The writing

"The rapidly changing physiognomy of Russian people of the cultural stratum" - the main subject artistic image from this writer. Turgenev is attracted by "Russian Hamlets" - a type of intellectual nobleman, captured by the cult of philosophical knowledge of the 1830s - early 1840s, who passed the stage of ideological self-determination in philosophical circles. That was the time of the formation of the personality of the writer himself, therefore the appeal to the heroes of the "philosophical" era was dictated by the desire not only to objectively assess the past, but also to understand oneself, to rethink the facts of his ideological biography.

Among his tasks, Turgenev singled out two of the most important. The first is to create a "time image", which was achieved by a careful analysis of the beliefs and psychology of the central characters who embodied Turgenev's understanding of the "heroes of the time." The second is attention to new trends in the life of the “cultural layer” of Russia, that is, the intellectual environment to which the writer himself belonged. The novelist was primarily interested in single heroes, who especially fully embodied all the most important trends of the era. But these people were not as bright individualists as the true "heroes of the time."

One way or another, but all this was reflected in the first Turgenev novel "Rudin" (1855). The prototype of the protagonist Dmitry Nikolaevich Rudin was a member of the circle of N.V. Stankevich M.A. Bakunin. Knowing very well people of the "Rudin" type, Turgenev hesitated for a long time in assessing the historical role of the "Russian Hamlets" and therefore twice revised the novel. Rudin ultimately turned out to be a contradictory personality, and this was largely the result of the author's contradictory attitude towards him.

What kind of person was Rudin, the hero of Turgenev's first novel? We get to know him when he appears in the house of Daria Mikhailovna Lasunskaya, "a rich and noble lady": -blue eyes, with a straight wide nose and beautifully outlined lips. The dress he wore was not new and narrow, as if he had grown out of it. " So far, everything is quite normal, but very soon everyone present at Lasunskaya will feel the sharp originality of this new personality for them. At first, Rudin easily and gracefully destroys Pigasov in a dispute, revealing a wit and a habit of polemics. Then he displays a lot of knowledge and erudition. But this is not what conquers the audience: “Rudin possessed almost the highest secret - the music of eloquence. He was able, striking one strings of hearts, to make vaguely ring all the others ... ". The listeners are also influenced by his enthusiasm for exclusively higher interests. A person cannot, should not subordinate his life only to practical goals, worries about existence, Rudin argues. Enlightenment, science, the meaning of life - this is what Rudin talks about so inspired and poetically. Everyone feels the power of Rudin's influence on the audience, his conviction in a word. Bursting into the inert society of provincial nobles, he brought with him the breath of world life, the spirit of the era and became the most striking personality among the heroes of the novel. It follows from this that Rudin is the spokesman for the historical task of his generation as interpreted by the writer.

The characters in the novel are like a system of mirrors, reflecting in their own way the image of the main character. Natalya Lasunskaya was immediately seized by a feeling that was still unclear to her. Bassistov looks at Rudin as a teacher, Volyntsev pays tribute to Rudin's eloquence, Pandalevsky in his own way assesses Rudin's abilities - "a very clever person!" Only Pigasov is embittered and does not recognize Rudin's merits - out of envy and resentment for losing the dispute.

In relations with Natalia, one of the main contradictions of the Rudin character is revealed. Just the day before, Rudin spoke with such inspiration about the future, about the meaning of life, and suddenly we have a man who has completely lost faith in himself. True, the objection of the surprised Natalya is enough - and Rudin reproaches himself for his cowardice and again preaches the need to do good.

Lofty thoughts of Rudin, his truly quixotic selflessness and selflessness are combined with practical unpreparedness, amateurism. He undertakes agronomic transformations from the owner of vast estates, dreams of "various improvements, innovations", but seeing the failure of his attempts, he leaves, losing his "daily piece of bread." Rudin's attempt to teach at the gymnasium also ends in failure. It was not only the lack of knowledge that affected, but also the free way of his thoughts. A hint of Rudin's clash with public injustice is contained in another episode. “I could tell you,” says Rudin to Lezhnev, “how I got into secretaries to a dignitary and what came of it; but that would take us too far ... ". This silence is significant.

The following words of Lezhnev, the Rudinsky antagonist, about the reasons for the isolation of the ideals of the protagonist from concrete reality are also significant: "Rudin's misfortune lies in the fact that he does not know Russia ...".

Yes, it is precisely the isolation from life, the absence of mundane ideas that makes Rudin "an extra person." And his fate is tragic, first of all, because from a young age this hero lives only with complex impulses of the soul, groundless dreams.

Turgenev, like many authors who touched upon the topic of "an extra person", tests his protagonist with a "set of life criteria": love, death. Rudin's inability to take a decisive step in relations with Natalia was interpreted by criticism still contemporary to Turgenev as a sign of not only spiritual, but also social failure of the protagonist. And the final scene of the novel - the death of Rudin on the barricades in the rebellious Paris - only underlined the tragedy and historical doom of the hero, who represented the "Russian Hamlets" of the bygone romantic era.

The second novel, "The Noble Nest" (1858), strengthened Turgenev's reputation as a public writer, an expert on the spiritual life of his contemporaries, and a subtle lyric poet in prose. And, if in the novel "Rudin" Turgenev denotes the disunity of his contemporary progressive noble intelligentsia with the people, their ignorance of Russia, their lack of understanding of concrete reality, then in the Noble Nest the writer is primarily interested in the origins and reasons of this disunity. Therefore, the heroes of the "Noble Nest" are shown with their "roots", with the soil on which they grew up.

There are two such characters in this novel: Lavretsky and Liza Kalitina. What are the life convictions of the heroes - they are looking for the answer, first of all, to the questions that their fate puts before them. These questions are as follows: about the duty to loved ones, about personal happiness, about your place in life, about self-denial. Often, a discrepancy in life positions leads to ideological disputes between the main characters. Usually, an ideological dispute takes center stage in a novel. Lovers become participants in such a dispute. For example, for Liza, the source of the only correct answers to any "damned" questions is religion, as a means of resolving the most painful contradictions in life. Lisa is trying to prove to Lavretsky the correctness of her convictions. According to her, he just wants to "plow the land ... and try to plow it as best as possible." The fatalistic attitude towards life determines its character is determined. Lavretsky does not accept Liza's morality. He refuses humility and self-denial. Lavretsky is trying to find the life, folk, in his words, the truth. The truth should be “first of all, in her recognition and humility before her ... in the impossibility of leaps and haughty alterations of Russia from the height of bureaucratic consciousness - alterations that are not justified either by knowledge of their native land, or by real faith in the ideal ...”.

Like Liza, Lavretsky is a man with roots dating back to the past. Its genealogy has been mentioned since the 15th century. Lavretsky is not only a hereditary nobleman, but also the son of a peasant woman. His "peasant" features: extraordinary physical strength, lack of sophisticated manners always remind him of his peasant origin. Thus, he is close to the people. Lavretsky is trying to find answers to any questions in his everyday peasant work: "Here is only good luck for those who make their own path without haste, like a plowman plowing a furrow."

The finale of the novel is a kind of result of Lavretsky's life searches. Defines the entire inconsistency of Lavretsky, makes him "an extra man." Lavretsky's words of greeting at the end of the novel to unknown young forces mean not only the hero's refusal of personal happiness, but its very possibility. It should be noted that the very point of view of Turgenev on the "superfluous person" is quite peculiar. Turgenev cites the same arguments as Herzen in justifying Rudin and, in general, "extra people." However, these arguments differ in determining the extent of their guilt. Turgenev rejects the path of salvation, "extra people" by violence, believing that no political changes can free a person from the power of the forces of history and nature.

Unlike Turgenev, Herzen condemns “superfluous people” by the fact that they, having broken away from their environment, did not respond to violence with violence. The fact that they did not go to the end in the matter of saving the world and themselves. Dobrolyubov took a middle position in this dispute. He defined the position of Rudin and Lavretsky as truly tragic, because they are faced with "such concepts and morals that the struggle with which, indeed, should frighten even an energetic and courageous person."

"The rapidly changing physiognomy of the Russian people of the cultural stratum" is the main subject of artistic depiction of this writer. Turgenev is attracted by "Russian Hamlets" - a type of intellectual nobleman, captured by the cult of philosophical knowledge of the 1830s - early ...

1. New!

   The novels of the remarkable Russian writer Ivan Sergeevich Turgenev are very different and multifaceted works. Each of them has finely developed storylines, acutely posed social problems, poetry in describing human relationships ...

2. New!

   The novels and publicistic works of Georges Sand were enthusiastically received in the 19th century by the most prominent writers and critics of Russia. This popularity of the great writer and her influence on Russian literature is especially noticeable in the works of writers ...

Turgenev is one of my favorite writers. Reading his works, We see not only the characters, but also in something of the author himself. And immediately you remember the words of Ostrovsky's heroine (though she didn’t speak about Turgenev, but): “Every word that I say ...

3. New!

   The work of the Russian writer Ivan Sergeevich Turgenev belongs to the best pages of world literature. He wrote many novels, short stories, short stories, but his poetic cycle "Poems in Prose" became especially outstanding. This is a collection of small lyric ...

4. New!

   Turgenev creates the image of the main characters in their complex and subtle spiritual and mental life. They meet on various, sometimes random occasions, a lively exchange of opinions often begins between them, sometimes it turns into disputes and reveals their differences ...

Ministry of General and Professional Education of the Russian Federation

Municipal secondary school №3

ESSAY

on literature

"Extra people" in the works

I.S. Turgenev "

performed

student of 10 "A" class

Antonova A.V.

checked

Draeva T.F.

gulkevichi

Introduction ............................ 3

Chapter 1. The creative path of I.S. Turgenev

1.1. Biography of I.S. Turgenev ............ 4

1.2. Stories, novels and novels by I.S. Turgenev. 10

Chapter 2. "Extra people" in the works of I.S. Turgenev..19

2.1. "Extra people" in the stories "Diary of an extra person", "Correspondence", "Yakov

Stepsons ".......... 20

2.2. Rudin ("Rudin") ................. 25

2.3. Lavretsky ("Noble nest") ........ 31

2.4. Nezhdanov ("New") ................. 37

Conclusion .......................... 43

List of used literature ............. 44

INTRODUCTION

The name of I.S. Turgenev, for almost a century, was excited by passionate

controversy in Russian and foreign criticism. Already his contemporaries realized

the enormous social significance of the works he created. Not always

agreeing with his assessment of the events and figures of Russian life, often denying

the sharpest form of the legitimacy of his writing position, his concept

socio-historical development of Russia.

Turgenev belonged to the constellation of the largest Russian writers of the second half

XIX century. In his work they continue to develop, enriching themselves with new

Turgenev possessed an amazing talent - to combine the so-called spite of the day

with generalizations of the broadest, truly universal order and give

them artistically perfect form and aesthetic persuasiveness. But

the philosophical basis of Turgenev's work at the present time, unfortunately, is not

received due attention from researchers.

Chapter 1. The creative path of I.S. Turgenev

1.1. Biography of I.S. Turgenev

Turgenev's life had a very great influence on the works he created,

since in them he described reality, all the subtleties of the relationship between various

people under the influence of the reality of that time.

Orel. It was a noble family: father, Sergei Nikolaevich, a retired hussar

officer, came from an old noble family; mother, Varvara Petrovna, -

from the wealthy Lutovinov family of landowners. Turgenev's childhood passed in the ancestral

estate of Spassky-Lutovinov. He grew up in the care of tutors and teachers,

swiss and Germans, home-grown uncles and serf nannies. Here it is early

learned to subtly feel nature and hate serfdom.

With the family moved to Moscow in 1827, the future writer was sent to a boarding school,

spent about two and a half years there. Further education continued under

by private teachers. From childhood he knew French, German,

english languages.

In the fall of 1833, before reaching the age of fifteen, he entered the Moscow

university, and the next year he transferred to St. Petersburg University,

from which he graduated in 1936 from the verbal department of the philosophy faculty. One

from the strongest impressions of early youth (1833) falling in love with the princess E.L.

Shakhovskaya, who was experiencing an affair with Turgenev's father at that time, was reflected in

the story "First Love" (1860).

In May 1838 Turgenev went to Germany (the desire to replenish his education

combined with rejection of the Russian way of life, based on serfdom

right). The disaster of the steamer "Nicholas I", on which Turgenev sailed, will

described by him in the essay "Fire at Sea" (1883; in French). Till August

1839 Turgenev lives in Berlin, listens to lectures at the university, studies

classical languages, writes poetry, communicates with T.N. Granovsky, N.V.

Stankevich. After a short stay in Russia, where he prepares for

master's exams and attends literary circles and salons: gets acquainted with

N. Gogol, S. Aksakov, A. Khomyakov, on one of the trips to St. Petersburg - with

again in Berlin, where he met M.A. Bakunin. Arriving in Russia, he

visits the Bakunin Premukhino estate, converges with this family: soon

an affair begins with T.A. Bakunina, which does not interfere with the connection with the seamstress A.E. Ivanova

(in 1842 she will give birth to Turgenev's daughter Pelageya). In January 1843, Turgenev entered

to serve in the Ministry of Internal Affairs.

In 1842 he successfully passed his master's exams, hoping to get a place

professor at Moscow University, but since philosophy was taken under

suspicion by the Nikolaev government, the departments of philosophy were abolished in

russian universities, it was not possible to become a professor.

In 1843, a poem appeared on modern material "Parasha", which received

highly appreciated by V.G. Belinsky. Acquaintance with the critic, which turned into friendship (in

1846 Turgenev became the godfather of his son), rapprochement with his entourage (in

in particular, with N.A. Nekrasov) change his literary orientation: from

romanticism, he turns to the ironic and moralistic poem ("Landowner",

“Andrey”, both 1845) and prose, close to the principles of the “natural school” and not

alien to the influence of M.Yu. Lermontov (Andrey Kolosov, 1844; Three Portraits, 1846;

“Brether”, 1847). In the same year he entered the service of an official of “a special

chancellery ”of the Minister of Internal Affairs, where he served for two years.

Turgenev's public and literary views were determined during this period in

mainly influenced by Belinsky. Turgenev publishes his poems, poems,

dramatic works, stories. The critic directed his work with his

ratings and friendly advice.

during her tour in St. Petersburg, love for which will largely determine the external

the course of his life. In May 1845, Turgenev retired. From the beginning of 1847 to

june 1850 he lives abroad (in Germany, France; Turgenev witness

french Revolution of 1848): takes care of the sick Belinsky during his

travels; communicates closely with P.V. Annenkov, A.I. Herzen, meets J.

Sand, P. Merimee, A. de Musset, F. Chopin, C. Gounod; writes the story "Petushkov"

(1848), "Diary of a Superfluous Person" (1850), comedy "Bachelor" (1849), "Where

subtly, there it is torn "," Provincial "(both 1851), psychological drama" Month

in the village ”(1855).

The main work of this period is "Notes of a Hunter", a cycle of lyrical sketches and

stories, which began with the story "Khor and Kalinich" (1847; subtitle "From

hunter's notes ”was invented by I.I. Panaev for publication in the section

"Mix" of the magazine "Contemporary"); a separate two-volume edition of the cycle was published in

1852, later added stories “The End of Tchertop-hanov” (1872), “Living Relics”,

"Knocks" (1874).

In 1850 he returned to Russia, as an author and critic, collaborated in

"Contemporary", which has become a kind of center of Russian literary life.

Impressed by the death of N. Gogol in 1852, he publishes an obituary banned

censored. For this, he is arrested for a month (being under arrest, writes

story "Mumu"), and then sent to his estate under the supervision of the police without

the right to travel outside the Oryol province. In May he was sent to Spasskoye, where

lives until December 1853 and is working on an unfinished novel, the story “Two

buddy. " Here he meets A.A. Fet, actively corresponded with S.T.

Aksakov and writers from the circle of "Contemporary". In the hassle of liberation

Turgenev, an important role was played by A.K. Tolstoy.

In 1853 it was allowed to come to St. Petersburg, but the right to travel abroad was

returned only in 1856.

Turgenev takes part in the publication of "Poems" by F.I. Tyutchev (1854) and

provides it with a foreword. Mutual cooling with a distant Viardot leads to

a short, but almost ended marriage romance with a distant relative

O. A. Turgeneva. The novels "Calm" (1854), "Yakov Pasynkov" are published

(1855), "Correspondence", "Faust" (both 1856).

“Rudin” (1856) opens a series of Turgenev novels, compact

volume unfolding around the hero-ideologist, journalistically exactly

fixing current socio-political issues and, ultimately

as a result, putting “modernity” in the face of invariable and mysterious forces

love, art, nature. Continue this line: "Noble nest", 1859;

“On the Eve”, 1860; Fathers and Sons, 1862; "Smoke" (1867); "Nov", 1877.

Having departed abroad in July 1856, Turgenev falls into a painful whirlpool

ambiguous relationship with Viardot and his daughter, who was brought up in Paris. is he

goes to England, then to Germany, where he writes "Asya", one of the most

poetic stories, amenable, however, to public interpretation

(article by N.G. Chernyshevsky "Russian people on rendez-vous", 1858), and autumn and

spends winter in Italy. By the summer of 1858 he was in Spassky; in the future, often a year

Turgenev will be divided into "European, winter" and "Russian, summer"

After “On the Eve”, Turgenev breaks with the radicalized

"Contemporary" (in particular, with NA Nekrasov). Conflict with the "young

generation ”was aggravated by the novel“ Fathers and Sons ”. In the summer of 1861, there was a quarrel with

L.N. Tolstoy, which almost turned into a duel (reconciliation in 1878). In the story

"Ghosts" (1864) Turgenev condenses the outlined in "Notes of a Hunter" and

"Fauste" mystical motives; this line will be developed in "Dog" (1865),

"The Stories of Lieutenant Ergunov" (1868), "Dream", "The Story of Father Alexei" (both

1877), "Songs of Triumphant Love" (1881), "After Death (Klara Milich)"

(1883). The theme of the weakness of a person who turns out to be a toy of unknown forces and

doomed to non-existence, to a greater or lesser extent colors all later prose

Turgenev; it is expressed most directly in the lyric story "Enough!"

(1865), taken by contemporaries as evidence of the situational

caused by the crisis of Turgenev.

In 1863, a new rapprochement between Turgenev and Pauline Viardot took place; before 1871 they

live in Baden, then (at the end of the Franco-Prussian war) in Paris. Turgenev

closely converges with G. Flaubert and through him with E. and J. Goncourt, A. Daudet, E.

Zola, G. de Maupassant; he takes on the function of an intermediary between

russian and Western literature. His pan-European fame grows: in 1878

at the international literary congress in Paris, the writer was elected vice

the president; in 1879 he is an honorary doctor of the University of Oxford. Turgenev

maintains contacts with Russian revolutionaries (P.L. Lavrov, G.A.

Lopatin) and provides material support to emigrants. In 1880 Turgenev

participates in the celebrations in honor of the opening of the monument to Pushkin in Moscow.

Along with stories about the past ("Steppe King Lear", 1870; "Punin and Baburin",

1874) and the above-mentioned "mysterious" stories in last years life

Turgenev turns to memoiristics (“Literary and everyday

memoirs ", 1869-80) and" Poems in Prose "(1877-82), where

almost all the main themes of his work are presented, and summing up

happens as if in the presence of impending death.

In February 1879, when he arrived in Russia, he was honored at the literary

evenings and gala dinners, strenuously inviting them to stay at home.

In the spring of 1882, the first signs of a serious illness appeared, which deprived the writer

mobility (spinal cancer).

Turgenev died in Bougival, a suburb of Paris. According to the writer's will,

his body was transported to Russia and buried in St. Petersburg.

As an outstanding master of psychological analysis and landscape painting Turgenev

had a significant impact on the development of Russian and world literature.

1.2. STORIES, Stories and novels by I.S. Turgenev

The initial period of I.S. Turgenev, who had a character for him

his first youthful poem "Steno", and until 1843, when it was published

the work “Parasha. A story in verse ”.

“In 1843,” wrote Turgenev in his “Literary and Life Memoirs,”

petersburg, an event occurred, and in itself an extremely insignificant and

swallowed up long ago by general oblivion. Namely: a small

poem by a certain T.L. called "Parasha". This T.L. I was; I am this poem

entered the literary field ”.

Most of the early works of I.S. Turgenev belongs to the 30s and early 40s

years of the XIX century - to this transitional period in the history of Russian society.

Young Turgenev in the first poetry experiments of the 30s paid a famous tribute

passion for romantic images and romantic vocabulary of Benediktov and

Marlinsky, but this influence was very short-lived and shallow.

Some traces of this hobby can be found in very few poems,

written by Turgenev in the initial period of creativity. So, in verse,

devoted to the themes of love and nature, there are romantic exaggerations.

Love in these verses is "rebellious", "crazy", "sultry", kissing - "burning",

picture of the morning (in the poem "Confession") is given with an excessive, pretentious

pomp:

And, descending from the peaks of the Urals,

Like the palace of Sardanapalus,

A clear day will light up ...

But in the overwhelming majority of the poetic experiments of young Turgenev, the general

the nature of his work was realistic. His authentic literary

the teachers were Pushkin, Lermontov and Gogol.

What was Turgenev's work before "Notes of a Hunter", how

evaluate his numerous poems and poems, from which he is ready

was abandoned at a later, mature time literary activity?

If you approach them with the same yardstick with which Turgenev approached them, they,

indeed, they do not meet the necessary requirements either ideologically or with

artistic side. They hear the rehash of either Pushkin's ("Parasha"), then

lermontov ("Conversation") poetry, and although Turgenev approaches the development

themes of their literary teachers in their own way, trying to give

independent interpretation of "superfluous people" and "restless" heroes, but his

positions are not clear to him, and the heroes of his poems leave readers with

the impression of something unsaid and vague. There is no clarity of thought and

most of the lyric poems dedicated to the themes of love and nature.

However, in no case can it be said that the initial stage of literary

turgenev's activities was a complete failure for him and, moreover, he

gave nothing to the writer himself in relation to his artistic growth.

Poetic creativity taught Turgenev the layout of the material, worked out at

his ability to select from the mass of impressions and thoughts the most essential and

typical, the ability to concentrate material and say a lot in a little.

Belinsky already singled out in the early work of Turgenev such poems as

"Fedya" and "Ballad".

"Ballad" (1842), based on the folk song about Vanka the key keeper,

was set to music by Rubinstein and still lives in a chamber

execution.

It should also be noted as a significant creative achievement of the young

Turgenev, the poem "On the Road", which, along with a large

musicality, sincerity of feeling and sincerity, the lines of which

known to everyone without exception:

Misty morning, gray morning,

Sad fields, covered with snow,

Reluctantly, you will remember the past,

You will also remember the faces long forgotten ...

And in the poems of I.S. Turgenev, usually suffering from lack of clarity in

disclosure of characters and main ideological meaning, there are some bright

everyday scenes and landscapes showing that Turgenev already in these years was able to

to notice in life and in nature the essential, characteristic and find for

descriptions are necessary precise and expressive words.

The greatest success among the poems of Turgenev was the poem "Landowner", representing

a series of living sketches of the landlord's life. Belinsky wrote about this poem:

"Finally, Turgenev wrote a poetic story" Landowner "- not a poem, but

physiological sketch of the landlord's life, a joke, if you like, but this joke

cheerful irony, the fidelity of the pictures, at the same time the consistency of the whole

works, from beginning to end - everything showed that Turgenev attacked

true kind of his talent, took his own, and that there is no reason

leave him poetry at all. "

Turgenev was already a good poet in the 40s. But only good. And his

ambition demanded more.

One of the main challenges faced by writers in the second period

the Russian liberation movement, there was a problem of a positive hero,

actively involved in the implementation of immediate tasks of public

political and economic life, and in connection with this - reassessment

the progressive noble intelligentsia, which has played until now in Russian society

leadership role. This problem faced both Chernyshevsky and

Goncharov, and before Pisemsky, and before other writers. I came close to

this problem in the mid-50s and Turgenev.

In the 40s, stories and comedies did not occupy the main place in creativity

Turgenev and were not his best works - well-deserved fame in the 40s

years he won not with stories or comedies, but with Notes of a Hunter.

After 1852, stories and novels became the predominant genres for him. By

the subject matter of these works significantly differed from the "Notes of a Hunter". Only

in few of them Turgenev still depicts the peasantry and draws

pictures of serf life; such are the stories "Inn", "Lord's

office "(excerpt from an unpublished novel), story" Mumu "and later, in 1874

year, the story "Living Power". In most of the works of the 50-70s

the main subject of Turgenev's image is various groups

the noble class and, above all, the progressive noble intelligentsia,

usually compared with the intelligentsia of raznochinskaya, revolutionary

democratic. For the most part, these works are developed and

new means of Turgenev's artistic skill are specified.

The stories and novels of Turgenev in the 1850s, the famous literary critic D.N.

Ovsyaniko-Kulikovsky matched with the history of the Russian intelligentsia.

Turgenev's novels combined several properties that were most important for literature:

they were smart, fun and flawless in terms of style.

Ideological and artistic conception of works: the story "Asya" and stories

"Lull" and "Spring Waters", determined the originality of the underlying

conflicts and a special system, a special relationship of characters.

The conflict on which all three works are built is the clash of a young

person, not entirely ordinary, intelligent, undoubtedly cultured, but

indecisive, weak-willed, and a young girl, deep, strong

spirit, holistic and strong-willed.

It is essential that both the conflicts in these works and the selection of characteristic

episodes, and the ratio of characters - everything obeys one main task

Turgenev: analysis of the psychology of the noble intelligentsia in the field of personal,

intimate life.

The central part of the plot is the birth, development and tragic ending of love. TO

turgenev's main attention was directed to this side of the stories, as

writer-psychologist, in the disclosure of these intimate experiences and manifests itself in

par excellence his artistic prowess.

Turgenev's novels are imbued with historicism in all their details, since

the overwhelming majority of the actors have some kind of relation to

the main social problem posed by the writer. In the novel "On the Eve"

not only Elena lives under the impression of a decisive, impending

a turning point in Russian public life - this feeling is experienced by every

his own: Bersenev, and Shubin, and Uvar Ivanovich, and, at least in a negative sense,

Kurnatovsky and Stakhov, Elena's father. In the novel "Nov" not only Nezhdanov and

Marianne, but almost everyone characters, one way or another, directly or indirectly

associated with the unfolding revolutionary movement.

Turgenev's novels (as well as novels) cannot be regarded as accurate,

photographic reflection of real historical reality. You can't,

as some pre-revolutionary critics (for example, Avdeev) did, study

the history of Russian public life in the 50-70s of the XIX century based on the novels

Turgenev. The historicism of these novels can only be spoken about

socio-political position of Turgenev, his assessment of those social forces,

who took part in the historical process, and first of all its

attitude towards the noble class that dominated at that time.

In the center of Turgenev's novels are the main characters, which can be divided into

four groups. The first group - the advanced noblemen-intellectuals who took

the role of leaders of a social movement, but by virtue of its

impracticality, weak character, did not cope with the task and found themselves

unnecessary people (Rudin, Nezhdanov). The second group - representatives of the young

intelligentsia, common or noble, possessing both knowledge and strength

will, and labor hardening, but caught up in the power of the infidels, from the point of view

Turgenev, views and therefore went on the wrong road (Bazarov, Markelov).

The third group - goodies (also in the understanding of Turgenev),

approaching the correct solution of the question of a truly progressive

activities. These are Lavretsky, Litvinov, the noble intellectuals who managed

overcome the legacy of noble softness that came after hard

tests for community service; especially a commoner,

a native of the Solomin people, the most perfect image of a positive hero in

Turgenev in the last period of his literary work. And finally

the fourth group - advanced girls, in whose images Turgenev

presents three successive stages of involvement of a Russian woman of the 50-70s

years in public life: Natalia, who is still striving for public

activity, Elena, who has already found herself a useful business, but still in a foreign land,

and Marianna, a member of the Russian revolutionary movement, finally

determined her real life path in a joint cultural

work with Solomin.

Summing up all of the above, we can note the key value

early creativity writer for the further development of his skills. Exactly

this experience, which seemed so insignificant to Turgenev himself, subsequently

allowed him to write "Notes of a Hunter", "Fathers and Sons" and others

significant works, which, in turn, provided a huge

influence on the development of Russian and foreign literature.

Turgenev's merit in the more specific area of \u200b\u200bthe novel lies in the creation and

the development of a special variety of this genre - a public novel in which

timely and quickly reflected new and, moreover, the most important trends of the era.

The main characters of Turgenev's novel are the so-called "superfluous" and "new"

people, noble and various democratic intelligentsia, during

a significant historical period determined the moral and ideological level

russian society.

CHAPTER 2. "EXTRA PEOPLE" IN THE WORKS OF I.S. TURGENEVA.

In this essay we will consider the first group of heroes - "extra people".

The very concept of "extra person" was introduced into fiction

Turgenev, and he gave, so to speak, a postmortem analysis of this

a remarkable type of Russian life in the 19th century. Turgenev has to "superfluous people"

include Rudin ("Rudin"), Alexey Nezhdanov ("Nov"), Fyodor Lavretsky

("A noble nest"), Chulkaturin ("Diary of a superfluous person"), Yakov Pasynkov

("Yakov stepsons"), Alexey Petrovich ("Correspondence"). To address these

heroes are worth considering the named works.

2.1. "EXTRA PEOPLE" IN THE STORIES "DIARY OF AN EXTRA MAN"

PASYNKOV ".

The stories "Diary of a Superfluous Person", "Correspondence", "Yakov Pasynkov" unites

the topic of "an extra person".

The writer himself considered the "Diary of a Superfluous Person" to be a successful work. "I

for some reason I imagine that "Diary" is a good thing. " - he wrote to Kraevsky. But in

this story with a characteristic title, Turgenev still does not give a social

a historical explanation for the type of "extra person"; not deeply revealed it

social and ideological ties and relations. Disease symptoms are indicated

and described, but its causes and treatment are not defined. The author of the "Diary"

the loser Chulkaturin carries the features of a "superfluous person", but he does not have

that moral and intellectual superiority over others, which

later Turgenev will celebrate in Nezhdanov and Rudin. "Diary" is only the first

a sketch of the "extra person" type. The composition of the story, dating back to

lermontov's "Hero of Our Time", corresponded to the image of a reflective

hero. But the hero himself is placed in that ridiculous and pitiful position, which

reduced the tragedy of his fate.

This inconsistency stems from the fact that in the story the theme of "an extra person"

merges with the theme of the "little man", over whom triumphs

petersburg aristocrat. The "extra people" were not at all little people like

Makara Devushkina, whom you remember at the end of the story. In subsequent

works on this topic, Turgenev will show how the wealth of the inner world

"Superfluous person" will triumph over the aristocratic gloss, secularity and

superficial education.

An important role in the development of the theme of "extra person" in the work of Turgenev

played the story "Correspondence". There are few specific historical details in it,

characterizing the type of superfluous person as a phenomenon of Russian life of a certain

era. This is a psychological study that illuminates the moral and psychological

side of the problem. The moral image and character of an extra person, his lack of will and

a tendency to reflect, the discord between dream and reality, his

relationships with the chosen one of his heart, the sad ending of his life - everything,

that in "Rudin" will receive a concrete historical content, in "Correspondence" it is given

in the form of moral and psychological sketches.

In the Diary of an Extra Man, Turgenev gives the hero's confession. "Correspondence" - not

only the confession of the two interlocutors, not only the introspection to which

both sides of the conflict. This is also a dialogue full of frank

mutual criticism. The story of Marya Alexandrovna, imbued with a passionate reproach,

awakened love for the ideal, disappointment in fate, can serve

an excellent commentary on a specific life drama, objectified

Turgenev in the person who embodied this ideal in her eyes, Natalia Lasunskaya.

The heroine of "Correspondence" is a girl who is not satisfied with "ordinary

the cares of home life. " “She demands a lot from life, she reads, dreams

about love, she looks around, waits for the one for whom her soul yearns will come.

Finally he appears: she is infatuated; she is like soft wax in his hands; it

in awe of him, ashamed of his happiness, learns, loves. Great is it

power at this time over her! .. If he were a hero, he would ignite her, he

would teach her to sacrifice herself, and all sacrifices would be easy for her! But the heroes in

our time is not. " - Marya Aleksandrovna notes mournfully and continues: “For

these first moments of bliss and hope usually follow - by

circumstances (circumstances are always guilty) - separation follows. "

Analysis of the relationship between an extra person and a young creature in love with him

is given in the "Correspondence" already as a conclusion, as a generalization of the difficult experience of life - "the mind

cold observations and hearts of sorrowful notes. "

The hero of "Correspondence" also does not spare himself, agreeing with reproaches and scourging himself

their own kind. By his moral and psychological appearance, Alexey Petrovich

already higher than the hero of the "Diary of an Extra Man" and even more so his rivals. Theme

turgenev here separates the little man from the theme of the superfluous man.

However, the finale of his life here is still pitiful and shallow:

passion for an empty and insignificant beauty enslaves both his spirit and his will.

Preaching stability and firmness, the hero of "Correspondence" himself forgets about

than, in his words, “we should not forget” that “not happiness, but

human dignity is the main goal in life. "

The life of the hero of "Correspondence" Alexei Petrovich passed fruitlessly and aimlessly, and he

were characteristic in young years and moral purity, and "tenderness

noble hopes ". The hero of "Correspondence", realizing his doom, declares

in his suicide letter that “life will not deceive only those who do not

reflects on her and, without demanding anything from her, calmly accepts her few

gifts and calmly uses it. " This formula of limited mediocrity

rejected by the writer himself.

If the "Correspondence" reveals the weaknesses of the personality, then in the story "Yakov

Pasynkov ”Turgenev seeks to show his positive qualities. is he

gradually elevates the appearance of superfluous people. At the same time, the very type of excess

person acquires in this story those specific historical features that

lacked its early representatives. Yakov Pasynkov - University student,

a student of philosophical idealism, a man of the 30s. Tragic fate

Pasynkov, a wanderer in his native land, who died untimely from Siberia, but

his image was bright in the image of the writer. Pasynkov's moral authority is great

among his comrades who loved him dearly, although they often made fun of

him. He was always truthful and honest.

Jacob is a very simple and modest, truly extraordinary person, and even then

the same time, a real romantic, whose fate is filled with genuine

drama. Turgenev not only does not denounce such a romantic, but with

lovingly draws his image, with sympathy tells the sad story of his

short and wonderful life. In the mouth of Yakov Pasynkov, an admirer of Schiller

"The words" good "," truth "," life "," science "," love ", as if enthusiastically they

never spoken, never made a false sound. No stress, no

efforts he entered into the realm of the ideal; his chaste soul at all times

was ready to appear before the "shrine of beauty", she was only waiting for greetings,

touches of another soul. Stepson was a romantic, one of the last

romantics I happened to meet, ”says his friend.

“Romantics are now known to be almost extinct; at least between

today's young people do not. So much the worse for today's young people, ”

concludes through the mouth of the narrator Turgenev.

2.2. RUDIN ("RUDIN")

Ivan Sergeevich Turgenev began work on Rudin in 1855.

At first the novel was called "Genius Nature". Under the "genius" Turgenev

understood the ability to convince and educate people, a versatile mind and a broad

education, and by "nature" - firmness of will, keen flair for needs

public life. But in the course of work, this name ceased to satisfy

Turgenev, since in relation to Rudin it sounded ironic: "nature" in

it turned out not enough, there was not enough will for practical work, although the "genius" in

Printed with great additions in January and February books

"Contemporary" for 1856 ".

By "big additions" Turgenev means his processing

individual chapters of the novel and adding new ones while preparing Rudin for publication,

when, after reading the novel in the editorial circle (and it took place in the first

the same days of the writer's arrival in St. Petersburg in October 1855) at the friends of Turgenev

there were wishes that he would more clearly set off the figure of the protagonist.

Friendly advice helped Turgenev to understand a lot. His constant readiness

to check himself, in particular, in the fact that he rarely gave to print

his works without listening to the opinion of those he trusted.

First of all, he began to rework the pages dedicated to his youth

Lezhnev and Rudin, and then the epilogue of the novel. From time to time he read

Nekrasov rewritten chapters and pages, and met with warm approval from

his side. Reporting on the work of Turgenev on the epilogue, Nekrasov in one of

letters predicted that “a wonderful thing will come out. Here for the first time Turgenev

will appear by itself ... This is a person who is able to give us ideals, as far as they

are possible in Russian life ”.

The appearance of the novel in print caused a lot of discussion and controversy in literary circles.

and among the readers.

The critic of Otechestvennye zapiski viewed Rudin only as a pale copy

the previous heroes of Russian literature - Onegin, Pechorin, Beltov. But

he objected to Chernyshevsky in Sovremennik, noting that Turgenev was able to

show in the image of Rudin a person of a new era of social development.

Comparing Rudin with Beltov and Pechorin, Chernyshevsky stressed that “this

people of different eras, of different natures - people who make up a perfect

contrast to one another. "

After the novel was published, Nekrasov expressed confidence that for Turgenev

“A new era of activity begins, that his talent gained new strength, that

he will give us works even more significant than those he deserves

in the eyes of the public, the first place in our newest literature after Gogol. "

In a letter to Turgenev, Sergei Timofeevich Aksakov spoke about vitality

depictions of the Rudin type and noted that the novel “excites many small

questions and reveals deep secrets of the spiritual nature of man. "

Speaking about the recognition of the novel among the populist intelligentsia, it is impossible to ignore

words of V.N. Figner: “It seems to me that the whole novel is taken directly from life, and Rudin -

the purest product of our Russian reality, not a parody, not a mockery, but

a real tragedy that has not died at all, that still lives, still

continues ... ". “Every educated person of our time sits

a particle of Dmitry Rudin, ”wrote Stepnyak-Kravchinsky.

The main character of the novel is largely autobiographical: he is a man of Turgenev

generation who received a good philosophical education abroad.

Rudin's character is revealed in the word. This is a brilliant speaker. "Rudin owned

almost the highest secret - the secret of eloquence. He was good at hitting one

strings of hearts, make all others vaguely ring and tremble. " In their

philosophical speeches about the meaning of life, about the high purpose of man, Rudin simply

irresistible. A person cannot, should not subordinate his life only

practical goals, concerns about existence, he argues. Without aspiration

find "general principles in particular phenomena" of life, without faith in the power of reason there is no

no science, no education, no progress, but “if a person does not have a strong

the beginning, in which he believes, there is no ground on which he stands firm, as he can

does he give himself an account of the needs, the meaning, the future of his people? "

Enlightenment, science, the meaning of life - this is what Rudin is talking about with such enthusiasm,

inspired and poetic. He tells the legend of a bird that flew into the fire

and disappeared into the darkness again. It would seem that a man, like this bird,

emerges from oblivion and, having lived a short life, disappears into obscurity. Yes,

“Our life is fast and insignificant; but all great things are done through people. "

His statements inspire and call for the renewal of life, for the extraordinary,

heroic achievements. The power of Rudin's impact on listeners, persuasion

in a word, everyone feels. And everyone admires Rudin for his "extraordinary mind".

Only Pigasov does not recognize the merits of Rudin - from resentment for his defeat in

But in the very first conversation between Rudin and Natalia, one of the main

contradictions of his character. After all, only the day before he spoke so inspiredly about

the future, about the meaning of life, about the purpose of man, and suddenly appears tired

a person who does not believe in either his own strength or the sympathy of people. Truth,

one objection from the surprised Natalya is enough - and Rudin reproaches himself for

cowardice and reiterates the need to get things done. But the author has already dropped

into the soul of the reader doubt that Rudin's words agree with the deed, and

intentions - with actions.

The writer puts the controversial character of his hero to a serious test

Love. For Turgenev, this feeling is sometimes light, sometimes tragic and

destructive, but it is always a force that exposes the soul, true nature

person. This is where Rudin's real character is revealed. Although speeches

Rudin is full of enthusiasm, years of abstract philosophical work have dried up in him

living sources of heart and soul. The preference of the head over the heart is already felt in the scene

first love confession.

The first obstacle on his way was the refusal of Daria Mikhailovna Lasunskaya

to marry his daughter to a poor man - leads Rudin into complete confusion.

In response to the question: "What do you think we need to do now?" - Natalia

hears: "Of course, submit." And then Natalia throws a lot of bitter words

Rudin: she reproaches him for cowardice, cowardice, that his high words

far from the case. And Rudin feels miserable and insignificant in front of her. He is not

withstands the test of love, revealing his human inferiority.

In the novel, Lezhnev is opposed to the main character, openly, straightforwardly. Rudin

eloquent - Lezhnev is usually laconic. Rudin cannot figure out the very

to himself - Lezhnev perfectly understands people and helps loved ones without further ado,

thanks to spiritual tact and sensitivity. Rudin does nothing - Lezhnev always

busy with something.

But Lezhnev is not only an antagonist of Rudin, he is an interpreter of the hero. Lezhnev's estimates

are not the same at different times, even contradictory, but in general they inspire

to the reader an understanding of the complex character of the hero and his place in life.

Thus, Rudin is highly praised by his antagonist, a man

practical warehouse. Maybe he is the true hero of the novel? Lezhnev

awarded with both intelligence and understanding of people, but his activities are limited

businesslike, but for Turgenev it is impossible to reduce the whole meaning of life to businesslike

not a spiritualized higher idea.

Rudin reflects tragic fate man of the Turgenev generation. Care

into abstract thinking could not but entail negative consequences:

speculation, poor acquaintance with the practical side. People like

Rudin, bearers of high ideals, keepers of culture, serve progress

societies, but clearly lacking in practical potential. Ardent opponent of the serf

right, Rudin turned out to be absolutely helpless in the implementation of his ideal.

In Russian life, he is destined to remain a wanderer.

The ending of the novel is heroic and tragic at the same time. Rudin dies on the barricades

Paris. I recall the words from the Rudin letter to Natalia: “I will end up by

i will sacrifice myself for some nonsense, in which I will not even believe ... ".

2.3. LAVRETSKY ("GIRL'S NEST")

Turgenev conceived the novel "Noble Nest" back in 1855. However, the writer

felt at that time doubts about the strength of his talent, superimposed and

imprint of personal disorder in life. Work on the novel Turgenev

resumed only in 1858, upon arrival from Paris. The novel appeared in January

"Nest of Nobility" was the biggest success he ever had

Turgenev, distinguished by his ability to notice and depict new things,

emerging, and in this novel reflected modernity, the main moments of life

the noble intelligentsia of that time. Lavretsky, Panshin, Liza - not

abstract images created by the head, and living people are representatives

generations of the 40s of the XIX century. In Turgenev's novel, not only poetry, but also

critical focus. This work of the writer is a denunciation

autocratic-serf Russia, a waste song to the "noble nests".

Let's consider the ideological content and system of images of the "Noble Nest".

Turgenev placed representatives of the noble class at the center of the novel.

The chronological framework of the novel is the 40s. The action begins in 1842, and in

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 the best

representatives of the noble intelligentsia are growing anxiety for their fate and

his people. Turgenev interestingly decided the plot and compositional plan of his

works. He shows his heroes at the most tense turning points

moments of their lives.

After an eight-year stay abroad, he returns to his family estate

Fyodor Lavretsky. They experienced big shock - betrayal of the wife of Barbara

Pavlovna. Tired, but not broken by suffering, Fyodor Ivanovich arrived at

the village in order to improve the life of their peasants. In a neighboring town in his house

cousin Marya Dmitrievna Kalitina, he meets with her daughter -

Lavretsky fell in love with her with pure love, Liza reciprocated. They were

close to happiness, Lavretsky showed Lisa a French magazine in which

the death of his wife Varvara Pavlovna was reported. But when happiness was already like this

close, Varvara Pavlovna is returning from France. And pious Lisa asks

Lavretsky to reconcile with his wife, and she herself decides to go to a monastery. Lavretsky

can not oppose anything to Lisa's demands, he is reconciled with her decision.

Their love and their lives were broken. In the epilogue, Liza is humble

nun, Lavretsky, who visited her in silence, looked at her

admits that life has been lived in vain, in vain.

Fyodor Lavretsky himself was a descendant of the gradually degenerated Lavretsky family,

once strong, outstanding representatives of this surname - Andrey (great-grandfather

Fedor), Peter, then Ivan.

The commonality of the first Lavretskys was in ignorance. In the papers of Peter Andreevich, the grandson

found the only old book in which he wrote that "Celebration in

petersburg, the reconciliation concluded with the Turkish Empire by his

excellency Prince Alexander Andreevich Prozorovsky ", then the recipe for breastfeeding

decohta with a note; "This instruction was given to General Proskovya Fedorovna

Saltykova from the Protopresbyter of the Church of the Life-Giving Trinity Fedor

Avksentievich ", etc .; in addition to calendars, a dream book, and Abmodik's works

the old man had no books. And on this occasion, Turgenev ironically remarked: “Read

it was not his part. " As if in passing, Turgenev points to luxury

eminent nobility. So, the death of Princess Kubenskaya was conveyed in the following

colors: the princess "reddened, smothered with ambergris a la Rishelieu, surrounded by

little arapies, thin-legged dogs and noisy parrots, died on a silk

a crooked sofa from the time of Louis XV, with an enamel snuffbox by Petito in

Kubenskaya, who bowed to all French, also inoculated Ivan Petrovich

the same tastes, given by the French upbringing. The writer is not exaggerating

the significance of the war of 1812 for the noblemen of the Lavretsky type. They are only temporary

"They felt that Russian blood was flowing in their veins." "Peter Andreevich in his

the score was clothed by a whole regiment of warriors. " But only. The ancestors of Fyodor Ivanovich, in

especially his father, more fond of foreign than Russian. European

educated Ivan Petrovich, returning from abroad, introduced a new

livery, leaving everything as it was, about which Turgenev writes, not without irony: “All

remained as before, only the quitrent was added here and there, but corvee became

heavier, but the men were forbidden to address directly to the master: a patriot is very

despised his fellow citizens. "

And Ivan Petrovich decided to bring up his son according to the foreign method. And this

led to separation from everything Russian, to a departure from the homeland. "Bad joke

played by an Anglomaniac with his son. " Torn from childhood from his native people,

Fedor lost support, a real case. It is no coincidence that the writer brought Ivan

Petrovich to an inglorious death: the old man became an unbearable egoist, his

whims that did not allow everyone around him to live, a pitiful blind man, suspicious.

His death was a deliverance for Fyodor Ivanovich. Before him suddenly

life was revealed. At 23, he did not hesitate to sit on the student bench with

a firm intention to master knowledge in order to apply it in life,

to benefit at least the peasants of their villages. Where does Fedor get isolation and

unsociability? These qualities were the result of "Spartan education".

Instead of introducing the young man into the thick of life, “he was held in an artificial

solitude ”, protected him from the shocks of life.

The Lavretskys' pedigree is designed to help the reader trace the gradual departure

landowners from the people, explain how Fyodor Ivanovich "wriggled out" of life; it

designed to prove that the social death of the nobility is inevitable. Possibility

living at someone else's expense leads to the gradual degradation of a person.

Fyodor Lavretsky was brought up in conditions of abuse of a human

personality. He saw how his mother, a former serf Malanya, was in

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, treated her with

neglect, especially her sister-in-law Glafira Petrovna. Petr Andreevich

called Malanya "raw-hammered noblewoman." Fedya himself in childhood felt his

a special position, a feeling of humiliation oppressed him. Over him completely

glafira dominated, his mother was not allowed to see him. When Fedya was eight years old,

the mother died. “The memory of her, - writes Turgenev, - of her quiet and pale face,

about her dull looks and timid caresses forever imprinted in his heart. IN

childhood Fedya had to think about the situation of the people, about the serf

right. However, his caregivers did their best to distance him from

life. His will was suppressed by Glafira, but “. at times found him

wild stubbornness. " Fedya was raised by the father himself. He decided to make it

spartan. The "system" of Ivan Petrovich "confused the boy, settled

the confusion in his head squeezed it. " Fedya was presented with exact sciences and

"Heraldry to maintain knightly feelings." Father wanted to shape the soul

young men on a foreign model, to instill in him a love for everything English.

It was under the influence of such upbringing that Fedor turned out to be a man cut off from

life, from the people. The writer emphasizes the richness of the spiritual interests of his

hero. Fedor is a passionate admirer of Mochalov's game (“I never missed

one performance "), he deeply feels the music, the beauty of nature, in a word,

everything is aesthetically beautiful. Lavretsky cannot be denied diligence. is he

studied very diligently at the university. Even after the marriage, which interrupted almost

for two years of study, Fyodor Ivanovich returned to independent studies.

“It was strange to see,” writes Turgenev, “his mighty, broad-shouldered figure,

forever bent over the writing table. He spent every morning at work. " AND

after the betrayal of his wife, Fedor pulled himself together and "could study, work," although

skepticism, prepared by the experiences of life, education, finally climbed

into his soul. He became very indifferent to everything. This was the result

his isolation from the people, from his native soil. After all, Varvara Pavlovna tore off

him not only from his studies, his work, but also from his homeland, forcing him to wander

to Western countries and forget about the debt to their peasants, to the people.

True, from childhood he was not accustomed to systematic work, so at times

he was in a state of inactivity.

Lavretsky is very different from the heroes created by Turgenev before the "Noble

nests ". They went to him positive features Rudin (his hill,

romantic aspiration) and Lezhnev (sobriety of views on things,

practicality). He has a firm view of his role in life - to improve his life

peasants, he does not confine himself to the framework of personal interests. Dobrolyubov wrote about

Lavretsky: “. the drama of his position is no longer in the fight against

own impotence, and in a collision with such concepts and morals, with

with which the struggle should really frighten even the energetic and courageous

so that it is embarrassing to ironic over him. "

With great poetic feeling, Turgenev described the emergence of love in

Lavretsky. Realizing that he loved deeply, Fyodor Ivanovich repeated

mikhalevich's significant words:

And I burned everything I worshiped;

Bowed down to everything that he burned.

Love for Lisa is the moment of his spiritual revival, which came with

return to Russia. Lisa is the opposite of Varvara Pavlovna. She could have

help to unfold the abilities of Lavretsky, it would not prevent him from being

a hard worker. Fyodor Ivanovich himself thought about it: “She would not distract me from

my classes; she herself would have inspired me to honest, rigorous work, and we

both would go forward to a wonderful goal. " In the dispute between Lavretsky and 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 personal happiness for the second time, Lavretsky decides to fulfill his social

debt (as he understands it) - improves the life of his peasants. “Lavretsky had

the right to be satisfied, - writes Turgenev, - he became really good

master, really learned to plow the land and worked not for himself. "

However, it was half, it did not fill his whole life. Arriving at the house

Kalitin, he thinks about the "business" of his life and admits that it was

useless.

The writer condemns Lavretsky for the sad outcome of his life. With all their

nice, positive qualities, the protagonist of the "Noble Nest" is not

found his calling, did not benefit his people and did not even achieve

personal happiness.

At 45, Lavretsky feels old, incapable of spiritual

activity, the "nest" of the Lavretskys virtually ceased to exist.

In the epilogue of the novel, the hero appears older. Lavretsky is not ashamed

past, he does not expect anything from the future. “Hello, lonely old age!

Burn out, useless life! " he says.

2.4. NEZHDANOV ("NEW")

In 1876, in books 1 and 2 of the Vestnik Evropy, Turgenev published his novel Nov.

The complex social life of Russia in the 70s and its screaming contradictions, growth

and the rise of the revolutionary movement, unsuccessful going to the people, tragedy

advanced youth, who wholeheartedly wished him, but took the wrong path,

the illusion of her hopes, the position of the various classes of Russian society,

intense struggle between populist and reactionary, liberal-conservative

camps - this is the problematic of Turgenev's last novel. Object

artistic depiction were urgent, burning problems of the Russian

life that worried the entire Russian society. At the same time, Turgenev tried

outline your program to help the people. The novel testified that

Turgenev was still worried about the fate of Russia, the fate of the people, his consciousness

plight.

While loyal journalism celebrated good deeds,

associated with the "great reform" and post-reform orders, I.S. Turgenev

exposed the immense falsity and lies of the semi-official press. He rightly wrote in

"Novi": "The people are in terrible poverty, taxes have completely ruined them, and only that and

a reform took place, that all the men put on their caps, and the women threw their kitsch. and

hunger! And drunkenness! And the fists! " And although these words are uttered by such a very

a nondescript and bilious person, like Paklin, they undoubtedly express

the class of landowners-usurers who “sell a peasant a quarter of rotten rye for

six rubles, but they get it. firstly, work in six hours, and over

togo. a whole quarter of good rye, and even with an increase! That is, they suck out

the last blood from a man. "

The destitute peasantry suffers from landlessness. One of the peasants

derived in the novel, expressing the cherished thoughts of many thousands of immensely robbed

peasants, bluntly declares Nezhdanov: “Oh, you. master, do not smear - a

tell me bluntly: are you giving all your land as it is, or not? "

In the novel "Nov" I.S. Turgenev shows how the defender of the starving and

disadvantaged masses on behalf of the multimillion-dollar "nameless Russia"

the revolutionary populist youth spoke out. "Nov" woke up in youth

striving to serve the people. “This novel made an impression on me

huge, "- recalled the old Bolshevik S. Mitskevich. According to him, the novel

Turgenev helped him understand that “revolutionaries are the best people

who want to educate the peasants and workers and rouse them to revolution against

their oppressors. "

The brightest representative of the revolutionary populist youth

is an honest selfless girl Marianne. Turgenev forever

immortalized in literature the immortal image of a revolutionary in the person of Marianne

Sinetskaya, painting in the form of a strong spirit, captivating and fearless Marianne,

which was "the embodiment of the homeland, happiness, struggle, freedom", the populist

revolutionary youth.

The main character of the novel is also the populist Alexei Nezhdanov. The initial

he was brought up in a boarding house by one Swiss, efficient and strict

teacher, and then entered the university. “He himself wanted to become a lawyer; and

the general, his father, who hated nihilists, let him go "for aesthetics", as with

nezhdanov expressed a bitter smile, that is, according to the historical and philological

faculty. Nezhdanov's father saw him only three or four times a year, but

was interested in his fate and, dying, bequeathed to him - "in memory of Nastenka" (his

mother) - capital of six thousand rubles in silver, interest on which, under

the name "pensions" were given to him by his brothers, the princes G. "

Nezhdanov is discouraged by the unfair Russian order. Smart, extraordinary

man, he relatively quickly figured out his surroundings, in

people, their characters. He quickly recognized Kallomeytsev's predatory nature.

Nezhdanov sees the working people begging everywhere, poverty and hunger

peasantry. Nezhdanov's aspirations and thoughts are aimed at ensuring that

alleviate the plight of the people. For the interests of the disadvantaged people, he goes

"To the people." But Nezhdanov and some of his friends are members of the popular movement

- are disappointed, discouraged, lose faith in their strength and people. Conceived

Nezhdanov's brochures "did not stick". “He doesn't need me with my brochures - that's all

here! " - Nezhdanov exclaims desperately after an unsuccessful attempt at propaganda in

people. Everything that Nezhdanov did and said seemed to him unnecessary and cloying

nonsense, banal falsehood and lies. “Oh, it's hard for aesthetics to come into contact with

real life. " “Where not throw - everything is a wedge! Life has gouged me. "

such is the woeful outcome of Nezhdanov's thoughts. About one of the familiar peasants

Nezhdanov says: "As soon as he is with me, it is like a wall between us."

The tragedy of Nezhdanov, in addition to socio-historical reasons, is also associated with

turgenev's opinion, and with heredity. The failure of going public and

populist cause Nezhdanov is inclined to explain not the essence of the case itself, but

the properties of their unstable nature. “Oh, how I curse. this nervousness

sensitivity, impressionability, disgust, this is the legacy of my

aristocratic father! "- exclaims bitterly Nezhdanov after the failure of his

communication with the people. Nezhdanov sincerely wants to believe in what he says

people, but all his attempts to make contact with him are unsuccessful.

"And I will begin to speak, as if I am guilty, I ask all forgiveness," - with a pain in my heart

states Nezhdanov. In this incapacity for effective, selfless faith

Nezhdanov also sees a manifestation of heredity. He blames his aristocrat-

With Nezhdanov, dedicated to his work, brave, honest, selfless

man, something strange was happening. "Romantic of realism", he went "to the people",

according to Turgenev, without faith, without a firm support. He was dissatisfied with "his

activity, that is, inaction ", all his actions, his speeches were

saturated with bile and the causticity of self-flagellation. Skeptic and little faith, in vain

seeking to "simplify", on the one hand, and a fighter-propagandist, devoted

the cause of the people, on the other hand, Nezhdanov gets entangled in a maze of unsolvable

painful contradictions. His reflective consciousness is bifurcated. He is totally

absorbed in his own grave doubts. His will to fight turns out

paralyzed.

Nezhdanov, according to A.V. Lunacharsky, “strikes with its kinship with

everyone. old Rudins ". Nezhdanov says: “Why is this uncertain,

vague, aching feeling? Why, why this sadness? - If you are a reflector and

melancholic, - his lips whispered again, - what the hell are you a revolutionary? You

write rhymes, and sour, but fiddle with your own thoughts and feelings, yes

delve into various psychological considerations and subtleties, and most importantly - do not

take your painful, nervous irritations and whims for

courageous indignation, for the honest malice of a convinced person! Oh Hamlet,

Hamlet, prince of Denmark, how to get out of your shadow? How to stop imitating you

in everything, even in the shameful pleasure of self-flagellation? "

Turgenev shows the complex dynamics of Nezhdanov's mental life. "Secret

the inner worm continued to sharpen and gnaw Nezhdanov. " He constantly feels in

yourself anxious doubts. His melancholic duality, reflection and

mental fatigue is revealed through the dialogue skillfully created by the author and

internal monologue. Nezhdanov sometimes answers out of place, mechanically, very

often his difficult state of mind does not correspond to his speeches, his

inner monologue. So to the question of Solomin: "Is he ready to go for the people?" -

Nezhdanov hastily replies: "Of course I'm ready." But the inner monologue

testifies to something else: "Juggernaut," he remembered another word

Paklina. - Here it is, a huge chariot. and I hear the crackling and rumbling of her

wheels ". Nezhdanov dies tragically, giving way to a more "practical", more

a prudent, moderate gradualist-folk, a "new" person -

Solomin. Nezhdanov forever erases himself from life and even bequeaths

Solomin to support his dearly beloved bride - Marianne, honest, intelligent,

dedicated to her work.

CONCLUSION.

When considering the "extra people" in the works of Turgenev, one can notice one

regularity: the later the work is written, the more respect

financially. Over time, these hopelessly ill people get better and even

more useful to society.

The problem of “extra people” is still relevant today. “Igniting the audience, but

incapable of an act "superfluous person", in vain dreaming of happiness and

coming to humble self-denial "- this type of people exists in our

time, and will always exist, both in literature, and in reality, and

it will resemble the Turgenev Lavretskys, Rudins, Nezhdanovs and others

"Extra people" in the works of Turgenev.

LIST OF USED LITERATURE.

Complete Works and Letters. M .; L., 1960-68. T. 1-28.

Clement M.K. Chronicle of the life and work of I.S.Turgenev. M .; L., 1934.

Life of Turgenev // Zaitsev B. Distant. M., 1991.

Chronicle of the life and work of I.S. Turgenev (1818-1858) / Comp. N. S.

Nikitin. SPb., 1995.

I.S. Turgenev, volume 2, Goslitizdat, Sobr. Works, M. 1961

Batuto A. Turgenev - novelist. - L .: Nauka, 1972 .-- 390 p.

Byaly G. The first novel of Turgenev // Turgenev I.S. Rudin. - M .: Children's

literature, 1990 .-- 160 p.

Byaly G.A. Turgenev and Russian realism. - M.-L .: Soviet writer, 1962.

In human life, there is some, let's call it, a rocker,
with two bowls, like the scales of the goddess of justice. On one side
of this rocker is everything material (visible); another
- everything spiritual (invisible). Thus, if the material goes
down, then the spiritual goes up; if the spiritual goes down, then
the material grows. Others under the concept of "material goes down"
understand the following: the more material they put on this
the scales, the more it will go down under the gravity of material
good, and the higher, by definition, the spiritual
scales. The latter is taken as a postulate of truth, and is not accepted
into account the other side: if you put on the spiritual cup so much
the same spiritual, how much material in the above case, then,
in theory, the opposite should happen: the spiritual grows heavier and falls
down, and the material grows. So what is the bottom and the top then? After all,
in both cases it is not clear which side is
spiritual wealth and what kind of material. It's always possible to speak
and about the one and the other, not at all afraid to come into conflict with
by its own logic.

It is necessary to consider how this rocker arm was formed in general.
Imagine the symbol of Aries: horns that branch out into different
sides. In the same way, the separation of the will occurs when
human evolution. From birth, he is completely one
a will that progresses in natural connection with will in nature.
Following a living creature, the brain begins to take shape and, together with
him, consciousness. At a certain point in his life, consciousness
begins to go in one direction, the will in the other. Therefore, it develops
a feeling of duality in consciousness. At a more mature age,
opposition of will to consciousness (intellect). And we are watching
the so-called rocker of life.

Therefore, in human development, there is a certain point "X", or 0,
from which there is movement in different directions: from 0 to
10 (or) - in one direction and the other.

It is not difficult to guess that, branching out, there is will in both
sides. In one part - she represents herself, in
the other - religiosity, sexuality is thought of by the intellect
and the will to power, which are circularly in each other, and
in a general sense they affirm ethics (Spinoza); moral law
(Fichte); categorical imperative (Kant), morning toilet, prayer,
labor (Baudelaire); peace, labor, May (Lenin): “My desires are Power,
property, dominance. My aspiration is work, work ”(Faust.
Goethe.). By the way, Baudelaire belongs to the following words: "IN
any person, at any moment two simultaneous impulses coexist
- one to God, the other to Satan. Conversion to God, or spiritual
the beginning is the desire to ascend, step by step; appeal
but to Satan, or the animal principle, is the bliss of descent. "

That is, what the intellect thinks about everything coming from the outside,
given to him a priori in the form of will, which, on the other hand, the intellect
deliberately opposed. In short, what is
in me, then I see outside me, and I despise this vision - therefore,
I love and hate myself: as Turgenev's "extra" person. About it
just below.

I will remain true to myself and, based on the above, I will call
that which is always with us, that which is not coming
from the outside, what sets a certain value to this coming,
that which can simultaneously accept and reject, despise and
respect, unite and destroy, with the highest feeling. It is the highest
feeling, and it is - love: love is metaphysical.

So, one side of the scale is, exclusively, metaphysical
will, which we directly perceive in the feeling of love.
That is, as a subject of the world, I have in myself the same thing that
have everything. One single will acts in each separately taken
person, that small part with which he participates with all
the essence of the world and nature. So I don't care what he says
does how he behaves, etc., another subject of the world, I am involved
metaphysically with him - he is my brother. On whatever ladder of social
he was not developing, it does not affect my sense of unity
with him. I do not appreciate the state of the other, which is expressed by the external
expression, as that it is either higher or lower: metaphysically,
we are all alike. I admit, in this regard, the correctness of everyone, his
freedom, his relationship, to certain events, I am ready to help
him, if he is in danger, if his life is in danger,
since this is required by the will to live, which also dwells in
me, as in the other. I do not demand in return for my help to another, from
him, the same, for I helped myself in it. I don't
everything material is interesting, it is not metaphysical, therefore,
does not give an opportunity to grow in harmony with nature. I am not afraid
help his neighbor, since he cannot ask
I have more than what I have. No one, sane, will
ask the poor man a million in loans. But if my neighbor will
what I have in stock is necessary, and therefore, I will help him
or not, its further development depends, then I will do
everything that depends on me without demanding a return. I will lend him,
and I will forget about this money, since I did not give it to a specific person,
but to his will, his essence, his nature. I will treat children the same way:
after all, if a child asks for water, then who will give him a snake? - as
said in the Gospel. I feel my identity with people, so
I love them all as myself, and do not demand from them in relation to
love me, because already by this fact, I got enough
what I need. When I am treated badly, I forgive it
to the one who did this, because I consider all kinds of insults,
not related to the metaphysics of the will, for it perceives
everything directly, without distinguishing between good and evil.

Therefore, I go to people. Whoever they are, so that they are not themselves
imagined, I go to them with the concept of the inner essence, which
devalues \u200b\u200beverything external. I'm sailing into the ocean of creation, and this ocean
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––––––––––––––––––––––-

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Ministry of General and Professional Education of the Russian Federation

Municipal secondary school №3

ESSAY

on literature

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Chapter 1. The creative path of I.S. Turgenev

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Chapter 2. "Extra people" in the works of I.S. Turgenev..19

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INTRODUCTION

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Chapter 1. The creative path of I.S. Turgenev

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1.2. STORIES, Stories and novels by I.S. Turgenev

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And, descending from the peaks of the Urals,

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Misty morning, gray morning,

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CHAPTER 2. "EXTRA PEOPLE" IN THE WORKS OF I.S. TURGENEVA.

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2.2. RUDIN ("RUDIN")

Ivan Sergeevich Turgenev began work on Rudin in 1855.

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2.3. LAVRETSKY ("GIRL'S NEST")

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And I burned everything I worshiped;

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2.4. NEZHDANOV ("NEW")

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{!LANG-584d097846742a2cee98f5159632f7c2!}

{!LANG-ce2c9c4ae3798e7a6cb0ff155d2a9415!}

{!LANG-88b635dd4317750418afa5ef18bb8d40!}

CONCLUSION.

{!LANG-fd250a6f00faf0ef912acc5c91a794d6!}

{!LANG-47c9bdb5c29ef4bbac8454da16a91ab0!}

LIST OF USED LITERATURE.

Complete Works and Letters. M .; L., 1960-68. T. 1-28.

Clement M.K. Chronicle of the life and work of I.S.Turgenev. M .; L., 1934.

Life of Turgenev // Zaitsev B. Distant. M., 1991.

{!LANG-7a007cc92741267680a1a295b969080b!}

I.S. Turgenev, volume 2, Goslitizdat, Sobr. Works, M. 1961

Batuto A. Turgenev - novelist. - L .: Nauka, 1972 .-- 390 p.

{!LANG-948d03ae35950c7ed522264abf55f7f4!}

Byaly G.A. Turgenev and Russian realism. - M.-L .: Soviet writer, 1962.