History of creation
The idea for “The Noble Nest” arose in early 1856, but actual work on the work began in mid-June 1858 in Spassky, the writer’s family estate, and continued until the end of October of the same year. In mid-December, Turgenev made the final amendments to the text of the “story” before its publication. “The Noble Nest” was first published in the Sovremennik magazine in 1859 (No. 1). The last lifetime (authorized) edition, considered as a canonical text, was carried out in 1880 in St. Petersburg by the heirs of the Salaev brothers.
The creation of “The Noble Nest” was preceded by a difficult stage in Turgenev’s personal life, and in the public life by a period of preparation for deep social changes in Russia. In August 1856, the writer left his homeland and lived abroad for almost two years. Then there was an actual break in his long-term relationship with Pauline Viardot. The writer tragically experienced loneliness and restlessness; acutely felt his inability to start a family and gain a strong foothold in life. To this painful state were added physical ailments, and then a feeling of creative impotence, debilitating spiritual emptiness. Turgenev experienced a sharp age-related change in his life, which he experienced as the onset of old age; such a dear past was crumbling, and there seemed to be no hope ahead.
Russian social life was also in a crisis stage. The death of Nicholas I and the defeat in the Crimean War shocked Russia. It became clear that it was no longer possible to live as before. The government of Alexander II faced the need to reform many aspects of life and, first of all, the need to abolish serfdom. The question of the role of the noble intelligentsia in the life of the country inevitably came to the fore. This and other topical problems were discussed by Turgenev during his stay abroad in conversations with V. Botkin, P. Annenkov, A.I. Herzen - contemporaries who personified the thought and spirit of the century. A double crisis: personal and public - was expressed in the problems and collisions of “The Noble Nest”, although formally the action of the work is assigned to another era - the spring and summer of 1842, and the background of the main character Fyodor Lavretsky - even to the 1830s. For Turgenev, working on the work was a process of getting over his personal drama, saying goodbye to the past and acquiring new values.
Genre "Nobles' Nest"
On the title page of the autograph of the work, Turgenev indicated the genre of the work: story. In fact, “The Noble Nest” is one of the first socio-philosophical novels in the writer’s work, in which the fate of an individual is closely intertwined with national and social life. However, the formation of a large epic form occurred in Turgenev’s artistic system precisely through the story. “The Noble Nest” is surrounded by such stories as “Correspondence” (1854), “Faust” (1856), “Trains to Polesie” (1857), “Asya” (1858), in which determined the type of hero characteristic of the writer: a nobleman-intellectual who values the rights of his personality and, at the same time, is not alien to the consciousness of duty to society. These kind of heroes, writes V.A. Niedzwiecki, are obsessed with longing for absolute values, a thirst for life in unity with the universal. They are not so much in a relationship with real contemporaries as they are face to face with such eternal and endless elements of existence, such as nature, beauty, art, youth, death and most of all - love. They strive to find in their concrete life the fullness of endless love, which predetermines their tragic fate. Going through the test of life and love, the hero of the stories comprehends the law of the tragic consequences of high human aspirations and is convinced that for a person there is only one way out - sacrificial renunciation of his best hopes.
This philosophical and psychological level of conflict, developed in the genre of the story, is an essential component in the structure of Turgenev’s novel, complemented by a conflict of a socio-historical nature. In the novel genre, the writer eliminates the direct lyrical method of narration (most of his stories are written in the first person), sets the task of creating a generalized picture of objective existence in its many components, and places the hero with a traditional set of individual and personal problems in the wide world of social and national life.
Noble Nest
tags:
Lavretsky, Turgenev, Life, Nest, Happiness, Novel, Hero, Monastery Main images in Turgenev’s novel “The Noble Nest”
“The Noble Nest” (1858) was enthusiastically received by readers. The general success is explained by the dramatic nature of the plot, the severity of moral issues, and the poetry of the writer’s new work. The noble nest was perceived as a certain socio-cultural phenomenon that predetermined the character, psychology, actions of the heroes of the novel, and ultimately their destinies. Turgenev was close and understandable to the heroes who emerged from the nests of the nobility; he treats them and portrays them with touching sympathy. This was reflected in the emphasized psychologism of the images of the main characters (Lavretsky and Lisa Kalitina), in the deep revelation of the richness of their spiritual life. Favorite heroes and writers are able to subtly feel nature and music. They are characterized by an organic fusion of aesthetic and moral principles.
For the first time, Turgenev devotes a lot of space to the background history of the heroes. Thus, for the formation of Lavretsky’s personality, it was of no small importance that his mother was a serf peasant woman, and his father was a landowner. He managed to develop solid life principles. Not all of them stand the test of life, but he still has these principles. He has a sense of responsibility to his homeland and a desire to bring practical benefit to it.
An important place in “The Noble Nest” is occupied by the lyrical theme of Russia, the awareness of the peculiarities of its historical path. This issue is most clearly expressed in the ideological dispute between Lavretsky and the “Westernizer” Panshin. It is significant that Liza Kalitina is completely on Lavretsky’s side: “The Russian mentality made her happy.” The remark of L.M. Lo is fair.
The moral issues of “The Noble Nest” are closely connected with two stories written by Turgenev earlier: “Faust” and “Asey”. The collision of concepts such as duty and personal happiness determines the essence of the conflict in the novel. These concepts themselves are filled with high moral and, ultimately, social meaning and become one of the most important criteria for assessing personality. Liza Kalitina, like Pushkin's Tatyana, fully accepts the people's idea of duty and morality, brought up by her nanny Agafya. In the research literature, this is sometimes seen as the weakness of Turgenev’s heroine, leading her to humility, obedience, religion...
1 page, 407 words
Based on Turgenev's novel "The Noble Nest"
... which determined the strength and ensured the outstanding success of the "Nobles' Nest". 1 votes, average: 5.00 out of 5) ... new love, the story of which forms the plot core of the novel: Lavretsky met Lisa Kalitina. Lisa grew up in the quiet of a provincial town and was a girl... destiny. He got married, but the marriage very soon ended in a break through the fault of Varvara Pavlovna. He did not easily survive his family drama. ...
There is another opinion, according to which behind the traditional forms of asceticism of Liza Kalitina lie elements of a new ethical ideal. The sacrificial impulse of the heroine, her desire to join in the universal grief foreshadow a new era, carrying the ideals of selflessness, readiness to die for a majestic idea, for the happiness of the people, which will become characteristic of Russian life and literature of the late 60s and 70s.
Turgenev’s theme of “extra people” essentially ended in “The Noble Nest.” Lavretsky comes to the firm realization that the strength of his generation has been exhausted. But he was given the opportunity to look into the future. In the epilogue, he, lonely and disappointed, thinks, looking at the young people playing: “Play, have fun, grow, young forces... you have life ahead, and it will be easier for you to live...” Thus, the transition to Turgenev’s next novels, in which the main role was planned, was planned The “young forces” of the new, democratic Russia were already playing.
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.
Turgenev very accurately shows the change of generations in the Lavretsky family, their connections with various periods of 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” Diederot - these are typical representatives of the Russian “wild nobility.” They are replaced by claims to “Frenchness” and 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 prayers and a bath. “A freethinker, he started going to church and ordering prayer services; European - began to steam and have dinner at two o'clock, go to bed at nine, fall asleep to the chatter of the butler; statesman - burned all his plans, all correspondence,
I was in awe of the governor and fussed with the police officer.” This was the history of one of the families of the Russian nobility
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.
13 pages, 6335 words
(“Rudin”, “Noble Nest”, “On the Eve”)
... an attempt to identify the socio-historical and universal layers in Turgenev’s novels (using the example of “Rudin”, “The Noble Nest”, “On the Eve”) and correlating them with each other. In the presented... – pp. 54-60. 2. Genre specificity of the novels “rudin”, “noble nest”, “on the eve”. Until recently, Turgenev's novels were studied primarily as “history textbooks.” Modern scientists (A.I. Batyuto, ...
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. Telling the story of the families of the characters in the novel, Turgenev creates a picture very far from the idyllic image of “noble nests”. He shows a rag-tag Russia, whose people are going through all sorts of hardships, from heading completely west to literally vegetating wildly 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.”
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 addition to the peasant and noble lines, the author is also developing a love line. In the struggle between duty and personal happiness, the advantage is on the side of duty, which love is unable to resist. The collapse of the hero’s illusions, the impossibility of personal happiness for him are, as it were, a reflection of the social collapse that the nobility experienced during these years.
“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 “Forgotten Village” by N. A. Nekrasov.
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.
Lisa Kalitina
- the most poetic and graceful of all female personalities ever created by Turgenev. When we first meet Lisa, she appears to readers as a slender, tall, black-haired girl of about nineteen. “Her natural qualities: sincerity, naturalness, natural common sense, feminine softness and grace of actions and spiritual movements. But in Liza, femininity is expressed in timidity, in the desire to subordinate one’s thoughts and will to someone else’s authority, in the reluctance and inability to use innate insight and critical ability. <…> She still considers submissiveness to be the highest dignity of a woman. She silently submits so as not to see the imperfections of the world around her. Standing immeasurably higher than the people around her, she tries to convince herself that she is the same as them, that the disgust that evil or untruth arouses in her is a grave sin, a lack of humility.”1 She is religious in the spirit of folk beliefs: she is attracted to religion not by the ritual side, but by high morality, conscientiousness, patience and willingness to unconditionally submit to the demands of strict moral duty.2 “This girl is richly gifted by nature; there is a lot of fresh, unspoiled life in it; Everything about her is sincere and genuine.
15 pages, 7172 words
Typology and originality of female images in the works of I.S. Turgenev
...an extra person" Rudin; dreaming in vain about happiness and coming to humble self-sacrifice and hope for happiness for the people of modern times Lavretsky (“The Noble Nest”, 1859; events take place ... in Russian literature, “Notes of a Hunter” became the semantic foundation of all further work of Turgenev: from here the threads stretch to research into the phenomenon of the “extra person” (the problem outlined...
She has a natural mind and a lot of pure feeling. By all these properties, she separates herself from the masses and joins the best people of our time.”1 According to Pustovoit, Lisa has an integral character, she tends to bear moral responsibility for her actions, she is friendly to people and demanding of herself. “By nature, she is characterized by a lively mind, warmth, love for beauty and - most importantly - love for the simple Russian people and a feeling of her blood connection with them. She loves ordinary people, wants to help them, get closer to them.” Lisa knew how unfair her noble ancestors were towards him, how much disaster and suffering her father, for example, caused to people. And, being brought up in a religious spirit from childhood, she strived for “all this about. This healthy beginning manifested itself in her under the influence of her nanny - a simple Russian woman, Agafya Vlasyevna, who raised Lisa.
Telling the girl poetic religious legends, Agafya interpreted them as a rebellion against the injustice reigning in the world. Under the influence of these stories, from a young age Lisa was sensitive to human suffering, sought the truth, and strived to do good. In her relationship with Lavretsky, she also seeks moral purity and sincerity. Since childhood, Lisa was immersed in the world of religious ideas and legends. Everything in the novel somehow imperceptibly, invisibly leads to the fact that she will leave the house and go to the monastery. Lisa’s mother, Marya Dmitrievna, predicts Panshin to be her husband. “...Panshin is simply crazy about my Lisa. Well? He has a good family name, serves well, is smart, well, a chamberlain, and if it is God’s will... for my part, as a mother, I will be very happy.” But Lisa does not have deep feelings for this man, and the reader feels from the very beginning that the heroine will not have a close relationship with him. She does not like his excessive straightforwardness in relationships with people, lack of sensitivity, sincerity, and some superficiality. For example, in the episode with the music teacher Lemm, who wrote a cantata for Lisa, Panshin behaves tactlessly. He unceremoniously talks about a piece of music that Lisa showed him in secret.
“Lisa’s eyes, looking straight at him, expressed displeasure; her lips did not smile, her whole face was stern, almost sad: “You are absent-minded and forgetful, like all secular people, that’s all.” She is unpleasant that Lemm was upset because of Panshin’s indelicacy. She feels guilty before the teacher for what Panshin did and to which she herself has only an indirect connection. Lemm believes that “Lizaveta Mikhailovna is a fair, serious girl, with sublime feelings,” and he <Panshin> is an amateur. <…> She doesn’t love him, that is, she is very pure in heart and doesn’t know what it means to love. <…> She can love one thing that is beautiful, but he is not beautiful, that is, his soul is not beautiful.” The heroine’s aunt Marfa Timofeevna also feels that “... Liza will not be with Panshin, she is not worth the kind of husband.” The main character of the novel is Lavretsky. After breaking up with his wife, he lost faith in the purity of human relationships, in female love, in the possibility of personal happiness. However, communication with Lisa gradually revives his former faith in everything pure and beautiful. He wishes the girl happiness and therefore inspires her that personal happiness is above all, that life without happiness becomes dull and unbearable. “Here is a new creature just entering life.
8 pp., 3851 words
Happiness: approaches to definition
... how satisfied we are with what we have.” We are born to seek happiness. Happiness is based on feelings of love, affection, intimacy and compassion. The Dalai Lama believes that each of ... books for work: 1) Dalai Lama XIV
The meaning of the name “Noble Nest”
The title of the novel uses one of the symbolic leitmotifs of Turgenev’s work. The image of a nest is deeply connected with the problems of the work, the main character of which is focused on personal happiness, love, and family. The “instinct of happiness” is so strong in Lavretsky that even after experiencing the first blow of fate, he finds the strength for a second attempt. But happiness is not given to the hero, the prophetic words of his aunt come true: “...You won’t build a nest anywhere, you’ll wander forever.” Liza Kalitina seems to know in advance that happiness is impossible. Her decision to leave the world is intricately intertwined with a “secret sacrifice for everyone,” love for God, repentance for her “illegal” heartfelt desires and a peculiar search for a “nest” in which she will not be a plaything of the dark forces of existence. The “nest” motif, being the starting point in the development of the plot, expands its content to a universal generalization of noble culture as a whole, merging in its best capabilities with the national one. For Turgenev, a person’s personality is as artistically comprehended as it can be inscribed in the image of a particular culture (this is the basis for the distribution of the novel’s heroes into different groups and clans). The work contains the living world of a noble estate with its characteristic everyday and natural way of life, habitual activities and established traditions. However, Turgenev is sensitive to the discontinuity of Russian history, the absence in it of an organic “connection of times” as a feature of the national spirit. The meaning, once acquired, is not retained and is not passed on from generation to generation. At each stage you need to look for your goal again, as if for the first time. The energy of this eternal spiritual anxiety is realized primarily in the musicality of the novel’s language. The elegy novel, “The Noble Nest” is perceived as Turgenev’s farewell to the old noble Russia on the eve of the impending new historical stage - the 60s.
Source: Encyclopedia of Literary Works / Ed. S.V. Stakhorsky. - M.: VAGRIUS, 1998
The meaning of the title of the book “The Noble Nest”
From the title of the work, one can immediately conclude that the novel was written by I.S. Turgenev. The symbolic leitmotifs of the work of the unsurpassed master of words are reflected in the title.
Image of a nest. I.S. Turgenev was acutely worried about problems in his personal life. Therefore, for the author, family values, home and trusting relationships with relatives have always come first. The main idea of the title is deeply connected with the personal happiness of the characters. Focus on true values, morality and ethics is what I.S. emphasizes. Turgenev in his book.
