Image of a Russian estate. The history of the Russian estate and the lifestyle of its inhabitants. Russian estates of the 19th century as a source of inspiration

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

During the first half of the 19th century, the noble estate was included in works of art, mainly as a human habitat, a certain way of life characterizing the owner of the estate (nobleman), his moral and spiritual principles, way of life and culture, although already during this period the process began symbolizing the image of a noble estate, which, in particular, finds expression in the works of A.S. Pushkin. In the second half of the 19th century, when the crisis of this way of life became most noticeable, the noble estate declared itself as a special cultural phenomenon, which they began to actively study, describe, and strive to preserve. In the 80-90s of the 19th century, people began to talk about estates as cultural monuments; from 1909 to 1915, the Society for the Protection and Preservation of Monuments of Art and Antiquity in Russia operated in St. Petersburg.

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

At the turn of the 19th - 20th centuries, writers of various views, belonging to different literary movements and associations, paid increased attention to the image of a noble estate. Among them we can name the names of such literary artists as A.P. Chekhov, I.A. Bunin, B.K. Zaitsev, A.N. Tolstoy, M.A. Kuzmin, N.G. Garin-Mikhailovsky, A. Bely, F.K. Sologub, G.I. Chulkov, S.N. Sergeev-Tsensky, B.A. Sadovskoy, S.A. Auslender, P.S. Romanov,

S.M.Gorodetsky and many others. As a result, a huge layer of fiction was created, in which the image of a noble estate received detailed development and multifaceted coverage.

The relevance of the study is due to the active growth of interest in the lost values ​​of national culture and attempts to revive them. Appeal to the image of a noble estate is necessary, in our opinion, to solve the problem of self-identification of Russian culture. Comprehension of the image of a noble estate as one of the fundamental symbols of Russia is a way of national self-knowledge and self-preservation and represents the possibility of restoring a vast complex of moral and aesthetic norms, largely lost in the vicissitudes of recent centuries.

The object of research in the dissertation is images of a noble estate in Russian prose of the late 19th - early 20th centuries. The subject of the dissertation is a noble estate as a phenomenon of the Russian literary process at the turn of the 19th - 20th centuries. The research material consists of works of art by such writers as A.P. Chekhov, I.A. Bunin, B.K. Zaitsev, A.N. Tolstoy, M.A. Kuzmin, N.G. Garin-Mikhailovsky, D.V. .Grigorovich, A.Bely, F.K.Sologub, G.I.Chulkov, I.A.Novikov, S.N.Sergeev-Tsensky, B.A.Sadovskoy, S.A.Auslender, P.S.Romanov , I.I.Yasinsky, S.M.Gorodetsky, A.V.Amphiteatrov, M.P.Artsybashev, A.N.Budishchev, V.V.Muizhel. Prose and poetic works other writers and poets of the 19th - first third of the 20th centuries.

The degree of study of the issue. The noble estate in pre-revolutionary and modern science has been studied and is being studied to a greater extent from a historical and cultural perspective. Since the 70s of the 19th century, as G. Zlochevsky notes, guidebooks to Moscow have appeared, which necessarily include a section on estates (for example, guidebooks by N.K. Kondratiev “The Hoary Antiquity of Moscow” (1893), S.M. Lyubetsky “ Neighborhoods of Moscow." (2nd ed., 1880)). From 1913 to 1917, the magazine “Capital and Estate” was published (the title of this magazine already reflected the contrast between the estate and capital worlds in Russian culture); publications about estates are also published in a number of other magazines. Monographs devoted to the history and architecture of individual estates also appeared before the revolution. In particular, in 1912 the book of the book was published. M.M. Golitsyn about the Petrovskoye estate, Zvenigorod district, Moscow province (“Russian estates. Issue 2. Petrovskoye”), in 1916 - the work of P.S. Sheremetev “Vyazemy”. Memoirs of individual representatives of the nobility, as well as collections including memoirs of a number of authors, are published. So in 1911, edited by N.N. Rusov, the book “Landlord Russia according to the Notes of Contemporaries” was published, which collected memoirs of representatives of the nobility of the late 18th - early 19th centuries. But in pre-revolutionary science, according to G. Zlochevsky, a comprehensive study of estate culture was not carried out; publications about estates were mainly of a descriptive nature; the authors of articles and monographs acted more as historians and chroniclers (Zlochevsky, 1993, p. 85).

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

An active revival of interest in the noble estate began in the last decade of the 20th century. There are many historical and cultural works devoted to the study of life, culture, architecture, and the history of noble estates. Among them, one should name the work of Yu.M. Lotman “Conversations about Russian culture. Life and traditions of the Russian nobility (XVIII - early XIX centuries)" (St. Petersburg, 1997), as well as collections of the Society for the Study of Russian Estates, which include the works of many researchers (G.Yu. Sternin, O.S. Evangulova, T. P. Kazhdan, M. V. Nashchokina, L. P. Sokolova, L. V. Rasskazova, E. N. Savinova,

V.I. Novikov, A.A. Shmelev, A.V. Razina, E.G. Safonov, M.Yu. Korobka, T.N. Golovin and others). It is also necessary to note the fundamental collective work “Noble and merchant rural estates in Russia in the 16th - 20th centuries.” (M., 2001); collections “The World of the Russian Estate” (M., 1995) and “Noble Nests of Russia. History, culture, architecture" (Moscow, 2000); works by L.V. Ershova (Ershova, 1998), V. Kuchenkova (Kuchenkova, 2001), E.M. Lazareva (Lazareva, 1999),

S.D. Okhlyabinin (Okhlyabinin, 2006), E.V. Lavrentieva (Lavrentieva, 2006).

In recent years, in addition, several dissertations have been defended examining the estate as a phenomenon of Russian culture, economics, and politics (Popova M.S. Russian noble estate in the context of the mentality of Russian culture (M., 2004); Kuznetsova Yu.M. Russian noble estate estate. Economic, political and socio-cultural aspects (Samara, 2005); Ponomareva M.V. Noble estate in cultural artistic life Russia (M., 2005)).

The authors of these works strive to substantiate the significance of the noble estate for the history of Russia, to show the organic connection of the noble estate with Russian culture, to prove that the estate was not something alien in relation to the latter, but was its integral part. In the noted historical-cultural-cultural works, the Russian noble estate is considered as a special microcosm, the whole Universe (O.S. Evangulova, T.P. Kazhdan, M.V. Nashchokina), which is a universal symbol of Russian life (G.Yu. Sternin) , the quintessence of the Russian state (M.V. Nashchokina, Yu.M. Kuznetsova), the center of formation, development and preservation of dominant features national culture, an indicator of the state of Russian culture (Popova M.S.). Scientists especially emphasize the value of the personal, individual beginning in a noble estate (each estate, “both literally and figuratively, is “handmade”” (Kuznetsova, 2005, p. 146); “self-portrait of the owner” (Evangulova, 1996, p.49); even “parts of the garden [.] became, as it were, parts [.] of the internal world” of the owners (Nashchokina, 2001, p. 12)), as well as the metaphorical correlation in Russian culture of the estate with the image of the Garden of Eden.

However, as we have already noted, the subject of study of these works is the noble estate as a phenomenon of Russian history, economics, and culture. The appeal of scientists to Russian literature in these cases is limited to the task of simply illustrating certain features of its history, economic and everyday life.

The image of a noble estate in Russian literature of the 18th - 20th centuries receives a broader and more multifaceted coverage in the book by E.E. Dmitrieva and O.N. Kuptsova “The Life of an Estate Myth: Paradise Lost and Found” (M., 2003). The authors turn to a huge number of literary sources, including few or completely unknown ones. However, this work is more art criticism than literary criticism. Works of fiction are often used as illustrative material for cultural aspects, showing how a real-life estate influenced Russian literature, or, conversely, how literature shaped “manor life, and the real estate space, and the very way of living in the estate” (Dmitrieva, Kuptsova, 2003, p. 5).

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

The image of a noble estate was most fully studied in Russian literature of the second half of the 19th century, in the works of S.T. Aksakov, I.S. Turgenev, I.A. Goncharov, L.N. Tolstoy (see, for example, the works of V.M. Markovich “I.S. Turgenev and the Russian realistic novel of the 19th century” (L., 1982), V.G. Shchukin “The Myth of the Noble Nest. Geocultural research in Russian. classical literature"(Krakow, 1997); V.B. Legonkova “The image of a noble estate in the works of S.T. Aksakov, I.S. Turgenev and L.N. Tolstoy” (Magnitogorsk, 1991); G.N. Popova “The World of the Russian Province in the Novels of I.A. Goncharov” (Elets, 2002)).

In Russian prose of the late 19th - early 20th centuries, the image of a noble estate is considered based on the material of the works of a limited circle of authors. Thus, critics of the early 20th century focused on the depiction of local life in the works of I.A. Bunin and A.N. Tolstoy, as well as A.V. Amfiteatrov and S.N. Sergeev-Tsensky. However, in the critical works of the early 20th century there is no consideration of the image of the noble estate as a phenomenon of Russian culture in the literature of a certain period as a whole. Critics such as K. Chukovsky (Chukovsky, 1914, p. 73-88), V. Lvov-Rogachevsky (Lvov-Rogachevsky, 1911, p. 240-265), G. Chulkov (Chulkov, 1998, p. 392- 395), N. Korobka (Korobka, 1912, p. 1263-1268), E. Koltonovskaya (Koltonovskaya, 1916, p. 70-84), V. Cheshikhin-Vetrinsky (Cheshikhin-Vetrinsky, 1915, p. 70-84 ), E. Lundberg (Lundberg, 1914, p. 51), A. Gvozdev (Gvozdev, 1915, p. 241-242), characterizing the image of local life in the works of the above-mentioned writers, limit themselves to one or two phrases, only mentioning conversion authors to the depiction of local life. So, for example, G. Chulkov, analyzing the story “New Year” by I. A. Bunin, speaks of the miraculous power of the estate, awakening a feeling of love in the characters (Chulkov, 1998, p. 394). V. Cheshikhin-Vetrinsky, considering such works of A. N. Tolstoy as “The Lame Master” and “Ravines,” emphasize the “warm, sincere attitude of the author” towards the provincial noble life and “the people of this life” (Cheshikhin-Vetrinsky, 1915, p.438). E. Koltonovskaya writes about the writer’s attempt in the “Trans-Volga” cycle to “look into the elemental depths of the Russian man, his nature, his soul” through the depiction of the local nobility (Koltonovskaya, 1916, p. 72).

Having been noticed in the works of I.A. Bunin, A.N. Tolstoy, A.V. Amfitheatrov and S.N. Sergeev-Tsensky, but not having received sufficient development here, the image of a noble estate in the works of other writers we are considering at the end of the 19th century - the beginning of the 20th century was completely unstudied by criticism of the “Silver Age”.

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

The image of a noble estate becomes the subject of a separate study in the works of N.S. Avilova (Avilova, 2001), U.K. Abisheva (Abisheva, 2002). G.A. Golotina (Golotina, 1985), L.V. Ershova (Ershova, 1998, 1999, 2002), N.V. Zaitseva (Zaitseva, 1999), L.P. Solomakhina (Solomakhina, 2000), dedicated to famous for the works of I.A. Bunin and A.N. Tolstoy.

Literary scholarship identifies the reasons for the destruction and decline of the noble estate in the works of I.A. Bunin, notes the dialectical nature of Bunin’s concept of the estate, as well as the idealization of estate life in the emigrant work of the writer.

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

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

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

In the prose of A.N. Tolstoy, the image of a noble estate is considered in the works of L.V. Ershova (Ershova, 1998), N.S. Avilova (Avilova, 2001), U.K. Abisheva (Abisheva, 2002). But the range of the writer’s works that these researchers turn to is limited (“Nikita’s Childhood”, “The Dreamer (Haggai Korovin)”). Many aspects of the artistic depiction of a noble estate in the works of A.N. Tolstoy remain unstudied.

L.V. Ershova in her article “The World of the Russian Estate in the Artistic Interpretation of the Writers of the First Wave of Russian Emigration” notes a strong tendency to idealize the image of the noble estate in A.N. Tolstoy’s “The Childhood of Nikita”, which is explained, according to the researcher, by the depiction of the world of childhood in the work . N.S. Avilova writes about the contrast in “Nikita’s Childhood” with the image of the estate as reliable security and protection of the heroes with the image of the surrounding steppe. U.K. Abisheva in the article “Artistic reception of Russian estate prose in the story “The Dreamer (Haggai Korovin)” by A. Tolstoy” reveals the traditional and innovative in Tolstoy’s understanding of estate life.

The scientific novelty of the dissertation work is determined by the research material (for analysis, a large volume of works of the late 19th and early 20th centuries is used, in which the image of a noble estate was not previously the object of study); an integrated approach to the study of the image of a noble estate as a phenomenon of Russian culture in the literature of the late 19th - early 20th centuries in general; historical and typological approach to its study; new aspects for literary studies in considering the image of a noble estate.

The purpose of the dissertation is to examine the image of a noble estate as one of the central symbols of Russian culture, representative of the modernization of Russian artistic consciousness at the turn of the 19th - 20th centuries.

Achieving this goal involves solving the following tasks: - to identify and describe the general system of universals in which the image of a Russian noble estate in prose of the late 19th - early 20th centuries is interpreted and assessed;

To create a typology of the image of a noble estate in the fiction of the designated period, revealing the main trends in the artistic understanding of the historical path of Russia in prose at the turn of the 19th - 20th centuries; -analyze the features of the artistic depiction of a noble estate by the leading trends in the Russian literary process of the late 19th - early 20th centuries;

To trace the fate of the moral code of the noble estate in the literature of the first wave of Russian emigration, as well as its influence on the formation of both the opposition line of Soviet literature and literature biased by the official ideology. Main provisions submitted for defense:

1. In Russian prose of the late 19th - early 20th centuries, there were three concepts of the noble estate: idealizing, critical, dialectical, which together captured the dynamics of the historical process in the Russian public consciousness at the turn of the 19th - 20th centuries.

2. Each concept forms its own image of the artistic world. Three artistic models of a noble estate are created through the writers’ interpretation and assessment of the estate’s way of life in common system universals, which include childhood, love, and ancestral memory.

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

4. The critical concept destroys the idyllic-mythologized image of the noble estate, debunks the moral foundations of the estate culture. The childhood and love of noble heroes are depicted by the authors as “distorted”; the burden of the consciousness of the inhabitants of the noble estate with ancestral memory is thought of as the reason for its death.

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

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

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

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

M.M. Bakhtin, V.A. Keldysh, B.O. Korman, D.S. Likhachev, A.F. Losev, Yu.M. Lotman, E.M. Meletinsky, V.N. Toporov, V. I. Tyupa. The theoretical categories used in the dissertation (artistic image, artistic world, mode of artistry, chronotope, symbol, myth) are interpreted by us according to the developments of the named scientists.

Theoretical significance of the dissertation. The dissertation enriches the tools of literary analysis with 1) new models of chronotopes; 2) a system of new universals, productive for transitional periods of cultural development; 3) confirms and concretizes, using new material, as a general pattern, the multidirectionality of artistic quests of the literary process of transition periods.

The practical significance of the work is associated with the possibility of using its materials and results in general lecture courses on the history of Russian literature and special courses on the history of Russian prose and Russian culture of the 19th-20th centuries.

Approbation of work. The main provisions of the dissertation are reflected in 16 publications (7 theses, 9 articles), including in a peer-reviewed printed publication recommended by the Higher Attestation Commission of the Russian Federation for the publication of works of applicants for academic degrees, as well as in reports at international, all-Russian, interuniversity conferences in the years. Perm, Solikamsk, Izhevsk, St. Petersburg, Moscow.

Structure of the dissertation. The work consists of an introduction, three chapters, a conclusion and a bibliography, including 220 titles. The first chapter, “The Idealizing Concept of a Noble Estate,” examines the principles of idealizing the image of an estate through the approval of moral and aesthetic norms that make up the code of estate life. The second chapter, “The Critical Concept of the Noble Estate,” is devoted to the consideration of the opposite phenomenon to idealization: criticism of the noble estate, debunking the moral foundations of the estate culture. The third chapter, “The Dialectical Concept of a Noble Estate,” analyzes the process of synthesis of idealization and criticism that forms such

Conclusion

The noble estate is one of the most mysterious phenomena of Russian culture, with many still unresolved questions associated with it. In Russian literature of the 18th - 20th centuries, the image of a noble estate was repeatedly recreated, comprehended and rethought. At the end of the 19th - beginning of the 20th centuries, this image became one of the central ones in Russian literature, representative of the modernization of Russian artistic consciousness at the turn of the century: the appeal to the image of a noble estate is accompanied by a rethinking by writers of many questions posed by Russian literature and culture of the 18th - 19th centuries, as well as the formulation new problems associated with the further development of Russia.

The assessment of the role and place of the noble estate in the history and culture of Russia in the prose of the turn of the 19th-20th centuries, as we have seen, is far from the same. Its range ranges from absolute idealization to the same absolute criticism, complete overthrow and debunking of the vital foundations of the noble estate. However, to a greater extent, the writers of this period are characterized by an ambivalent attitude towards the noble estate, simultaneous recognition of its merits and mistakes.

In Russian literature of the late 19th - early 20th centuries, three concepts of the noble estate, three views on one of the most profound and multifaceted, in our opinion, symbols of Russian culture, emerged, as was shown in our work. In works of an idealizing concept, idealization and mythologization of the image of a noble estate predominates. This concept forms a special image of the artistic world, which is based on the idyllic chronotope of “Home” - as a national form of paradise, the original heavenly abode of the soul. The time of this chronotope is the original time of creation, paradise existence, characterized by uniformity and cyclicity. The space of a noble estate in works of an idealizing concept simultaneously has such properties as introversion and extroversion, harmoniously combining a certain isolation and self-sufficiency with openness and limitlessness. In the works of representatives of the idealizing concept, those foundations of the local way of life are highlighted and symbolized, the essence of which is connected with the eternal principles of existence (B.K. Zaitsev, I.A. Novikov, P.S. Romanov, A.N. Tolstoy). The image of a noble estate in works of an idealizing concept is accompanied by motifs of childhood as a paradise, legendary existence, memory, mystery and inviolability of the past, deep kinship with the past. The very idealization of the noble estate in this group of works becomes the key to preserving the personal principle, one’s individuality in a rapidly changing world - through the affirmation of eternal, from the point of view of writers, life values ​​and foundations: childhood, love, memory, relationship with nature.

A completely different view of the image we are considering is presented in the works of a critical concept, the purpose of which is to destroy the idyllic-mythologized image of the noble estate, to debunk its moral and aesthetic norms. The critical concept, as well as the idealizing one, forms a special image of the artistic world of the estate, which in this case is based on the chronotope of the “dacha”. This chronotope is characterized by temporality and limitation. The space of the “dacha” chronotope is characterized by extreme isolation, artificiality, and impenetrability. In this chronotope, such artistic modes as comedy, humor, and irony find expression. The works of the critical concept emphasize the extinction of life, the economic and spiritual degeneration of the noble estate culture. The nobility is characterized by a tendency to extreme tyranny, to unbearable exploitation of the peasantry; noble heroes are overly exalted, incapable of actively transforming reality (A.N. Tolstoy, S.N. Sergeev-Tsensky, S.M. Gorodetsky, A.N. Budishchev, A.V. Amphiteatrov, B.A. Sadovskoy). In the works of a number of representatives of the critical concept, when destroying the myth of the estate as a promised land, another myth is created, a kind of anti-myth of the noble estate, in which the estate world appears as terrible and mysterious, engulfed by the forces of fate that deprive the heroes vital energy leading them to death, often to suicide (B.A. Sadovskoy, S.M. Gorodetsky, S.N. Sergeev-Tsensky).

A peculiar synthesis of idyllic and critical views on the image of a noble estate occurs in the dialectical concept (I.A. Bunin, A.P. Chekhov, N.G. Garin-Mikhailovsky, A. Bely, G.I. Chulkov, S.A. Auslender etc.). In the works of this concept, such artistic modes as tragic and dramatic are expressed. The basis of the artistic world of the estate in the works of the designated concept is the dramatic chronotope of the “crossroads”. The works of the dialectical concept reflect the complexity and inconsistency of the estate world; The attitude of writers towards the estate can be described as “attraction-repulsion”. Along with the poeticization of estate life and the recognition of the basic values ​​of noble culture, the authors show the retreat of the estate into the past. In the works of the dialectical concept, the life of a noble estate is included in the broad context of Russian and world culture. Writers introduce into their works many reminiscences and allusions to Russian and Western European art. Rethinking cultural traditions leads to the understanding that the golden past of the noble estate has outlived its usefulness, but with it the moral and aesthetic values ​​of the noble culture die, for which there is no replacement. This view of the noble estate is marked by tragedy.

It would be wrong, in our opinion, to talk about the limitations of any of the concepts presented above. Each concept reveals its own sides of the noble estate, makes its own accents, and carries its own truth. The work of one and the same writer can combine different views on the image of a noble estate, forming the author’s multifaceted view of the problem we are considering (A.P. Chekhov, A.N. Tolstoy, G.I. Chulkov, S.A. Auslander). In the image of the noble estate as a whole, as a phenomenon of Russian historical reality of the 18th - early 20th centuries, from our point of view, the general feature of the Russian soul is reflected: Russia is “contradictory, antinomic,” and one can know its secret, as N.A. writes. Berdyaev, only immediately recognizing its “terrible inconsistency” (Berdyaev, 1997, p. 228).

At the turn of the 19th - 20th centuries, increased attention was paid to the image of the noble estate, as we have shown, by writers of the most diverse views, belonging to different literary movements and associations. Analysis of all the main options for depicting the estate allows us to raise the question of the features of the embodiment of this image within different artistic directions the end of the 19th - beginning of the 20th centuries: the naturalistic tradition, the realistic, the directions of symbolism, acmeism, writers of the “intermediate type” (Keldysh).

The naturalistic tradition is characterized by a critical attitude towards the image of the Russian noble estate and towards noble heroes. We include such works considered in our work as “Fire-Color” by A.V. Amfiteatrov and “Fractures of Love” by A.N. Budishchev to the naturalistic tradition. Novel

We include A.V.Amphiteatrov in this tradition, in particular, following

V.L. Lvov-Rogachevsky, who noted in the article “A Writer Without Fiction” (1911) the excessive naturalism of the writer’s artistic style. The depiction of a noble estate in the named works of A.V.Amphiteatrov and A.N.Budishchev is not individualized; in the center of the work is not so much a personal conflict, the inner world of the hero, as the imprinting of a certain social (noble) environment, society as such. The purpose of these works is to study this social group (nobility) using the achievements of advanced science, using scientific terminology (novel by A.V. Amfiteatrova). By the end of the works of these writers, a certain mental illness characteristic of a given social group is revealed, and its diagnosis is made. According to A.V. Amfiteatrov and A.N. Budishchev, the root of the mental deviations of the nobility lies not in socio-historical or existential areas (as happens in the works of realism or modernism), but in the natural laws of nature and human physiology.

The most multifaceted image of the Russian noble estate in the literature of the turn of the 19th - 20th centuries was embodied in the works of the realistic tradition. All the concepts of the noble estate we considered were reflected in the work of realist writers: idealizing, critical, dialectical. The attitude of writers to the image of a noble estate is determined, in our opinion, by both the problems emphasized in the work, the tasks that the author sets for himself, the time and place of writing the work, and creative individuality author. The artistic interpretation of the image of a noble estate by writers of the realistic tradition reflected the main features of realism of the early 20th century. The emphasis in the image of a noble estate of socio-historical issues is combined with problems of a universal, substantial nature (D.V. Grigorovich, N.G. Garin-Mikhailovsky, I.A. Bunin, A.N. Tolstoy, S.N. Sergeev-Tsensky ). The widespread use of subject details, a certain determination of character by the historical setting is complemented by an appeal to the poetics of other directions (the use of symbolism, impressionistic imagery, strengthening of the lyrical principle).

A new, although largely prepared by Russian culture and literature of past centuries, understanding of the noble estate occurs in the works of symbolist writers. In their works, the image of a noble estate is largely devoid of concrete historical content and becomes a deeply philosophically loaded symbol. Thus, in A. Bely’s novels “Silver Dove” and “Petersburg”, the image of a noble estate is considered by the author in connection with the problem of the collision of West and East in Russia, as well as with the problem of confrontation in the culture of Dionysian and Apollonian principles. In the works of the mystical symbolist G.I. Chulkov, the noble estate becomes a special model of the universe, having its own internal laws and having its own life, different from other worlds. The main essence of this world is, from the point of view of G.I. Chulkov, the indissoluble unity in it of the life of the past and the present - not only of noble culture, but of the entire human race.

The image of a noble estate as a model of the Universe is also clearly represented in the works of such a symbolist as I.A. Novikov. Unlike the works of A. Bely and G. I. Chulkov, in which the spirit of destruction and gradual extinction wafts over the image of a noble estate, characteristic of the work of I. A. Novikov is the idea of ​​a noble estate as a special harmoniously arranged world. In the noble estate of I.A. Novikov, the fullness of being is embodied with its joys and sufferings, dreams and reality, gains and losses, meetings and separations, where the human soul can develop harmoniously and holistically. It is in a world such as the image of a noble estate in the writer’s works that the basic essential laws of the world order can be fully embodied.

The artistic interpretation of the image of a noble estate also acquires its own characteristics in the works of the Acmeists. The principles of Acmeism find expression, in our opinion, in such works considered in our work as “The Dreamers” (1912), “The Dead Woman in the House” (1913) by M.A. Kuzmin and “The Terrible Estate” (1913) by S.M. Gorodetsky. In understanding the image of a noble estate for M.A. Kuzmin and S.M. Gorodetsky, as well as for the symbolists, socio-historical issues, important for realists, are unimportant. Unlike the works of symbolists and realists, in the above-mentioned works of M.A. Kuzmin and S.M. Gorodetsky there is no symbolization of the image of a noble estate (“A = A”). As Acmeists, M.A. Kuzmin and S.M. Gorodetsky are more interested in the aesthetic and cultural fullness of the image we are considering. Descriptions of the manor park, halls and furnishings of the manor house serve as aesthetic signs of the bygone era of “noble nests”.

M.A. Kuzmin and S.M. Gorodetsky are united by a negative attitude towards the image of a noble estate. In the images of noble heroes, writers, as a negative thing, emphasize detachment from real life reality, illusoryness, addiction to dreams, passion for theosophy, occult sciences, and magic. All this, from the point of view of M.A. Kuzmin and S.M. Gorodetsky, takes the heroes away from real life and deprives them of the joy of being. This is the position of M.A. Kuzmin and

S.M. Gorodetsky differs from the opinion of the symbolists, who see the possession of secret spiritual knowledge and skills by noble heroes as the only opportunity for their harmonious existence in the world (F.K. Sologub, G.I. Chulkov). In the works of M.A. Kuzmin and S.M. Gorodetsky, the image of a noble estate, saturated with an atmosphere of mystery, fatal predestination, the relationship between the world of the dead and the world of the living, is contrasted with real life with its freedom, beauty, joy. The exit (more precisely, the escape) of the heroes from the estate (or estate-dacha) is equated in the works of writers to the return from death to life (“The Dead Woman in the House” by M.A. Kuzmin, “The Terrible Estate” by S.M. Gorodetsky).

The image of a noble estate is also embodied in the works of writers of the “intermediate type” (Keldysh), namely in the prose of B.K. Zaitsev. The writer’s various works reflect both an idyllic (“Dawn”) and a dialectical (“Far Land”) view of the Russian noble estate. The works of B.K. Zaitsev are characterized by symbolization and mythologization of the image of a noble estate, which in the writer’s artistic system is associated with the image of Eden, the Garden of Eden, the Promised Land, the original womb of the human soul. The category of culture plays a significant role in shaping the image of a noble estate in the prose of B.K. Zaitsev. The world of B.K. Zaitsev’s noble estate reflects the spiritual potential of Russian and world culture, the relationship with which is constantly palpable in the way of thinking and behavior of the writer’s noble heroes.

In our opinion, the image of a noble estate in Russian prose of the late 19th - early 20th centuries reflects the main processes characteristic of the historical and philosophical life of Russia in the era of change. A change in lifestyle, paradigms of thinking, a change in the traditional role of classes in the history of Russia, attitudes towards tradition, a change in the code of values ​​- all this is refracted in the image of a noble estate. The analysis of the concepts of the estate highlighted in the dissertation indicates the actualization for Russian society at the turn of the 19th - 20th centuries, along with socio-historical issues, of the complex internal nature of man, the role of the irrational in man, the relationship between the social and metaphysical principles, the individual and the collective, and the problem of cosmism. Being largely correlated with the literary tradition of the 19th century, the image of a noble estate at the turn of the century significantly changes its nature: the specific historical content of this image is complemented by universal human content.

In Russian prose of the late 19th - early 20th centuries, the works of the idealizing and dialectical concept of the noble estate turned out to concentrate moral and aesthetic values ​​inherent in both Russian culture as a whole, and unique ones, characteristic only of the noble estate. The ideas of the House as the eternal abode of the human soul, the unity of earthly and heavenly existence, freedom and value of the individual, harmony with the universe, deep interconnection with all living things, continuity and Memory - ancestral and cultural - were correlated with the image of the noble estate. But the irreversible vector of Russia’s historical path has also been fixed, entering into a dialectical relationship with these values.

After the revolution of 1917, the moral and aesthetic foundations of life on a noble estate fell into disgrace. The fate of the noble estate in the Soviet era is well known: eviction, arrests and murders of former estate owners, destruction of estates, their use as vacation spots for the new government elite, and the like. The debunking of the noble estate and its moral and aesthetic norms became a form of class struggle, a way of establishing a new ideology. However, the understanding of the estate in Russian prose at the turn of the 19th - 20th centuries had, in our opinion, a significant impact on further development both Soviet literature and, of course, Russian literature abroad.

In the literature of the first wave of Russian emigration, the idealizing concept of a noble estate received the greatest development. Far from Russia, the myth of the estate as the promised land, the original source of existence, finally takes shape (I.A. Bunin, B.K. Zaitsev, V.V. Nabokov, P.N. Krasnov). The organizing motives of this myth are the motives of childhood as childhood of being, morning as the morning of being, creativity (through creativity, connection and union with the Creator of the world), tribal continuity, paradise lost, partly characteristic of works of an idealizing concept in prose of the early 20th century. In the estate myth, the theme of creativity manifests itself more clearly than before. Creativity is connected by its nature with the primary source of being, in which it receives its beginning and vital impulse; through creativity the Creator reveals Himself to the artist (I.A. Bunin, B.K. Zaitsev). The image of a noble estate is closer in its semantics to the image of Russia. The estate and Russia are equally associated with the feeling of silence, with the images of the mother and the birch tree, and most importantly, they merge in the image of the lost and desecrated Motherland. Russia and the estate remain in the past, living only in the soul; and since the soul breathes eternity, the past acquires immortality (I.A. Bunin, B.K. Zaitsev, I.S. Shmelev).

As for Russian literature of the 20th century itself, a big mark was left in it, firstly, by the artistic model of the critical concept of the noble estate. A critical look at the values ​​of the noble estate contributed to the emergence of a new positive hero in literature, which was formed according to the logic of direct repulsion from the hero of the noble estate, in direct dispute with him. This dispute constantly reminds us of the old hero and does not allow us to forget about him. The noble hero, who has internal complexity, inconsistency, striving to resolve many existential questions (which we showed when considering the works of the idealizing and dialectical concept), is perceived as a class enemy and is emphasized by a hero of proletarian origin, devoid of mental reflection and possessing such qualities as immutability , certainty, straightforwardness (Sinyavsky, 1990, pp. 59-60). The image of the new hero poetizes blind devotion to the idea of ​​complete rejection of the past, selflessness, readiness to “lay down his life” for the working class; such a hero values ​​an idea more than a person, prefers the general to the individual (D. Furmanov, A. Serafimovich, A. Fadeev, N. Ostrovsky). Personal values ​​in the literature of socialist realism are replaced by collective values. The main criterion for evaluating a hero is not his spiritual essence, but his ideological position (F. Gladkov, V. Kochetov). There is a rejection of such important categories for the noble estate as ancestral memory and love as the main meaning of life. The entire existence of the heroes is aimed at building a bright future, comprehended in the doctrine of Soviet ideology. In the 30s, this feature finds clear expression in the development of the so-called “industrial prose”; instead of a secluded “corner” of a noble estate, the world space, united by revolution and the construction of a new life, bursts into fiction (F. Gladkov, F. Panferov, M. Shaginyan, V. Kataev, N. Ostrovsky).

However, the model of the idealizing concept of the noble estate did not go unaccepted by Russian literature of the 20th century. Moral and aesthetic criteria for assessing personality and lifestyle, marked by an idealizing concept, are especially recognizable in the works of M. Bulgakov “The White Guard”, “Days of the Turbins” and B. Pasternak “Doctor Zhivago” (the value of family, personality, a certain cultural and psychological makeup) . But, paradoxically, traces of the said concept of a noble estate can be found, in our opinion, in the literature of socialist realism. We see them in the actualization of the spiritual aspect of love, the ideals of friendship, loyalty and devotion to man, the word, the Motherland (F. Gladkov, A. Kaverin, B. Lavrenev, A. Arbuzov, A. Fadeev, A. Tvardovsky, B. Polevoy, etc. .). The values ​​of the idealizing concept of the noble estate are manifested, in addition, in the importance of childhood in a person’s life (albeit different from the childhood of noble heroes), the phenomenon of the family, which, although polemical to the ideal of the noble family and has completely different social roots (working dynasties), plays an important role. role in art systems a number of writers (V. Kochetov). The moral and aesthetic aspects, marked by the idealizing concept of a noble estate, are also recognizable in sharpening the problem of the relationship between man and nature, preserving the beauty and harmony of the world order (L. Leonov).

In Russian literature of the 20th century, there was, in addition, a third trend, genetically connected, in our opinion, with the dialectical concept of the noble estate. This tendency is characterized by a certain synthetism, which finds expression, in particular, in the prose of A. Platonov. A. Platonov, on the one hand, starts from the culture of the nobility. His hero is a man from the people, accepting the revolution, having, in comparison with the hero of the noble estate, completely different social experience, different ideals. But, on the other hand, for A. Platonov, understanding the complexity of a person’s inner world, rejection of herdism, and the search for beauty are very important. With all the aspiration of Plato's hero towards a new world, he cannot go to it without resorting to memory. It is the memories of childhood, although different from childhood in a noble estate, that become the key to understanding the world for the main character of Plato’s “Chevengur”.

In Russian literature of the 1960-1970s, there is a resurrection of the moral code of the noble estate, its values ​​and priorities - only in the lives of people of a different social status: the intelligentsia, the peasantry. Writers focus on the problem of human degradation, the loss of life values ​​and foundations; there is a desire to preserve, remember, restore, return the desecrated, forgotten, lost, lost (M. Prishvin, “lieutenant’s prose”, K. Paustovsky, V. Shukshin, S. Zalygin, Yu. Trifonov, A.G. Bitov).

In fiction, in particular, the motif of a lost home appears (Yu. Trifonov), the problem of preserving personality, individuality in the world of collectivism and socialist transformations is emphasized (V. Tendryakov). Often the reason for the loss of one’s own “I” is associated in the literature of the 1960-1970s with the loss of memory, without the preservation of which, from the point of view of writers, there can be no real, real life (Yu. Trifonov).

During this period, the view of such concepts as nobility and aristocracy changed in Russian literature. Nobility is conceptualized by writers and poets not as a social status, but as spirituality and intelligence; It is in the sphere of the spiritual (love, friendship) that the priorities of the poets of the 60s lie (B. Okudzhava, B. Akhmadulina, N. Matveeva, Y. Moritz). The problem associated with the theme of the intelligentsia in fiction is moral choice person, preservation of memory, relationships between fathers and children, fidelity, purity of friendship and love (Yu. Trifonov, A. Bitov, D. Granin, B. Okudzhava, B. Akhmadulina).

In Russian prose of the 1970-1990s, the problems of the deformation of society, disrespect for man, the cruelty of the modern world and the loneliness of man in it are emphasized; writers oppose the moral and spiritual impoverishment of the individual, advocate for the revival of its inner wealth, for the restoration of a system of moral values ​​that are directly related, in our opinion, to the moral and aesthetic code of the noble estate (L. Petrushevskaya, V. Tokareva, T. Tolstaya, Yu.Dombrovsky, V.Makanin).

In the literature of the 1990-2000s, the motif of childhood as a paradise, legendary existence, characteristic of the works of the dialectical concept of the noble estate, reappears - irretrievably, however, lost (V. Lorchenkov).

After the revolution, the departure from Russian literature and culture of the image of the noble estate as the main symbol of the Promised Land led to the need to form a replacement for it. On the one hand, as an image of paradise, a certain foggy future was seen in the literature of the Soviet period, towards which everyone was directed goodies"socialist realism". On the other hand, in the 1970s, the functions of the promised land were assumed by the image of the village, which is reflected in “village prose” (V. Rasputin, V. Astafiev, V. Belov, F. Abramov).

The images of the noble estate and the village are brought together by the priority of memory in the lives of the heroes, their unity with nature, and attitude to time. In the works of the idealizing concept, we noted such a feature of the estate time as regularity, unhurriedness, and cyclicality, which, according to the writers, was a way of confronting the rapidly changing world and preserving one’s individuality and trace in it. A similar attitude to time is also characteristic of the heroes of “village prose”, in which a measured, calm, thoughtful village existence, which allows one to preserve one’s soul, is contrasted with the accelerated, technically subordinated life of the city, where a person in a hurry has no time to think about his spiritual basis.

However, there are significant differences between the images of a noble estate and a village. If, as we noted in the first chapter, the space of a noble estate in Russian prose at the turn of the 19th - 20th centuries is characterized by simultaneous introversion and extroversion, a focus on oneself and at the same time a deep relationship with the entire universe, which makes the estate a receptacle not only of the family, but also general cultural memory, then the idyllic space of the village turns out to be self-sufficient, separated from the surrounding world, essentially not connected with it (“Farewell to Matera” by V. Rasputin).

The difference between the image of a village and a noble estate indicates that an equivalent replacement in Russian literature and culture of one symbol of the Promised Land by another did not happen. According to V.G. Shchukin, the functions of a noble estate in Russian fiction of the 20th century are finally taken over by the dacha (Schukin, 1997, p. 212). However, we beg to differ with this opinion. In our opinion, between the noble estate and the dacha in the fiction of both the 19th and 20th centuries there were and still are many differences, the main one of which is again the connection between the image of the estate, in contrast to the dacha, with tribal and cultural memory, which is what makes the human personality protected from all the vicissitudes and cataclysms of world history.

Today, the life of a noble estate is moving further and further away from us, and with it the moral and aesthetic values ​​that it kept within itself are leaving and being forgotten. However, these values ​​are necessary for the further full-fledged existence of each of us individually, and for the revival and development of all Russian culture. The problem of loss of memory, one’s own “I”, one’s roots and foundations in life has not weakened in recent decades, but has become even more acute and relevant. And, apparently, in order to somehow solve the problems facing us, we need to turn our face to history, remember, peer into it, see its true undistorted image and only move on in deep connection with it, because, according to M.Ya. Gefter, “it is still a misconception that the future is always ahead. In fact, people, nations, civilizations have long been moving forward with their backs, but with their faces towards the fact that there is no return and no oblivion. And now, especially now, the future has memory in the demiurges” (Gefter, 1996, p. 80).

And the Russian estate in the literature of the late 19th - early 20th centuries reminds us of this.

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