solitude,” protecting him from life’s shocks.

The genealogy of the Lavretskys is intended to help the reader trace the gradual retreat of the landowners from the people, to explain how Fyodor Ivanovich “dislocated” from life; it is intended to prove that the social death of the nobility is inevitable. The opportunity to live at someone else's expense leads to the gradual degradation of a person.

An idea of the Kalitin family is also given, where parents do not care about their children, as long as they are fed and clothed.

This whole picture is complemented by the figures of the gossip and jester of the old official Gedeonov, the dashing retired captain and famous gambler - Father Panigin, the lover of government money - retired General Korobin, the future father-in-law of Lavretsky, etc. By telling the story of the families of the characters in the novel, Turgenev creates the picture is very far from the idyllic image of “noble nests”. He shows a motley Russia, whose people face all sorts of hardships, from a full course to the West to literally dense vegetation on their estate.

And all the “nests”, which for Turgenev were the stronghold of the country, the place where its power was concentrated and developed, are undergoing a process of disintegration and destruction. Describing Lavretsky's ancestors through the mouths of the people (in the person of the courtyard man Anton), the author shows that the history of noble nests is washed by the tears of many of their victims.

One of them is Lavretsky's mother - a simple serf girl, who, unfortunately, turned out to be too beautiful, which attracts the attention of the nobleman, who, having married out of a desire to annoy his father, went to St. Petersburg, where he became interested in another. And poor Malasha, unable to bear the fact that her son was taken away from her for the purpose of raising her, “meekly faded away in a few days.”

Fyodor Lavretsky was brought up in conditions of desecration of the human person. He saw how his mother, the former serf Malanya, was in an ambiguous position: on the one hand, she was officially considered the wife of Ivan Petrovich, transferred to half of the owners, on the other hand, she was treated with disdain, especially by her sister-in-law Glafira Petrovna. Pyotr Andreevich called Malanya “a raw noblewoman.” As a child, Fedya himself felt his special position; the feeling of humiliation oppressed him. Glafira reigned supreme over him; his mother was not allowed to see him. When Fedya was eight years old, his mother died. “The memory of her,” writes Turgenev, “of her quiet and pale face, of her dull glances and timid caresses, is forever imprinted in his heart.”

The theme of the “irresponsibility” of the serf peasantry accompanies Turgenev’s entire narrative about the past of the Lavretsky family. The image of Lavretsky’s evil and domineering aunt Glafira Petrovna is complemented by the images of the decrepit footman Anton, who has aged in the lord’s service, and the old woman Apraxya. These images are inseparable from the “noble nests”.

In his childhood, Fedya had to think about the situation of the people, about serfdom. However, his teachers did everything possible to distance him from life. His will was suppressed by Glafira, but “... at times wild stubbornness came over him.” Fedya was raised by his father himself. He decided to make him a Spartan. Ivan Petrovich's "system" confused the boy, created confusion in his head, pressed it down. Fedya was taught exact sciences and “heraldry to maintain chivalric feelings.” The father wanted to mold the young man’s soul to a foreign model, to instill in him a love for everything English. It was under the influence of such an upbringing that Fedor turned out to be a man cut off from life, from the people. The writer emphasizes the wealth of spiritual interests of his hero. Fedor is a passionate fan of Mochalov’s playing (“he never missed a single performance”), he deeply feels music, the beauty of nature, in a word, everything that is aesthetically beautiful. Lavretsky cannot be denied his hard work. He studied very diligently at the university. Even after his marriage, which interrupted his studies for almost two years, Fyodor Ivanovich returned to independent studies. “It was strange to see,” writes Turgenev, “his powerful, broad-shouldered figure, always bent over his desk. He spent every morning at work.” And after his wife’s betrayal, Fyodor pulled himself together and “could study, work,” although skepticism, prepared by life experiences and upbringing, finally crept into his soul. He became very indifferent to everything. This was a consequence of his isolation from the people, from his native soil. After all, Varvara Pavlovna tore him not only from his studies, his work, but also from his homeland, forcing him to wander around Western countries and forget about the duty to your peasants, to the people. True, from childhood he was not accustomed to systematic work, so at times he was in a state of inaction.

Lavretsky is very different from the heroes created by Turgenev before The Noble Nest. They went to him positive traits Rudin (his loftiness, romantic aspiration) and Lezhnev (sobriety of views on things, practicality). He has a strong view of his role in life - to improve the life of the peasants, he does not limit himself to the framework of personal interests. Dobrolyubov wrote about Lavretsky: “... the drama of his situation no longer lies in the struggle with his own powerlessness, but in the clash with such concepts and morals, with which the struggle, indeed, should frighten even an energetic and courageous person.” And further the critic noted that the writer “knew how to stage Lavretsky in such a way that it would be awkward to ironize him.”

With great poetic feeling, Turgenev described the emergence of love in Lavretsky. Realizing that he loved deeply, Fyodor Ivanovich repeated Mikhalevich’s meaningful words:

And I burned everything that I worshiped;

He bowed to everything he burned...

Love for Lisa is the moment of his spiritual rebirth, which occurred upon returning to Russia. Lisa is the opposite of Varvara Pavlovna. She could have helped Lavretsky’s abilities to develop and would not have prevented him from being a hard worker. Fyodor Ivanovich himself thought about this: “... she would not distract me from my studies; she herself would inspire me to honest, strict work, and we would both go forward, towards a wonderful goal.” Lavretsky's dispute with Panshin reveals his boundless patriotism and faith in the bright future of his people. Fyodor Ivanovich “stood up for new people, for their beliefs and desires.”

Having lost his personal happiness for the second time, Lavretsky decides to fulfill his social duty (as he understands it) - improving the life of his peasants. “Lavretsky had the right to be pleased,” writes Turgenev, “he became a really good owner, really learned to plow the land and worked not only for himself.” However, it was half-hearted; it did not fill his entire life. Arriving at the Kalitins’ house, he thinks about the “work” of his life and admits that it was useless.

The writer condemns Lavretsky for the sad outcome of his life. With all your cute ones, positive qualities main character The “noble nest” did not find his calling, did not benefit his people, and did not even achieve personal happiness.

At 45 years old, Lavretsky feels old, incapable of spiritual activity; the Lavretsky “nest” has virtually ceased to exist.

In the epilogue of the novel, the hero appears aged. Lavretsky is not ashamed of the past, he does not expect anything from the future. "Hello, lonely old age! Burn out, useless life!" - he says.

“Nest” is a house, a symbol of a family where the connection between generations is not interrupted. In the novel "The Noble Nest" this connection is broken, which symbolizes the destruction and withering away of family estates under the influence of serfdom. We can see the result of this, for example, in the poem "The Forgotten Village" by N.A. Nekrasov. Turgenev the serf publication novel

But Turgenev hopes that all is not lost, and in the novel he turns, saying goodbye to the past, to a new generation in which he sees the future of Russia.

|
noble nest movie, noble nest
novel

Ivan Turgenev

Original language: Date of writing: Date of first publication: Publisher:

Contemporary

Previous: Following:

The day before

Text of the work in Wikisource

A novel written by Ivan Sergeevich Turgenev in 1856-1858, first published in 1859 in the Sovremennik magazine.

Characters:

Fyodor Ivanovich Lavretsky (taken from his mother - raised by his aunt Glafira)
Ivan Petrovich (Fyodor’s father) - lived with his aunt, then with his parents, married Malanya Sergeevna, mother’s maid)
Glafira Petrovna (Fedora's aunt) is an old maid, with the character of a gypsy grandmother.
Pyotr Andreevich (Fyodor’s grandfather, a simple steppe gentleman; Fyodor’s great-grandfather was a tough, daring man, his great-grandmother was a vengeful gypsy, in no way inferior to her husband)
Gedeonovsky Sergey Petrovich, State Councilor
Maria Dmitrievna Kalitina, a wealthy landowner widow
Marfa Timofeevna Pestova, Kalitina's aunt, old maid
Vladimir Nikolaevich Panshin, chamber cadet, official on special assignments
Lisa and Lenochka (daughters of Maria Dmitrievna)
Christopher Fedorovich Lemm, old music teacher, German
Varvara Pavlovna Korobyina (Varenka), wife of Lavretsky
Mikhalevich (Fyodor’s friend, “enthusiast and poet”)
Ada (daughter of Varvara and Fyodor)

1 Plot of the novel
2 Accusation of plagiarism
3 Film adaptations
4 Notes

Plot of the novel

Later, Lavretsky visits Lisa in the monastery, seeing her in those short moments when she appears for moments between services.

Accusation of plagiarism

This novel was the reason for a serious disagreement between Turgenev and Goncharov. D. V. Grigorovich, among other contemporaries, recalls:

Once - it seems, at the Maykovs - he told the contents of a new proposed novel, in which the heroine was supposed to retire to a monastery; many years later, Turgenev’s novel “The Noble Nest” was published; the main female figure in it also retired to a monastery. Goncharov raised a whole storm and directly accused Turgenev of plagiarism, of appropriating someone else’s thought, probably assuming that this thought, precious in its novelty, could only appear to him, and Turgenev would not have had enough talent and imagination to reach it. The matter took such a turn that it was necessary to appoint an arbitration court composed of Nikitenko, Annenkov and a third party - I don’t remember who. Nothing came of this, of course, except laughter; but since then Goncharov stopped not only seeing, but also bowing to Turgenev.

Film adaptations

The novel was filmed in 1915 by V. R. Gardin and in 1969 by Andrei Konchalovsky. Soviet film starring Leonid Kulagin and Irina Kupchenko. See Nobles' Nest (film).

In 1965, a television film based on the novel was made in Yugoslavia. Directed by Daniel Marusic
In 1969, a film was made on GDR television based on the novel by I.S. Turgenev. Directed by Hans-Erik

Korbschmidt

Notes

1 2 I. S. Turgenev The Noble Nest // “Contemporary”. - 1859. - T. LXXIII, No. 1. - P. 5-160.

Ivan Sergeevich Turgenev
Novels	Rudin On the Eve of Fathers and Sons Smoke Nov
Stories and stories	Andrey Kolosov Three portraits Breter Petushkov Diary of an extra person Two friends Calm Notes of a hunter (cycle) Mumu Inn After death Yakov Pasynkov Correspondence Faust Asya Ghosts Pretty Spring waters Steppe King Lear First love
Dramaturgy	Lack of money Where it is thin, there it is torn Freeloader Breakfast at the leader Bachelor A month in the village Provintsialka
Other	Poems in prose Literary and everyday memories
Characters	Evgeny Bazarov Pavel Petrovich Kirsanov Nikolay Petrovich Kirsanov Dmitry Nikolaevich Rudin Elena Nikolaevna Stakhova Fedor Ivanovich Lavretsky
Related Articles	Turgenevs Polina Viardot Yulia Vrevskaya Tatyana Aleksandrovna Bakunina
Museums	Spasskoye-Lutovinovo Museum of I. S. Turgenev on Ostozhenka State Literary Museum of I. S. Turgenev in Orel Dacha of I. S. Turgenev

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Nobles' Nest Information About

Later, Lavretsky visits Lisa in the monastery, seeing her in those short moments when she appears for moments between services.

Having just published the novel “Rudin” in the January and February books of “Sovremennik” for 1856, Turgenev conceives new novel. On the cover of the first notebook with the autograph of “The Noble Nest” it is written: “The Noble Nest”, a story by Ivan Turgenev, conceived in early 1856; For a long time he really didn’t think about it, he kept turning it over in his head; began developing it in the summer of 1858 in Spassky. She died on Monday, October 27, 1858 in Spassky.” The last corrections were made by the author in mid-December 1858, and “The Noble Nest” was published in the January 1959 Sovremennik book. “The Noble Nest,” in its general mood, seems very far from Turgenev’s first novel. At the center of the work is a deeply personal and tragic story, the love story of Lisa and Lavretsky. The heroes meet, they develop sympathy for each other, then love, they are afraid to admit it to themselves, because Lavretsky is bound by marriage. For short time Lisa and Lavretsky experience both hope for happiness and despair - with the knowledge of its impossibility. The heroes of the novel are looking for answers, first of all, to the questions that their fate poses to them - about personal happiness, about duty to loved ones, about self-denial, about their place in life. The spirit of discussion was present in Turgenev's first novel. The heroes of “Rudin” resolved philosophical issues, the truth was born in their dispute.

The heroes of “The Noble Nest” are restrained and taciturn; Lisa is one of Turgenev’s most silent heroines. But inner life The work of the heroes proceeds no less intensely, and the work of thought is carried out tirelessly in search of truth - only almost without words. They peer, listen, and ponder the life around them and their own, with the desire to understand it. Lavretsky in Vasilievsky “as if listened to the flow quiet life, which surrounded him.” And at the decisive moment, Lavretsky again and again “began to look at his life.” The poetry of contemplation of life emanates from the “Noble Nest”. Of course, the tone of this Turgenev novel was influenced by Turgenev’s personal moods of 1856-1858. Turgenev’s contemplation of the novel coincided with the moment of a turning point in his life, with a mental crisis. Turgenev was then about forty years old. But it is known that the feeling of aging came to him very early, and now he says that “not only the first and second, but the third youth has passed.” He has a sad consciousness that life has not worked out, that it is too late to count on happiness for himself, that the “time of blossoming” has passed. There is no happiness away from the woman he loves, Pauline Viardot, but existence near her family, as he puts it, “on the edge of someone else’s nest,” in a foreign land, is painful. Turgenev’s own tragic perception of love was also reflected in “The Noble Nest.” Added to this are thoughts about writer's fate. Turgenev reproaches himself for an unreasonable waste of time and insufficient professionalism. Hence the author's irony towards Panshin's amateurism in the novel - this was preceded by a period of severe condemnation by Turgenev of himself. The questions that worried Turgenev in 1856-1858 predetermined the range of problems posed in the novel, but there they appear, naturally, in a different light. “I am now busy with another, big story, the main character of which is a girl, a religious being, I was brought to this character by observations of Russian life,” he wrote to E. E. Lambert on December 22, 1857 from Rome. In general, questions of religion were far from Turgenev. Neither a mental crisis nor moral quest did not lead him to faith, did not make him deeply religious, he comes to the image of a “religious being” in a different way, the urgent need to comprehend this phenomenon of Russian life is connected with the solution of a wider range of issues.

In “The Noble Nest” Turgenev is interested in topical issues modern life, here he goes exactly upstream of the river to its sources. Therefore, the heroes of the novel are shown with their “roots”, with the soil on which they grew up. The thirty-fifth chapter begins with Lisa's upbringing. The girl had no spiritual closeness either with her parents or with her French governess; she was brought up, like Pushkin’s Tatyana, under the influence of her nanny, Agafya. The story of Agafya, twice in her life marked by lordly attention, twice suffering disgrace and resigning herself to fate, could make up a whole story. The author introduced the story of Agafya on the advice of the critic Annenkov - otherwise, in the latter’s opinion, the end of the novel, Lisa’s departure to the monastery, would have been incomprehensible. Turgenev showed how, under the influence of Agafya’s harsh asceticism and the peculiar poetry of her speeches, Lisa’s strict spiritual world was formed. Agafya's religious humility instilled in Lisa the beginnings of forgiveness, submission to fate and self-denial of happiness.

The image of Lisa reflected freedom of view, breadth of perception of life, and the truthfulness of its depiction. By nature, nothing was more alien to the author himself than religious self-denial, rejection of human joys. Turgenev had the ability to enjoy life in its most varied manifestations. He subtly feels the beautiful, experiences joy both from the natural beauty of nature and from exquisite creations of art. But most of all he knew how to feel and convey beauty human personality, albeit not close to him, but whole and perfect. And that is why the image of Lisa is shrouded in such tenderness. Like Pushkin's Tatiana, Liza is one of those heroines of Russian literature for whom it is easier to give up happiness than to cause suffering to another person. Lavretsky is a man with “roots” going back to the past. It is not for nothing that his genealogy is told from the beginning - from the 15th century. But Lavretsky is not only a hereditary nobleman, he is also the son of a peasant woman. He never forgets this, he feels the “peasant” traits in himself, and those around him are surprised at his extraordinary physical strength. Marfa Timofeevna, Liza's aunt, admired his heroism, and Liza's mother, Marya Dmitrievna, condemned Lavretsky's lack of refined manners. The hero is close to the people both by origin and personal qualities. But at the same time, the formation of his personality was influenced by Voltairianism, his father’s Anglomanism, and Russian university education. Even Lavretsky’s physical strength is not only natural, but also the fruit of the upbringing of a Swiss tutor.

In this detailed prehistory of Lavretsky, the author is interested not only in the hero’s ancestors; the story about several generations of Lavretsky also reflects the complexity of Russian life, Russian historical process. The dispute between Panshin and Lavretsky is deeply significant. It appears in the evening, in the hours preceding the explanation of Lisa and Lavretsky. And it is not for nothing that this dispute is woven into the most lyrical pages of the novel. For Turgenev, here the personal destinies, the moral quests of his heroes and their organic closeness to the people, their attitude towards them as “equals” are fused together.

Lavretsky proved to Panshin the impossibility of leaps and arrogant alterations from the heights of bureaucratic self-awareness - alterations not justified by knowledge native land, nor indeed faith in an ideal, even a negative one; cited his own upbringing as an example, and demanded, first of all, recognition of “the people’s truth and humility before it...”. And he is looking for this people's truth. He does not accept Lisa’s religious self-denial in his soul, does not turn to faith as a consolation, but experiences a moral turning point. Lavretsky’s meeting with his university friend Mikhalevich, who reproached him for selfishness and laziness, was not in vain. Renunciation still occurs, although not religious - Lavretsky “really stopped thinking about his own happiness, about selfish goals.” His introduction to the people's truth is accomplished through the renunciation of selfish desires and tireless work, which gives the peace of duty fulfilled.

The novel brought Turgenev popularity in the most wide circles readers. According to Annenkov, “young writers starting their careers came to him one after another, brought their works and waited for his verdict...”. Turgenev himself recalled twenty years after the novel: “The Noble Nest” was the greatest success that has ever befallen me. Since the appearance of this novel, I have been considered among the writers deserving the attention of the public.”