The first mention of the novel « Noble Nest» found in a letter from I. S. Turgenev to the publisher I. I. Panaev in October 1856. Ivan Sergeevich planned to finish the work by the end of the year, but did not realize his plan. All winter the writer was seriously ill, and then destroyed the first sketches and began to invent a new plot. Perhaps the final text of the novel differs significantly from the original. In December 1858, the author made the final corrections to the manuscript. The Nest of Nobles was first published in the January issue of the Sovremennik magazine in 1859.
The novel made a huge impression on Russian society. He immediately became so popular that it was almost considered bad form not to read The Noble Nest. Even Turgenev admitted that the work was a very great success.
The novel is based on the writer's reflections on the fate of the best representatives of the Russian nobility. The author himself belonged to this class and understood perfectly well that "noble nests" with their atmosphere of sublime experiences gradually degenerate. It is no coincidence that Turgenev cites the genealogies of the main characters in the novel. Using their example, the writer shows that in different historical periods there were significant changes in the psychology of the nobility: from "wild nobility" to admiration for everything alien. The great-grandfather of Fyodor Ivanovich Lavretsky is a cruel tyrant, the grandfather is a careless and hospitable hater of Voltaire, his father is an Anglo fan.
Nest like symbol of the motherland abandoned by its inhabitants. The writer's contemporaries prefer to spend time abroad, speak French, mindlessly adopt foreign traditions. The elderly aunt of Lavretsky, obsessed with the style of Louis XV, looks tragic and caricatured. The fate of Fedor himself is unfortunate, whose childhood was crippled by foreign "education system". The generally accepted practice of entrusting children to nannies, governesses, or even giving them to someone else's family breaks the connection between generations, deprives them of their roots. Those who manage to settle in the old tribal "nest", most often lead a sleepy existence filled with gossip, playing music and cards.
Such a different attitude of the mothers of Lisa and Lavretsky towards children is not accidental. Marya Dmitrievna is indifferent to the upbringing of her daughters. Lisa is closer to the nanny Agafya and the music teacher. It is these people who influence the formation of the girl's personality. And here is the peasant woman Malasha (Fyodor's mother) "quietly fading away" after she is deprived of the opportunity to raise her son.
Compositionally the novel "The Nest of Nobles" is built in a straightforward manner. Its basis is the story of the unhappy love of Fedor and Lisa. The collapse of their hopes, the impossibility of personal happiness echoes the social collapse of the nobility as a whole.
Main character novel Fyodor Ivanovich Lavretsky has many similarities with Turgenev himself. He is honest, sincerely loves his homeland, seeks rational use of his abilities. Brought up by a power-hungry and cruel aunt, and then in a peculiar way "Spartan system" father, he acquired good health and a stern appearance, but a kind and shy character. It is difficult for Lavretsky to communicate. He himself feels the gaps in his upbringing and education, therefore, he seeks to correct them.
The prudent Varvara sees in Lavretsky only a stupid clown, whose wealth is easy to take possession of. The sincerity and purity of the first real feeling of the hero are broken by the betrayal of his wife. As a result, Fedor ceases to trust people, despises women, considers himself unworthy true love. Having met Lisa Kalitina, he does not immediately decide to believe in the purity and nobility of the girl. But, having recognized her soul, he believed and fell in love for life.
The character of Lisa was formed under the influence of a nurse from the Old Believers. The girl from childhood was kind to religion, “the image of the omnipresent, omniscient God was pressed into her soul with some kind of sweet power”. However, Lisa behaves too independently and openly for her time. In the nineteenth century, girls who aspired to successfully marry were much more accommodating than Turgenev's heroine.
Before meeting with Lavretsky, Liza did not often think about her fate. The official groom Panshin did not cause much rejection from the girl. After all, the main thing, in her opinion, is to honestly fulfill your duty to the family and society. This is the happiness of every person.
The culmination of the novel is Lavretsky's dispute with Panshin about the people and the subsequent scene of Lisa's explanation with Fyodor. In the male conflict, Panshin expresses the opinion of an official with pro-Western views, while Lavretsky speaks from positions close to Slavophilism. It is during this dispute that Lisa realizes how consonant her thoughts and judgments are with Lavretsky's views, she realizes her love for him.
Among the "Turgenev girls" image of Lisa Kalitina- one of the brightest and most poetic. Her decision to become a nun is based not only on religiosity. Lisa cannot live contrary to her moral principles. In the current situation, for a woman of her circle and spiritual development, there was simply no other way out. Liza sacrifices personal happiness and the happiness of a loved one, because she cannot act "wrong".
In addition to the main characters, Turgenev created a gallery in the novel vivid images which reflect the noble environment in all its diversity. Here there is a lover of government money, retired General Korob'in, the old gossip Gedeonovsky, the dexterous dandy Panshin, and many other heroes of provincial society.
There are also representatives of the people in the novel. Unlike gentlemen, serfs and poor people are depicted by Turgenev with sympathy and sympathy. The ruined destinies of Malasha and Agafya, the talent of Lemm that was never revealed due to poverty, many other victims of lordly arbitrariness prove that history "noble nests" far from ideal. And the writer considers serfdom to be the main reason for the ongoing social disintegration, which corrupts some and reduces others to the level of a dumb creature, but cripples everyone.
The state of the characters is very subtly conveyed through pictures of nature, speech intonations, glances, pauses in conversations. By these means, Turgenev achieves amazing elegance in describing emotional experiences, soft and exciting lyricism. “I was shocked ... by the light poetry spilled in every sound of this novel,” Saltykov-Shchedrin spoke of The Noble Nest.
Artistic skill and philosophical depth provided the first major work of Turgenev with an outstanding success for all time.
As usual, Gedeonovsky was the first to bring the news of Lavretsky's return to the Kalitins' house. Maria Dmitrievna, the widow of the former provincial prosecutor, who at her fifty years of age retained a certain pleasantness in her features, favors him, and her house is one of the most pleasant in the city of O ... But Marfa Timofeevna Pestova, the seventy-year-old sister of Maria Dmitrievna's father, does not favor Gedeonovsky for his inclination to compose and talkativeness. But what to take - a priest, although a state adviser.
However, Marfa Timofeevna is generally tricky to please. After all, she does not favor Panshin either - everyone's favorite, an enviable groom, the first gentleman. Vladimir Nikolayevich plays the piano, composes romances in his own words, draws well, recites. He is quite a man of the world, educated and dexterous. In general, he is a Petersburg official special assignments, a chamber junker who arrived in O ... with some kind of task. He visits the Kalitins for the sake of Lisa, the nineteen-year-old daughter of Maria Dmitrievna. And it looks like his intentions are serious. But Marfa Timofeevna is sure: her favorite is not such a husband. The music teacher Khristofor Fedorovich Lemm, a middle-aged, unattractive and not very successful German, who is secretly in love with his student, puts Panshin and Lizin low.
The arrival of Fyodor Ivanovich Lavretsky from abroad is a notable event for the city. Its history passes from mouth to mouth. In Paris, he accidentally convicted his wife of treason. Moreover, after the breakup, the beautiful Varvara Pavlovna received scandalous European fame.
The inhabitants of the Kalitinsky house, however, did not think that he looked like a victim. It still exudes steppe health, long-lasting strength. Only in the eyes is visible fatigue.
In fact, Fedor Ivanovich is a strong breed. His great-grandfather was a tough, daring, smart and crafty man. The great-grandmother, a quick-tempered, vindictive gypsy, was in no way inferior to her husband. Grandfather Peter, however, was already a simple steppe gentleman. His son Ivan (father of Fyodor Ivanovich) was brought up, however, by a Frenchman, an admirer of Jean Jacques Rousseau: this was the order of the aunt with whom he lived. (His sister Glafira grew up with her parents.) Wisdom of the 18th century. the teacher poured into his head entirely, where she stayed, without mixing with blood, without penetrating into the soul.
Upon returning to his parents, Ivan felt dirty and wild in his own home. This did not prevent him from turning his attention to Matushka Malanya's maid, a very pretty, intelligent and meek girl. A scandal broke out: Ivan's father disinherited him, and ordered the girl to be sent to a distant village. Ivan Petrovich recaptured Malanya along the way and married her. Having attached a young wife to the relatives of the Pestovs, Dmitry Timofeevich and Marfa Timofeevna, he himself went to St. Petersburg, and then abroad. In the village of Pestovykh, Fedor was born on August 20, 1807. Almost a year passed before Malanya Sergeevna was able to appear with her son at the Lavretskys. And even then only because Ivan's mother, before her death, asked for the stern Peter Andreevich for her son and daughter-in-law.
The happy father of the baby finally returned to Russia only after twelve years. Malanya Sergeevna had died by this time, and the boy was brought up by his aunt Glafira Andreevna, ugly, envious, unkind and domineering. Fedya was taken away from her mother and handed over to Glafira during her lifetime. He did not see his mother every day and loved her passionately, but vaguely felt that between him and her there was an indestructible barrier. Aunt Fedya was afraid, he did not dare to utter a word in front of her.
Returning, Ivan Petrovich himself took up the upbringing of his son. I dressed him in Scottish fashion and hired him a porter. Gymnastics, natural sciences, international law, mathematics, carpentry and heraldry formed the core of the educational system. They woke up the boy at four in the morning; doused with cold water, forced to run around the pole on a rope; fed once a day; taught to ride and shoot with a crossbow. When Fedya was sixteen years old, his father began to instill in him contempt for women.
A few years later, having buried his father, Lavretsky went to Moscow and entered the university at the age of twenty-three. A strange upbringing has paid off. He did not know how to get along with people, he did not dare to look a single woman in the eye. He got along only with Mikhalevich, an enthusiast and a poet. It was this Mikhalevich who introduced his friend to the family of the beautiful Varvara Pavlovna Korobyina. A twenty-six-year-old child only now understood what it was worth living for. Varenka was charming, intelligent and well educated, she could talk about the theater and played the piano.
Six months later, the young arrived in Lavriki. The university was abandoned (not to marry a student), and the happy life. Glafira was removed, and General Korobin, Varvara Pavlovna's father, arrived in the place of the steward; and the couple drove off to Petersburg, where they had a son, who soon died. On the advice of doctors, they went abroad and settled in Paris. Varvara Pavlovna instantly settled down here and began to shine in society. Soon, however, a love note fell into Lavretsky's hands, addressed to his wife, whom he so blindly trusted. At first he was seized with rage, a desire to kill both (“my great-grandfather hung men by the ribs”), but then, having disposed of a letter about the annual allowance to his wife and about the departure of General Korobin from the estate, he went to Italy. Newspapers circulated bad rumors about his wife. From them he learned that he had a daughter. There was indifference to everything. And yet, after four years, he wanted to return home, to the city of O ..., but he did not want to settle in Lavriky, where he and Varya spent their first happy days.
Lisa from the first meeting attracted his attention. He also noticed Panshin near her. Maria Dmitrievna did not hide the fact that the chamber junker was crazy about her daughter. Marfa Timofeevna, however, still believed that Lisa would not be with Panshin.
In Vasilyevsky Lavretsky examined the house, the garden with the pond: the estate had managed to run wild. The silence of a leisurely solitary life surrounded him. And what strength, what health was in this inactive silence. The days passed monotonously, but he did not get bored: he did housework, rode horseback, read.
About three weeks later I went to O ... to the Kalitins. Lemma found them. In the evening, going to see him off, I stayed with him. The old man was touched and admitted that he writes music, played and sang something.
In Vasilyevsky, the conversation about poetry and music imperceptibly turned into a conversation about Liza and Panshin. Lemm was categorical: she does not love him, she simply obeys her mother. Liza can love one beautiful thing, but he is not beautiful, i.e. his soul is not beautiful
Lisa and Lavretsky trusted each other more and more. Not without embarrassment, she once asked about the reasons for his break with his wife: how can one tear apart what God has united? You must forgive. She is sure that it is necessary to forgive and submit. This was taught to her in childhood by her nanny Agafya, who told the life of the most pure virgin, the lives of saints and hermits, who took her to church. Her own example brought up humility, meekness and a sense of duty.
Suddenly, Mikhalevich appeared in Vasilyevsky. He grew old, it was clear that he was not succeeding, but he spoke as passionately as in his youth, read his own poems: "... And I burned everything that I worshiped, / Bowed to everything that I burned."
Then the friends argued long and loudly, disturbing Lemm, who continued to visit. You can't just want happiness in life. It means to build on sand. Faith is needed, and without it Lavretsky is a miserable Voltairian. No faith - no revelation, no understanding of what to do. It needs a pure, unearthly being who will pull him out of his apathy.
After Mikhalevich, the Kalitins arrived in Vasilyevskoye. The days passed happily and carefree. “I talk to her as if I were not an obsolete person,” Lavretsky thought about Lisa. Seeing off their carriage on horseback, he asked: “Are we friends now? ..” She nodded in response.
The next evening, looking through French magazines and newspapers, Fyodor Ivanovich came across a message about the sudden death of the queen of fashionable Parisian salons, Madame Lavretskaya. The next morning he was at the Kalitins'. "What's wrong with you?" Lisa asked. He gave her the text of the message. Now he is free. “You don’t have to think about that now, but about forgiveness ...” she objected, and at the end of the conversation she repaid the same confidence: Panshin asks for her hand. She is not at all in love with him, but is ready to obey her mother. Lavretsky begged Liza to think about not marrying without love, out of a sense of duty. That same evening, Lisa asked Panshin not to rush her with an answer and informed Lavretsky about this. All the following days a secret anxiety was felt in her, as if she even avoided Lavretsky. And he was also alarmed by the lack of confirmation of the death of his wife. Yes, and Lisa, when asked if she decided to give an answer to Panshin, said that she knew nothing. Doesn't know herself.
One summer evening in the living room, Panshin began to reproach the newest generation, saying that Russia had lagged behind Europe (we didn’t even invent mousetraps). He spoke beautifully, but with secret bitterness. Lavretsky unexpectedly began to object and defeated the enemy, proving the impossibility of leaps and arrogant alterations, demanded recognition of the people's truth and humility before it. The irritated Panshin exclaimed; what does he intend to do? Plow the land and try to plow it as best as possible.
Liza was on Lavretsky's side throughout the argument. The secular official's contempt for Russia offended her. Both of them realized that they loved and did not love the same thing, but differed only in one, but Lisa secretly hoped to lead him to God. The embarrassment of the last days is gone.
Everyone dispersed little by little, and Lavretsky quietly went out into the night garden and sat down on a bench. There was light in the lower windows. It was Lisa walking with a candle in her hand. He quietly called her and, seating her under the lindens, said: "... It brought me here ... I love you."
Returning through the sleeping streets, full of joyful feeling, he heard the wondrous sounds of music. He turned to where they came from and called: Lemme! The old man appeared at the window and, recognizing him, threw down the key. Lavretsky had not heard anything like this for a long time. He came up and hugged the old man. He paused, then smiled and cried: "I did this, for I am a great musician."
The next day Lavretsky went to Vasilyevskoye and returned to the city in the evening. In the hallway he was greeted by the smell of strong perfumes, trunks stood right there. Crossing the threshold of the living room, he saw his wife. Inconsistently and verbosely, she began to beg to forgive her, if only for the sake of her daughter, who was not guilty of anything before him: Ada, ask your father with me. He invited her to settle in Lavriky, but never count on a resumption of relations. Varvara Pavlovna was humility itself, but on the same day she visited the Kalitins. Lisa and Panshin's final explanation had already taken place there. Maria Dmitrievna was in despair. Varvara Pavlovna managed to occupy, and then arrange her in her favor, hinted that Fyodor Ivanovich had not completely deprived her of "his presence." Lisa received a note from Lavretsky, and the meeting with his wife was not a surprise for her (“It Serves Me Right”). She was stoic in the presence of a woman whom "he" had once loved.
Panshin appeared. Varvara Pavlovna immediately found a tone with him. She sang a romance, talked about literature, about Paris, engaged in half-secular, half-artistic chatter. Parting, Maria Dmitrievna expressed her readiness to try to reconcile her with her husband.
Lavretsky reappeared at the Kalitinsky house when he received a note from Liza with an invitation to visit them. He immediately went up to Marfa Timofeyevna. She found an excuse to leave them alone with Lisa. The girl came to say that they had to do their duty. Fyodor Ivanovich must make peace with his wife. Doesn't he see for himself now: happiness does not depend on people, but on God.
When Lavretsky went downstairs, the footman invited him to Marya Dmitrievna. She spoke about the repentance of his wife, asked to forgive her, and then, offering to take her from hand to hand, led Varvara Pavlovna out from behind the screen. Requests and already familiar scenes were repeated. Lavretsky finally promised that he would live with her under the same roof, but would consider the contract violated if she allowed herself to leave Lavrikov.
The next morning he took his wife and daughter to Lavriki and left for Moscow a week later. A day later, Panshin visited Varvara Pavlovna and stayed for three days.
A year later, the news reached Lavretsky that Liza had taken her hair in a monastery in one of the remote regions of Russia. After some time he visited this monastery. Liza walked close to him - and did not look, only her eyelashes trembled a little and the fingers holding the rosary clenched even more tightly.
And Varvara Pavlovna very soon moved to St. Petersburg, then to Paris. A new suitor appeared beside her, a guard of extraordinary strength. She never invites him to her fashionable evenings, but otherwise he enjoys her favor completely.
Eight years have passed. Lavretsky again visited O... The elder inhabitants of the Kalitinsky house had already died, and the youth reigned here: Lisa's younger sister, Lenochka, and her fiancé. It was fun and noisy. Fyodor Ivanovich walked through all the rooms. The same piano stood in the living room, the same hoop stood by the window as then. Only the wallpaper was different.
In the garden he saw the same bench and walked along the same alley. His sadness was agonizing, although he was already making that turning point, without which it is impossible to remain a decent person: he stopped thinking about his own happiness.
retold
One of the most famous Russian love novels, which contrasted idealism with satire and fixed the archetype of the Turgenev girl in culture.
comments: Kirill Zubkov
What is this book about?
"The Nest of Nobles", like many of Turgenev's novels, is built around unhappy love - the two main characters, who survived an unsuccessful marriage, Fyodor Lavretsky and the young Liza Kalitina, meet, have strong feelings for each other, but are forced to part: it turns out that Lavretsky's wife Varvara Pavlovna is not died. Shaken by her return, Lisa goes to a monastery, while Lavretsky does not want to live with his wife and spends the rest of his life managing his estate. At the same time, the novel organically includes a narrative about the life of the Russian nobility that has evolved over the past few hundred years, a description of relations between different classes, between Russia and the West, disputes about the ways of possible reforms in Russia, philosophical discussions about the nature of duty, self-denial and moral responsibility.
Ivan Turgenev. Daguerreotype O. Bisson. Paris, 1847-1850
When was it written?
Turgenev conceived a new "story" (the writer did not always consistently distinguish between stories and novels) shortly after finishing work on Rudin, his first novel, published in 1856. The idea was not realized immediately: Turgenev, contrary to his usual habit, worked on a new large work for several years. The main work was done in 1858, and already at the beginning of 1859, The Noble Nest was printed in the Nekrasov "Contemporary" .
Title page of the manuscript of the novel "The Nest of Nobles". 1858
How is it written?
Now Turgenev's prose may not seem as spectacular as the works of many of his contemporaries. This effect is caused by the special place of Turgenev's novel in literature. For example, paying attention to the most detailed internal monologues of Tolstoy's heroes or to the originality of Tolstoy's composition, which is characterized by many central characters, the reader proceeds from the idea of some kind of "normal" novel, where there is a central actor, which is often shown "from the side", and not from the inside. It is Turgenev’s novel that now acts as such a “reference point”, very convenient for evaluating literature XIX century.
- Here you are, returned to Russia - what do you intend to do?
Ivan Turgenev
“Plow the land,” answered Lavretsky, “and try to plow it as best as possible.”
Contemporaries, however, perceived Turgenev's novel as a very peculiar step in the development of Russian prose, which stands out sharply against the background of typical fiction of its time. Turgenev's prose seemed to be a brilliant example of literary "idealism": it was contrasted with the satirical essay tradition that went back to Saltykov-Shchedrin and painted in gloomy colors how serfdom, bureaucratic corruption and social conditions in general destroy people's lives and cripple the psyche of the oppressed and the oppressors alike. Turgenev does not try to get away from these topics, however, he presents them in a completely different spirit: the writer is primarily interested not in the formation of a person under the influence of circumstances, but rather in his understanding of these circumstances and his reaction to them.
At the same time, even Shchedrin himself - far from being a soft critic and not inclined towards idealism - in a letter to Annenkov admired Turgenev's lyricism and recognized its social benefits:
I have now read The Nest of Nobles, dear Pavel Vasilyevich, and I would like to tell you my opinion on this matter. But I absolutely can't.<…>And what can be said about all the works of Turgenev in general? Is it that after reading them it is easy to breathe, easy to believe, warmly felt? What do you clearly feel, how the moral level in you rises, that you mentally bless and love the author? But after all, these will only be commonplaces, and this, precisely this impression, is left behind by these transparent images, as if woven from air, this is the beginning of love and light, which beats with a living spring in every line and, however, still disappears in empty space. . But in order to decently express these commonplaces, you yourself must be a poet and fall into lyricism.
Alexander Druzhinin. 1856 Photo by Sergey Levitsky. Druzhinin - a friend of Turgenev and his colleague in the Sovremennik magazine
Pavel Annenkov. 1887 Engraving by Yuri Baranovsky from a photograph by Sergei Levitsky. Annenkov was friends with Turgenev, and was also the first biographer and researcher of Pushkin's work.
"The Nest of Nobles" was Turgenev's last major work, published in "Contemporary" Literary magazine (1836-1866), founded by Pushkin. From 1847, Nekrasov and Panaev directed Sovremennik, later Chernyshevsky and Dobrolyubov joined the editorial board. In the 60s, an ideological split occurred in Sovremennik: the editors came to understand the need peasant revolution, while many of the journal's authors (Turgenev, Tolstoy, Goncharov, Druzhinin) favored slower and more gradual reforms. Five years after the abolition of serfdom, Sovremennik was closed by personal order of Alexander II. . Unlike many novels of this time, it fit entirely in one issue - readers did not have to wait for a sequel. Turgenev's next novel, "On the Eve", will be published in the magazine Mikhail Katkov Mikhail Nikiforovich Katkov (1818-1887) - publisher and editor of the literary magazine "Russian Messenger" and the newspaper "Moskovskie Vedomosti". In his youth, Katkov is known as a liberal and a Westerner, he is friends with Belinsky. With the beginning of the reforms of Alexander II, Katkov's views become noticeably more conservative. In the 1880s, he actively supported the counter-reforms of Alexander III, campaigned against ministers of non-titular nationality, and generally became an influential political figure - and the emperor himself read his newspaper. "Russian Messenger" Literary and political magazine (1856-1906) founded by Mikhail Katkov. In the late 1950s, the editorial board took a moderately liberal position; from the beginning of the 1960s, Russky Vestnik became more and more conservative and even reactionary. Over the years, the magazine published the central works of Russian classics: Anna Karenina and War and Peace by Tolstoy, Crime and Punishment and The Brothers Karamazov by Dostoevsky, On the Eve and Fathers and Sons by Turgenev, Cathedrals Leskov. , which in economic terms was a competitor to Sovremennik, and in political and literary terms - a principled opponent.
Turgenev's break with Sovremennik and his fundamental conflict with his old friend Nekrasov (who, however, many biographers of both writers tend to overdramatize) are connected, apparently, with Turgenev's unwillingness to have anything in common with the "nihilists" Dobrolyubov and Chernyshevsky, who printed on the pages of Sovremennik. Although both radical critics never spoke badly of The Nest of Nobles, the reasons for the gap are generally clear from the text of Turgenev's novel. Turgenev generally believed that it was precisely the aesthetic qualities that made literature a means of public education, while his opponents rather saw art as an instrument of direct propaganda, which could just as well be carried out directly, without resorting to any artistic techniques. In addition, Chernyshevsky hardly liked that Turgenev again turned to the image of a hero-nobleman disappointed in life. In the article “A Russian Man on Rendez-Vous” dedicated to the story “Asya”, Chernyshevsky already explained that he considers the social and cultural role of such heroes to be completely exhausted, and they themselves deserve only condescending pity.
First edition of The Noble Nest. Publishing house of the book seller A. I. Glazunov, 1859
The Sovremennik magazine for 1859, where the novel The Noble Nest was first published
What influenced her?
It is generally accepted that, first of all, Turgenev was influenced by the works of Pushkin. The plot of the "Noble Nest" has been repeatedly compared with history. In both works, a Europeanized nobleman who arrived in the provinces encounters an original and independent girl, whose upbringing was influenced by both noble and common folk culture (by the way, both Pushkin's Tatiana and Turgenev's Lisa encounter peasant culture through communication with a nanny). In both, love feelings arise between the characters, but due to a combination of circumstances, they are not destined to stay together.
It is easier to understand the meaning of these parallels in a literary context. Critics of the 1850s were inclined to oppose each other "Gogol" and "Pushkin" trends in Russian literature. The legacy of Pushkin and Gogol became especially relevant in this era, given that in the mid-1850s, thanks to softened censorship, it became possible to publish fairly complete editions of the works of both authors, which included many works previously unknown to contemporaries. On the side of Gogol in this confrontation was, among others, Chernyshevsky, who saw in the author, first of all, a satirist who denounced social vices, and in Belinsky - the best interpreter of his work. Accordingly, such writers as Saltykov-Shchedrin and his numerous imitators were considered to be a "Gogol" trend. Supporters of the "Pushkin" direction were much closer to Turgenev: it is no coincidence that Pushkin's collected works were published Annenkov Pavel Vasilievich Annenkov (1813-1887) - literary critic and publicist, the first biographer and researcher of Pushkin, the founder of Pushkin studies. He was friends with Belinsky, in the presence of Annenkov Belinsky wrote his actual testament - "Letter to Gogol", under Gogol's dictation Annenkov rewrote "Dead Souls". The author of memoirs about the literary and political life of the 1840s and its heroes: Herzen, Stankevich, Bakunin. One of Turgenev's close friends, the writer sent all his latest works to Annenkov before publication. , a friend of Turgenev, and the most famous review of this publication was written by Alexander Druzhinin Alexander Vasilyevich Druzhinin (1824-1864) - critic, writer, translator. Since 1847, he published stories, novels, feuilletons, translations in Sovremennik, and his debut was the story Polinka Saks. From 1856 to 1860 Druzhinin was the editor of the Library for Reading. In 1859, he organized the Society to provide assistance to needy writers and scientists. Druzhinin criticized the ideological approach to art and advocated "pure art" free from any didacticism. - Another author who left Sovremennik, who was on good terms with Turgenev. Turgenev during this period clearly focuses his prose precisely on the "Pushkin" beginning, as the then criticism understood it: literature should not directly address socio-political problems, but gradually influence the public, which is formed and educated under the influence of aesthetic impressions and ultimately becomes capable of responsible and worthy deeds in various spheres, including the socio-political one. The business of literature is to promote, as Schiller would say, "aesthetic education."
"Noble Nest". Directed by Andrei Konchalovsky. 1969
How was it received?
Most writers and critics were delighted with Turgenev's novel, which combined the poetic principle and social relevance. Annenkov began his review of the novel as follows: “It is difficult to say, starting the analysis of the new work of Mr. Turgenev, what is more deserving of attention: whether it is with all its merits, or the extraordinary success that met him in all strata of our society. In any case, it is worth thinking seriously about the reasons for that single sympathy and approval, that delight and enthusiasm that were caused by the appearance of the “Noble Nest”. On the author's new novel, people of opposite parties came together in one common verdict; representatives of heterogeneous systems and views shook hands with each other and expressed the same opinion. Especially effective was the reaction of the poet and critic Apollon Grigoriev , who devoted a series of articles to Turgenev's novel and admired the writer's desire to portray "attachment to the soil" and "humility before the people's truth" in the person of the protagonist.
However, some contemporaries had different opinions. For example, according to the memoirs of the writer Nikolai Luzhenovsky, Alexander Ostrovsky remarked: “The noble nest”, for example, is a very good thing, but Lisa is unbearable for me: this girl is definitely suffering from scrofula driven inside.
Apollo Grigoriev. Second half of the 19th century. Grigoriev devoted a whole series of complimentary articles to Turgenev's novel
Alexander Ostrovsky. About 1870. Ostrovsky praised "The Nest of Nobles", but found the heroine Lisa "intolerable"
In an interesting way, Turgenev's novel quickly ceased to be perceived as a topical and topical work, and was further often evaluated as an example of "pure art". Perhaps this was influenced by those that caused a much greater resonance, thanks to which the image of the “nihilist” entered Russian literature, which for several decades became the subject of heated debate and various literary interpretations. Nevertheless, the novel was a success: already in 1861 an authorized French translation was published, in 1862 - German, in 1869 - English. Thanks to this, Turgenev's novel until the end of the 19th century was one of the most discussed works of Russian literature abroad. Scholars write about his influence on, for example, Henry James and Joseph Conrad.
Why was The Nest of Nobles such a topical novel?
The timing of the publication of The Nest of Nobles was exceptional for Imperial Russia a period that Fyodor Tyutchev (long before Khrushchev’s times) called the “thaw”. The first years of the reign of Alexander II, who ascended the throne at the end of 1855, were accompanied by the growth of “glasnost” (another expression that is now associated with a completely different era) that amazed contemporaries. The defeat in the Crimean War was perceived both among government officials and in educated society as a symptom of the deepest crisis that had engulfed the country. The definitions of the Russian people and empire adopted in the Nikolaev years, based on the well-known doctrine of the “official nationality”, seemed completely inadequate. IN new era the nation and the state had to be reinterpreted.
Many contemporaries were sure that literature could help in this, actually contributing to the reforms initiated by the government. It is no coincidence that during these years the government offered writers, for example, to participate in compiling the repertoire state theaters or to compile a statistical and ethnographic description of the Volga region. Although the action of "The Noble Nest" takes place in the 1840s, the novel reflected actual problems era of its creation. For example, in the dispute between Lavretsky and Panshin, the protagonist of the novel proves “the impossibility of leaps and arrogant alterations from the height of bureaucratic self-awareness - alterations that are not justified by any knowledge native land, nor a real belief in an ideal, even a negative one,” these words obviously refer to plans for government reforms. The preparations for the abolition of serfdom did much hot topic relations between estates, which largely determines the backstory of Lavretsky and Lisa: Turgenev is trying to present to the public a novel about how a person can comprehend and experience his place in Russian society and history. As in his other works, “the story has penetrated into the character and works from within. Its properties are generated by a given historical situation, and outside of this they have no meaning" 1 Ginzburg L. Ya. About psychological prose. Ed. 2nd. L., 1976. S. 295. .
"Noble Nest". Directed by Andrei Konchalovsky. 1969 In the role of Lavretsky - Leonid Kulagin
Piano by Konrad Graf. Austria, circa 1838. The piano in the "Nest of Nobles" is an important symbol: acquaintances are made around it, disputes are fought, love is born, a long-awaited masterpiece is created. Musicality, attitude to music - an important feature of Turgenev's heroes
Who and why accused Turgenev of plagiarism?
At the end of the work on the novel, Turgenev read it to some of his friends and took advantage of their comments, finalizing his work for Sovremennik, and he especially valued the opinion of Annenkov (who, according to the recollections of Ivan Goncharov, who was present at this reading, recommended Turgenev to include in the narrative the backstory of the main character Lisa Kalitina, explaining the origins of her religious beliefs. The researchers actually found that the corresponding chapter was added to the manuscript later).
Ivan Goncharov was not enthusiastic about Turgenev's novel. A few years before that, he told the author of The Nest of Nobles about the concept of his own work, dedicated to an amateur artist who finds himself in the Russian outback. Hearing the "Nest of Nobles" in the author's reading, Goncharov was furious: Turgenev's Panshin (among other things, an amateur artist), as it seemed to him, was "borrowed" from the "program" of his future novel "Cliff", moreover, his image was distorted ; the chapter on the protagonist's ancestors also seemed to him the result of literary theft, as did the image of the strict old lady Marfa Timofeevna. After these accusations, Turgenev made some changes to the manuscript, in particular, changing the dialogue between Marfa Timofeevna and Lisa, which takes place after a night meeting between Lisa and Lavretsky. Goncharov seemed to be satisfied, but in the next great work Turgenev - the novel "On the Eve" - again revealed the image of an amateur artist. The conflict between Goncharov and Turgenev led to a big scandal in literary circles. Collected for his resolution "Areopagus" The authority in ancient Athens, which consisted of representatives of the tribal aristocracy. In a figurative sense - a meeting of authoritative persons to resolve an important issue. of authoritative writers and critics, he acquitted Turgenev, but Goncharov suspected the author of The Noble Nest of plagiarism for several decades. The Cliff came out only in 1869 and did not enjoy such success as the first novels of Goncharov, who blamed Turgenev for this. Gradually, Goncharov’s conviction of Turgenev’s bad faith turned into a real mania: the writer, for example, was sure that Turgenev’s agents were copying his drafts and passing them on to Gustave Flaubert, who made a name for himself thanks to Goncharov’s works.
Spasskoe-Lutovinovo, Turgenev's family estate. Engraving by M. Rashevsky after a photograph by William Carrick. Originally published in the Niva magazine for 1883
Hulton Archive/Getty Images
What do the heroes of Turgenev's novels and short stories have in common?
Famous philologist Lev Pumpyansky Lev Vasilyevich Pumpyansky (1891-1940) - literary critic, musicologist. After the revolution, he lived in Nevel, together with Mikhail Bakhtin and Matvey Kagan formed the Nevel philosophical circle. In the 1920s he taught at the Tenishevsky School, was a member of the Free Philosophical Association. He taught Russian literature at Leningrad University. Author of classic works on Pushkin, Dostoyevsky, Gogol and Turgenev. wrote that the first four Turgenev's novels ("Rudin", "The Nest of Nobles", "On the Eve" and) are an example of a "test novel": their plot is built around a historically established type of hero who is being tested for compliance with the role of a historical figure. To test the hero are not only, for example, ideological disputes with opponents or social activity, but also love relationship. Pumpyansky, according to modern researchers, exaggerated in many respects, but on the whole his definition is apparently correct. Indeed, the main character is at the center of the novel, and the events taking place with this hero make it possible to decide whether he can be called a worthy person. In The Nest of Nobles, this is expressed literally: Marfa Timofeevna demands from Lavretsky to confirm that he " fair man”, out of fear for the fate of Liza - and Lavretsky proves that he is incapable of doing anything dishonorable.
She felt bitter in her soul; She did not deserve such humiliation. Love did not affect her cheerfully: for the second time she cried since yesterday evening
Ivan Turgenev
The themes of happiness, self-denial and love, perceived as the most important qualities of a person, were already raised by Turgenev in his stories of the 1850s. For example, in the story "Faust" (1856) main character literally kills the awakening of a love feeling, which she herself interprets as a sin. The interpretation of love as an irrational, incomprehensible, almost supernatural force that often threatens human dignity or at least the ability to follow one's convictions, is characteristic, for example, of the stories "Correspondence" (1856) and "First Love" (1860). In The Nest of Nobles, the relationship of almost all the characters, except for Lisa and Lavretsky, is characterized in this way - it is enough to recall the description of the connection between Panshin and Lavretsky's wife: “Varvara Pavlovna enslaved him, she enslaved him: in another word it is impossible to express her unlimited, irrevocable, unrequited power over him."
Finally, the backstory of Lavretsky, the son of a nobleman and a peasant woman, is reminiscent of the main character in the story Asya (1858). Within the framework of the novel genre, Turgenev was able to combine these themes with socio-historical issues.
"Noble Nest". Directed by Andrei Konchalovsky. 1969
Vladimir Panov. Illustration for the novel "The Nest of Nobles". 1988
Where are the references to Cervantes in The Nest of Nobles?
One of the important Turgenev types in "The Nest of Nobles" is represented by the hero Mikhalevich - "an enthusiast and a poet", who "adhered to the phraseology of the thirties". This hero in the novel is served with a fair amount of irony; suffice it to recall the description of his endless nighttime dispute with Lavretsky, when Mikhalevich tries to define his friend and every hour rejects his own formulations: “you are not a skeptic, not a disappointed, not a Voltairian, you are - bobak Steppe groundhog. In a figurative sense - a clumsy, lazy person. , and you are a malicious bastard, a conscious bastard, not a naive bastard.” In the dispute between Lavretsky and Mikhalevich, a topical issue is especially evident: the novel was written during a period that contemporaries assessed as a transitional era in history.
And when, where did people decide to fool around? he shouted at four o'clock in the morning, but in a somewhat hoarse voice. - We have! Now! in Russia! when each individual person has a duty, a great responsibility before God, before the people, before himself! We sleep and time is running out; we are sleeping…
The comedy is that Lavretsky considers the main goal of the modern nobleman to be a completely practical matter - to learn to "plow the land", while Mikhalevich, who reproaches him for laziness, could not find any business on his own.
You joked with me in vain; my great-grandfather hung men by the ribs, and my grandfather himself was a man
Ivan Turgenev
This type, a representative of the generation of idealists of the 1830s and 40s, a man whose greatest talent was the ability to understand current philosophical and social ideas, sincerely sympathize with them and convey them to others, was bred by Turgenev in the novel Rudin. Like Rudin, Mikhalevich is an eternal wanderer, clearly reminiscent of a “knight of a sad image”: “Even sitting in a carriage, where they carried his flat, yellow, strangely light suitcase, he was still talking; wrapped in some kind of Spanish cloak with a reddish collar and lion's paws instead of fasteners, he still developed his views on the fate of Russia and moved his swarthy hand through the air, as if scattering the seeds of future prosperity. Mikhalevich for the author is the beautiful-hearted and naive Don Quixote (Turgenev's famous speech "Hamlet and Don Quixote" was written shortly after "The Noble Nest"). Mikhalevich “fell in love without counting and wrote poems for all his lovers; he especially ardently sang of one mysterious black-haired "lady", who, apparently, was a woman of easy virtue. The analogy with Don Quixote's passion for the peasant woman Dulcinea is obvious: the hero of Cervantes is just as incapable of understanding that his beloved does not correspond to his ideal. However, this time it is not a naive idealist that is placed at the center of the novel, but a completely different hero.
Why is Lavretsky so sympathetic to the peasant?
The father of the protagonist of the novel is a Europeanized gentleman who raised his son according to his own “system”, apparently borrowed from the writings of Rousseau; his mother is a simple peasant woman. The result is rather unusual. Before the reader is an educated Russian nobleman who knows how to behave decently and with dignity in society (Marya Dmitrievna constantly evaluates Lavretsky's manners poorly, but the author constantly hints that she herself does not know how to behave in really good society). He reads magazines in different languages, but at the same time he is closely connected with Russian life, especially the common people. In this regard, two of his love interests are remarkable: the Parisian "lioness" Varvara Pavlovna and the deeply religious Liza Kalitina, brought up by a simple Russian nanny. It is no coincidence that Turgenev's hero caused delight Apollon Grigoriev Apollon Alexandrovich Grigoriev (1822-1864) - poet, literary critic, translator. Since 1845, he began to study literature: he published a book of poems, translated Shakespeare and Byron, wrote literary reviews for "Domestic Notes". From the late 1950s, Grigoriev wrote for the Moskvityanin and headed a circle of its young authors. After the closure of the magazine, he worked at the "Library for Reading", "Russian Word", "Vremya". Due to alcohol addiction, Grigoriev gradually lost influence and practically ceased to be published. , one of the creators pochvennichestvo Social and philosophical trend in Russia in the 1860s. The basic principles of soil farming were formulated by the staff of the magazines Vremya and Epoch: Apollon Grigoriev, Nikolai Strakhov and the Dostoevsky brothers. The Pochvenniks occupied a certain middle position between the camps of the Westernizers and the Slavophiles. Fyodor Dostoevsky, in his “Announcement of a subscription to the journal Vremya for 1861”, which is considered a manifesto of soil movement, wrote: “The Russian idea, perhaps, will be a synthesis of all those ideas that Europe develops with such persistence, with such courage, in its individual nationalities. ; that, perhaps, everything hostile in these ideas will find its reconciliation and further development in the Russian people. : Lavretsky is really able to sincerely sympathize with a peasant who has lost his son, and when he himself suffers the collapse of all his hopes, he is consoled by the fact that those around him simple people suffer no less. In general, Lavretsky's connection with the "common people" and the old, non-Europeanized nobility is constantly emphasized in the novel. Upon learning that his wife, who lives according to the latest French fashions, is cheating on him, he experiences not secular rage at all: “he felt that at that moment he was able to torment her, beat her half to death, like a peasant, strangle her with his own hands.” In a conversation with his wife, he indignantly says: “You joked with me in vain; my great-grandfather hung men by the ribs, and my grandfather himself was a man. Unlike the previous central heroes of Turgenev's prose, Lavretsky has a "healthy nature", he is a good owner, a man who is literally destined to live at home and take care of his family and household.
Andrei Rakovich. Interior. 1845 Private collection
What is the meaning of the political dispute between Lavretsky and Panshin?
The protagonist's beliefs are consistent with his background. In a conflict with the metropolitan official Panshin, Lavretsky opposes the reform project, according to which European public "institutions" (in modern language- “institutions”) are able to transform the very folk life. Lavretsky “demanded first of all the recognition of the people's truth and humility before it - that humility without which courage against lies is impossible; finally, he did not deviate from the well-deserved, in his opinion, reproach for the frivolous waste of time and effort. The author of the novel clearly sympathizes with Lavretsky: Turgenev, of course, himself had a high opinion of Western "institutions", but, judging by the "Nest of Nobles", he did not appreciate domestic officials who tried to introduce these "institutions" so well.
"Noble Nest". Directed by Andrei Konchalovsky. 1969
Coach. 1838. The carriage is one of the attributes of secular European life, which Varvara Pavlovna indulges in with pleasure
The Board of Trustees of the Science Museum, London
How does the family history of the characters influence their fate?
Of all Turgenev's heroes, Lavretsky has the most detailed genealogy: the reader learns not only about his parents, but also about the entire Lavretsky family, starting with his great-grandfather. Of course, this digression is intended to show the rootedness of the hero in history, his living connection with the past. At the same time, Turgenev's "past" turns out to be very dark and cruel - in fact, this is the history of Russia and the nobility. Literally the whole history of the Lavretsky family is built on violence. The wife of his great-grandfather Andrei is directly compared with a bird of prey (Turgenev always has a significant comparison - just remember the finale of the story "Spring Waters"), and the reader literally does not learn anything about their relationship, except that the spouses were at war with each other all the time. another: “Goggle-eyed, with a hawk nose, with a round yellow face, a gypsy by birth, quick-tempered and vindictive, she was in no way inferior to her husband, who almost killed her and whom she did not survive, although she always fought with him.” The wife of their son Pyotr Andreevich, a “humble woman,” was subordinate to her husband: “She loved to ride trotters, she was ready to play cards from morning to evening and always used to close the penny winnings recorded on her hand when her husband approached the gambling table; and all her dowry, all the money she gave him at the unrequited disposal. Lavretsky's father Ivan fell in love with the serf girl Malanya, a "modest woman" who obeyed her husband and his relatives in everything and was completely removed from raising her son by them, which led to her death:
Ivan Petrovich's poor wife could not bear this blow, she could not bear the second parting: resignedly, in a few days, she died away. Throughout her life, she did not know how to resist anything, and she did not fight the disease. She could no longer speak, grave shadows were already falling on her face, but her features still expressed patient bewilderment and constant meekness of humility.
Pyotr Andreevich, who learned about his son’s love affair, is also compared with a bird of prey: “He attacked his son like a hawk, reproached him for immorality, godlessness, pretense ...” It was this terrible past that was reflected in the life of the protagonist, only now Lavretsky himself found himself in the power of his wife. Firstly, Lavretsky is the product of a specific paternal upbringing, because of which he, a naturally intelligent, far from naive person, got married without understanding what kind of person his wife was. Secondly, the very theme of family inequality connects Turgenev's hero and his ancestors. The hero got married because his family past did not let him go - in the future, his wife will become part of this past, which will return at a fateful moment and ruin his relationship with Lisa. The fate of Lavretsky, who was not destined to find his native corner, is connected with the curse of his aunt Glafira, who was expelled by the will of Lavretsky's wife: “I know who is driving me from here, from my family nest. Only you remember my word, nephew: do not make a nest for you anywhere, you will wander forever. At the end of the novel, Lavretsky thinks of himself that he is "a lonely, homeless wanderer." In the everyday sense, this is inaccurate: before us are the thoughts of a wealthy landowner - however, inner loneliness and the inability to find happiness in life turn out to be a natural conclusion from the history of the Lavretsky family.
The head is all gray-haired, and if he opens his mouth, he will lie or gossip. And also a state adviser!
Ivan Turgenev
The parallels with Lisa's backstory are interesting here. Her father was also a cruel, "predatory" man who subjugated her mother. There is also a direct influence of folk ethics in her past. At the same time, Liza, more acutely than Lavretsky, feels her responsibility for the past. Lizina's readiness for humility and suffering is not connected with some kind of inner weakness or sacrifice, but with a conscious, thoughtful desire to atone for sins, not only her own, but also those of others: “Happiness did not come to me; even when I had hopes of happiness, my heart still ached. I know everything, both my own sins and those of others, and how papa amassed our wealth; I know everything. All this must be prayed for, it must be prayed for."
Pages from the collection "Symbols and Emblem", published in Amsterdam in 1705 and in St. Petersburg in 1719
The collection consisted of 840 engravings with symbols and allegories. This mysterious book was the only reading of the impressionable and pale child Fedya Lavretsky. The Lavretskys had one of the early 19th century reprints revised by Nestor Maksimovich-Ambodik: Turgenev himself read this book as a child
What is a noble nest?
Turgenev himself wrote in an elegiac tone about “noble nests” in the story “My neighbor Radilov”: “Our great-grandfathers, when choosing a place to live, certainly beat off tithes of two good land under Orchard with linden alleys. Fifty, many seventy years later, these estates, “noble nests”, gradually disappeared from the face of the earth, houses rotted or were sold for removal, stone services turned into piles of ruins, apple trees died out and went for firewood, fences and wattle fences were exterminated. Some lindens still grew to their glory and now, surrounded by plowed fields, they say to our windy tribe about “fathers and brothers who have died before.” It is not difficult to see parallels with The Nest of Nobles: on the one hand, the reader does not see Oblomovka, but the image of a cultural, Europeanized estate, where alleys are planted and music is listened to; on the other hand, this estate is doomed to gradual destruction and oblivion. In The Nest of Nobles, apparently, this is exactly the fate destined for the Lavretsky estate, whose family will be interrupted by the main character (his daughter, judging by the epilogue of the novel, will not live long).
The village of Shablykino, where Turgenev often hunted. Lithograph by Rudolf Zhukovsky based on his own drawing. 1840 State Memorial and Natural Museum-Reserve of I. S. Turgenev "Spasskoe-Lutovinovo"
Fine Art Images/Heritage Images/Getty Images
Does Liza Kalitina look like the stereotype of the "Turgenev girl"?
Lisa Kalitina is probably now one of the most famous Turgenev images. The unusualness of this heroine was repeatedly tried to be explained by the existence of some special prototype - here they also pointed to the countess Elizabeth Lambert Elizaveta Egorovna Lambert (nee Kankrina; 1821-1883) - maid of honor of the imperial court. Daughter of the Minister of Finance, Count Yegor Kankrin. In 1843 she married Count Joseph Lambert. She was friends with Tyutchev, was in a long correspondence with Turgenev. According to the memoirs of contemporaries, she was deeply religious. From a letter from Turgenev, Lambert dated April 29, 1867: “From all the doors into which I am a bad Christian, but following the gospel rule, I pushed, your doors opened easier and more often than others.” , a secular acquaintance of Turgenev and the addressee of his numerous letters filled with philosophical reasoning, and on Varvara Sokovnin Varvara Mikhailovna Sokovnina (in the monasticism Seraphim; 1779-1845) - nun. Sokovnina was born into a wealthy noble family, at the age of 20 she left home for the Sevsky Trinity Monastery, took monastic tonsure, and then the schema (the highest monastic level, requiring severe asceticism). She lived in seclusion for 22 years. In 1821 she was elevated to the rank of abbess of the Oryol maiden monastery, she ruled it until her death. In 1837, Abbess Seraphim was visited by Alexandra Feodorovna, the wife of Emperor Nicholas I. (in the monasticism of Seraphim), whose fate is very similar to the story of Lisa.
Probably, first of all, the stereotypical image of the “Turgenev girl” is built around Lisa, which is usually written about in popular publications and which is often sorted out at school. At the same time, this stereotype hardly corresponds to Turgenev's text. Lisa can hardly be called a particularly refined nature or an elevated idealist. She is shown as a person of exceptionally strong will, decisive, independent and internally independent. In this sense, her image was rather influenced not by Turgenev's desire to create the image of an ideal young lady, but by the writer's ideas about the need for emancipation and the desire to show an internally free girl so that this internal freedom does not deprive her of poetry. A nightly date with Lavretsky in the garden for a girl of that time was completely obscene behavior - the fact that Lisa decided on him shows her complete inner independence from the opinions of others. The “poetic” effect of her image is given by a very peculiar manner of description. The narrator usually reports on Lisa’s feelings in rhythmic prose, very metaphorical, sometimes even using sound repetitions: “No one knows, no one has seen and will never see how, from bathroom to life and flourishing, poured and zre no zer but in the womb ze ml. The analogy between the love growing in the heart of the heroine and the natural process is not intended to explain any psychological properties of the heroine, but rather to hint at something that is beyond the capabilities of ordinary language. It is no coincidence that Lisa herself says that she “has no words of her own” - in the same way, for example, in the finale of the novel, the narrator refuses to talk about the experiences of her and Lavretsky: “What did they think that they both felt? Who will know? Who will say? There are such moments in life, such feelings ... You can only point to them - and pass by.
"Noble Nest". Directed by Andrei Konchalovsky. 1969
Vladimir Panov. Illustration for the novel "The Nest of Nobles". 1988
Why do Turgenev's heroes suffer all the time?
Violence and aggression permeate Turgenev's whole life; the living being seems to suffer. In Turgenev's story "Diary extra person"(1850) the hero was opposed to nature, because he was endowed with self-consciousness and keenly felt the approaching death. In The Nest of Nobles, however, the desire for destruction and self-destruction is shown as characteristic not only of people, but of all nature. Marfa Timofeevna tells Lavretsky that no happiness for a living being is possible in principle: yes, once at night I heard a fly whining in the paws of a spider - no, I think there is a thunderstorm on them too. On his simpler level, Lavretsky’s old servant Anton, who knew his aunt Glafira who cursed him, speaks about self-destruction: “He told Lavretsky how Glafira Petrovna had bitten her hand before her death, and after a pause, he said with a sigh:“ Every person, the gentleman-priest, is devoted to himself to be devoured. Turgenev's heroes live in a terrible and indifferent world, and here, in contrast to historical circumstances, nothing can probably be corrected.
Schopenhauer Arthur Schopenhauer (1788-1860) was a German philosopher. According to his main work, The World as Will and Representation, the world is perceived by the mind, and therefore is a subjective representation. Will is the objective reality and organizing principle in man. But this will is blind and irrational, therefore it turns life into a series of suffering, and the world in which we live, into “the worst of all possible worlds”. - and the researchers drew attention to some parallels between the novel and the main book of the German thinker "The World as Will and Representation". Indeed, both natural and historical life in Turgenev's novel is full of violence and destruction, while the world of art turns out to be much more ambivalent: music carries both the power of passion and a kind of liberation from the power of the real world.Andrei Rakovich. Interior. 1839 Private collection
Why do Turgenev talk so much about happiness and duty?
The key disputes between Lisa and Lavretsky are about the human right to happiness and the need for humility and renunciation. For the heroes of the novel, the theme of religion is of exceptional importance: the unbeliever Lavretsky refuses to agree with Liza. Turgenev does not try to decide which of them is right, but shows that duty and humility are necessary not only for a religious person - duty is also significant for public life, especially for people with such a historical background as the heroes of Turgenev: Russian nobility in the novel it is depicted not only as a bearer of high culture, but also as an estate, whose representatives for centuries oppressed both each other and the people around them. Conclusions from the disputes, however, are ambiguous. On the one hand, the new generation, free from the heavy burden of the past, easily achieves happiness - perhaps, however, that this is possible due to a more fortunate combination of historical circumstances. At the end of the novel, Lavretsky turns to young generation mental monologue: “Play, have fun, grow, young forces ... your life is ahead of you, and it will be easier for you to live: you don’t have to, like us, find your way, fight, fall and get up in the midst of darkness; we were busy trying to survive - and how many of us did not survive! “But you need to do business, work, and the blessing of our brother, the old man, will be with you.” On the other hand, Lavretsky himself renounces his claims to happiness and largely agrees with Liza. Considering that tragedy, according to Turgenev, is generally inherent in human life, the fun and joy of the "new people" turn out to be largely a sign of their naivety, and the experience of misfortune through which Lavretsky went through can be no less valuable for the reader.
bibliography
- Annenkov P.V. Our society in Turgenev's "Noble Nest" // Annenkov P.V. Critical essays. St. Petersburg: RKHGI Publ., 2000, pp. 202–232.
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- Ginzburg L. Ya. About psychological prose. L.: Hood. lit., 1976. S. 295.
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All bibliography
Turgenev's novel "The Nest of Nobles" was written in 1858, published in January 1859 in the Sovremennik magazine. Immediately after publication, the novel gained great popularity in society, since the author touched upon deep social problems. The book is based on Turgenev's reflections on the fate of the Russian nobility.
Main characters
Lavretsky Fedor Ivanovich- a rich landowner, an honest and decent person.
Varvara Pavlovna- Lavretsky's wife, a two-faced and prudent person.
Liza Kalitina- the eldest daughter of Marya Dmitrievna, a pure and deeply decent girl.
Other characters
Marya Dmitrievna Kalitina- a widow, a sensitive woman.
Marfa Timofeevna Pestova- Maria Dmitrievna's aunt, an honest and independent woman.
Lena Kalitina- the youngest daughter of Marya Dmitrievna.
Sergei Petrovich Gedeonovsky- State Councilor, friend of the Kalitin family
Vladimir Nikolaevich Panshin- a handsome young man, an official.
Khristofor Fedorovich Lemm- the old music teacher of the Kalitin sisters, a German.
Ada- daughter of Varvara Pavlovna and Fyodor Ivanovich.
Chapters I-III
On "one of the extreme streets of the provincial city of O ..." is located beautiful house, where Marya Dmitrievna Kalitina lives - a pretty widow who "was easily irritated and even cried when her habits were violated." Her son is brought up in one of the best educational institutions in St. Petersburg, and two daughters live with her.
Marya Dmitrievna's company is made up of her aunt, her father's sister, Marfa Timofeevna Pestova, who "had an independent disposition, told everyone the truth in the eye."
Sergei Petrovich Gedeonovsky - good friend family Kalitins - says that Lavretsky Fedor Ivanovich returned to the city, whom he "personally saw."
Because of some ugly story with his wife, the young man was forced to leave hometown and go abroad. But now he has returned and, according to Gedeonovsky, has become even better looking - “they have become even wider in the shoulders, and the blush is all over the cheek.”
A handsome young rider on a hot horse famously gallops to the Kalitins' house. Vladimir Nikolaevich Panshin easily pacifies the zealous stallion and allows Lena to pet him. He and Lisa appear in the living room at the same time - "a slender, tall, black-haired girl of about nineteen."
Chapters IV-VII
Panshin is a brilliant young official, spoiled by attention secular society, who very quickly "became known as one of the most amiable and dexterous young people in St. Petersburg." He was sent to the town of O. on business, and in the Kalitins' house he managed to become his man.
Panshin performs his new romance to those present, which they find delightful. Meanwhile, the old music teacher, Monsieur Lemm, comes to the Kalitins. His whole appearance shows that Panshin's music made no impression on him.
Khristofor Fedorovich Lemm was born into a family of poor musicians, and at the age of "he was orphaned at the age of eight, and from ten he began to earn a piece of bread for his art." He traveled a lot, wrote beautiful music, but he could not become famous. Fearing poverty, Lemm agreed to lead the orchestra of a Russian gentleman. So he ended up in Russia, where he firmly settled. Khristofor Fedorovich "alone, with an old cook he took from the almshouse" lives in a small house, earning a living by private music lessons.
Liza escorts Lemm to the porch, after finishing his lesson, where she meets a tall, stately stranger. It turns out to be Fyodor Lavretsky, whom Lisa did not recognize after an eight-year separation. Marya Dmitrievna joyfully greets the guest and introduces him to all present.
Leaving the Kalitins' house, Panshin declares his love to Liza.
Chapters VIII-XI
Fyodor Ivanovich "descended from an ancient noble tribe." His father, Ivan Lavretsky, fell in love with a courtyard girl and married her. Having received a diplomatic post, he went to London, from where he learned about the birth of his son Fyodor.
Ivan's parents softened their anger, reconciled with their son and took into the house a rootless daughter-in-law with a one-year-old son. After the death of the old people, the master almost did not take care of the household, and his elder sister Glafira, an arrogant and imperious old maid, managed the house.
Having come to grips with raising his son, Ivan Lavretsky set himself the goal of making a real Spartan out of a frail, lazy boy. He was awakened at 4 o'clock in the morning, doused with cold water, forced to do gymnastics intensively, and limited in food. Such measures had a positive effect on Fedor's health - "at first he caught a fever, but soon recovered and became a fine fellow."
Fedor's adolescence passed under the constant yoke of a despotic father. Only at the age of 23, after the death of a parent, the young man was able to breathe deeply.
Chapters XII-XVI
Young Lavretsky, fully aware of the "deficiencies of his upbringing", went to Moscow and entered the university in the department of physics and mathematics.
The unsystematic and contradictory upbringing of his father played a cruel joke on Fedor: “he didn’t know how to get along with people”, “he didn’t dare to look a single woman in the eye”, “didn’t know much that every high school student has known for a long time”.
At the university, the closed and unsociable Lavretsky made friends with the student Mikhalevich, who introduced him to the daughter of a retired general, Varvara Korobina.
The girl's father, a major general, after an ugly story with the waste of state money, was forced to move with his family from St. Petersburg to "Moscow for cheap bread." By that time, Varvara had managed to graduate from the Institute for Noble Maidens, where she was known as the best student. She adored the theater, often tried to attend performances, where Fedor saw her for the first time.
The girl charmed Lavretsky so much that “six months later, he explained himself to Varvara Pavlovna and offered her his hand.” She agreed, because she knew that her fiancé was rich and noble.
The first days after the wedding, Fedor "fell in bliss, reveled in happiness." Varvara Pavlovna skillfully survived Glafira from her own house, and the empty place of the manager of the estate was immediately occupied by her father, who dreamed of throwing his hands into the estate of a rich son-in-law.
Having moved to St. Petersburg, the newlyweds "traveled and received a lot, gave the most charming musical and dance parties", at which Varvara Pavlovna shone in all her splendor.
After the death of their firstborn, the couple, on the advice of doctors, went to the waters, then to Paris, where Lavretsky accidentally found out about his wife's infidelity. The betrayal of a loved one greatly crippled him, but he found the strength to tear out the image of Barbara from his heart. The news of the birth of his daughter did not soften him either. Having appointed the traitor a decent annual allowance, he broke off any relationship with her.
Fedor "was not born a sufferer", and four years later he returned to his homeland.
XVII-XXI
Lavretsky comes to the Kalitins to say goodbye before leaving. Upon learning that Lisa is heading to church, she asks to pray for him. From Marfa Timofeevna, he learns that Panshin is courting Liza, and the girl's mother is not against this union.
Arriving in Vasilyevskoye, Fyodor Ivanovich notes that severe desolation reigns in the house and in the yard, and after the death of Aunt Glafira nothing has changed here.
The servants are perplexed why the master decided to settle in Vasilyevsky, and not in rich Lavriky. However, Fedor is not able to live on the estate, where everything reminds him of his past marital happiness. Within two weeks, Lavretsky put the house in order, acquired "everything he needed and began to live - either as a landowner, or as a hermit."
Some time later, he visits the Kalitins, where he makes friends with old Lemm. Fedor, who "passionately loved music, practical, classical music", shows a sincere interest in the musician and invites him to stay for a little while.
Chapters XXII-XXVIII
On the way to Vasilyevskoye, Fyodor suggests that Lemm compose an opera, to which the old man replies that he is too old for that.
Over morning tea, Lavretsky informs the German that he will still have to write a solemn cantata in honor of the upcoming "marriage of Mr. Panshin with Liza." Lemm does not hide his annoyance, because he is sure that the young official is not worthy of such a wonderful girl as Liza.
Fedor proposes to invite the Kalitins to Vasilyevskoye, to which Lemm agrees, but only without Mr. Panshin.
Lavretsky conveys his invitation, and, taking advantage of the opportunity, remains alone with Liza. The girl is “afraid to make him angry”, but, having plucked up courage, she asks about the reasons for parting with her wife. Fedor tries to explain to her the whole baseness of Barbara's act, to which Lisa replies that he must certainly forgive her and forget about treason.
Two days later, Marya Dmitrievna and her daughters come to visit Fyodor. The widow considers her visit "a sign of great indulgence, almost a kind deed." On the occasion of the arrival of his favorite student, Lisa, Lemm composes a romance, but the music turns out to be "tangled and unpleasantly tense", which greatly upsets the old man.
By evening, they are going to "fish with the whole society." At the pond, Fyodor is talking with Lisa. He feels "the need to talk to Lisa, to tell her everything that came into his soul." This surprises him, because before that he considered himself a finished man.
With the onset of dusk, Marya Dmitrievna is going home. Fedor volunteers to see his guests off. On the way, he continues to talk with Liza, and they part as friends. During the evening reading, Lavretsky notices “in a feuilleton of one of the newspapers” a message about the death of his wife.
Lemme going home. Fyodor goes with him and stops by the Kalitins, where he secretly hands over a magazine with an obituary to Liza. He whispers to the girl that he will pay a visit tomorrow.
Chapters XXIX-XXXII
The next day, Marya Dmitrievna meets Lavretsky with poorly concealed irritation - she does not like him, and Pashin speaks of him not at all flattering.
During a walk along the alley, Lisa is interested in how Fedor reacted to the death of his wife, to which he honestly replies that he was practically not upset. He hints to the girl that acquaintance with her has touched deeply dormant strings in him.
Lisa admits that she received a letter from Pashin with a marriage proposal. She doesn't know what to say because she doesn't love him at all. Lavretsky begs the girl not to rush to answer and not to rob "the best, only happiness on earth" - to love and be loved.
In the evening, Fedor again goes to the Kalitins to find out about Lisa's decision. The girl informs him that she did not give Panshin a definite answer.
Being an adult, mature person, Lavretsky is aware that he is in love with Lisa, but "this conviction did not bring him much joy." He does not dare to hope for the reciprocity of the girl. In addition, he is tormented by the painful expectation of official news of the death of his wife.
Chapters XXXIII-XXXVII
In the evening at the Kalitins', Panshina begins to talk at length about "how he would turn everything in his own way if he had power in his hands." He considers Russia a backward country that should learn from Europe. Lavretsky deftly and confidently smashes all the arguments of his opponent. Fyodor is supported in everything by Liza, since Panshin's theories frighten her.
A declaration of love takes place between Lavretsky and Lisa. Fedor does not believe his luck. He goes to the sounds of unusually beautiful music, and learns that it is Lemm playing his work.
The day after the declaration of love, the happy Lavretsky comes to the Kalitins, but for the first time he is not received. He returns home and sees a woman in a "black silk dress with flounces", whom he recognizes with horror as his wife Varvara.
With tears in her eyes, her husband asks him for forgiveness, promising to "sever all connection with the past." However, Lavretsky does not believe Varvara's feigned tears. Then the woman begins to manipulate Fedor, appealing to his fatherly feelings and showing him his daughter Ada.
In complete confusion, Lavretsky wanders the streets and comes to Lemm. Through the musician, he sends a note to Liza with a message about the unexpected "resurrection" of his wife and asks for a date. The girl replies that she can only meet him the next day.
Fedor returns home and can hardly endure a conversation with his wife, after which he leaves for Vasilyevskoye. Varvara Pavlovna, having learned that Lavretsky visited the Kalitins every day, goes to visit them.
Chapters XXXVIII-XL
On the day Varvara Pavlovna returns, Liza has a painful explanation for her with Panshin. She refuses an enviable groom, which greatly upsets her mother.
Marfa Timofeevna enters Lisa's room and declares that she knows everything about a night walk with a certain young man. Lisa admits that she loves Lavretsky, and no one stands in the way of their happiness, since his wife is dead.
At the reception with the Kalitins, Varvara Pavlovna manages to charm Marya Dmitrievna with stories about Paris and appease her with a bottle of fashionable perfume.
Upon learning of the arrival of Fyodor Petrovich's wife, Liza is sure that this is a punishment for all her "criminal hopes". The sudden change in fate shocks her, but she "she didn't even shed a tear."
Marfa Timofeevna manages to quickly see through the deceitful and vicious nature of Varvara Pavlovna. She takes Lisa to her room and cries for a long time, kissing her hands.
Panshin arrives for supper, and Varvara Pavlovna, who had been bored, instantly perks up. She charms a young man during a joint performance of a romance. And even Liza, "to whom he offered his hand the day before, disappeared as if in a fog."
Varvara Pavlovna does not hesitate to try her charms even on the old man Gedeonovsky, in order to finally win the place of the first beauty in the district town.
Chapters XLI-XLV
Lavretsky finds no place for himself in the countryside, tormented by "constant, impetuous and impotent impulses." He understands that everything is over, and the last timid hope of happiness has slipped away forever. Fedor tries to pull himself together and submit to fate. He harnesses the tarantass and goes to the city.
Learning that Varvara Pavlovna went to the Kalitins, he hurries there. Climbing up the back stairs to Marfa Timofeyevna, he asks her to see Liza. The unhappy girl begs him to reconcile with his wife for the sake of her daughter. Parting forever, Fedor asks to give him a handkerchief as a keepsake. A footman enters and conveys to Lavretsky Marya Dmitrievna's request to visit her urgently.
Kalitina, with tears in her eyes, begs Fyodor Ivanovich to forgive his wife and bring Varvara Petrovna out from behind the screen. However, Lavretsky is implacable. He sets a condition for his wife - she must live without a break in Lavriky, and he will observe all external propriety. If Varvara Petrovna leaves the estate, this contract can be considered terminated.
Hoping to see Lisa, Fyodor Ivanovich goes to church. The girl does not want to talk about anything with him, and asks to leave her. The Lavretskys go to the estate, and Varvara Pavlovna swears to her husband to live in peace in the wilderness for the sake of a happy future for her daughter.
Fyodor Ivanovich leaves for Moscow, and the very next day after leaving, Panshin appears in Lavriky, “whom Varvara Pavlovna asked not to forget her in solitude.”
Liza, despite the pleas of her relatives, makes a firm decision to go to the monastery. Meanwhile, Varvara Pavlovna, having "stocked up on money", moves to St. Petersburg and completely subjugates Panshin to her will. A year later, Lavretsky learns that "Lisa got her hair cut in the B ... ... M monastery, in one of the most remote regions of Russia."
Epilogue
After eight years, Panshin successfully built a career, but never married. Varvara Pavlovna, having moved to Paris, "has gotten older and fatter, but is still sweet and graceful." The number of her fans has noticeably decreased, and she completely devoted herself to a new hobby - the theater. Fedor Ivanovich became an excellent master, and managed to do a lot for his peasants.
Marfa Timofeevna and Marya Dmitrievna died long ago, but the Kalitins' house was not empty. He even "as if rejuvenated" when carefree, flourishing youth settled in him. The grown-up Lenochka was going to get married, her brother arrived from St. Petersburg with a young wife and her sister.
One day, the aged Lavretsky visits the Kalitins. He wanders for a long time in the garden, and he is filled with "a feeling of living sadness about the disappeared youth, about the happiness that he once possessed."
Lavretsky nevertheless finds a remote monastery in which Lisa hid from everyone. She walks past him without looking up. Only by the movement of her eyelashes and the clenched fingers can one understand that she recognized Fyodor Ivanovich.
Conclusion
In the center of the novel by I. S. Turgenev is history tragic love Fedor and Lisa. The impossibility of personal happiness, the collapse of their bright hopes echoes the social collapse of the Russian nobility.
A brief retelling of the "Noble Nest" will be useful for reader's diary and in preparation for a literature lesson.
Novel test
Test memorization summary test:
Retelling rating
Average rating: 4.5. Total ratings received: 235.
The plot of the novel
The main character of the novel is Fyodor Ivanovich Lavretsky, a nobleman who has many of the features of Turgenev himself. Brought up remotely from his father's home, the son of an Anglophile father and a mother who died in his early childhood, Lavretsky is brought up in a family country estate by a cruel aunt. Often critics looked for the basis for this part of the plot in the childhood of Ivan Sergeevich Turgenev himself, who was raised by his mother, known for her cruelty.
Lavretsky continues his education in Moscow, and while visiting the opera, he notices a beautiful girl in one of the boxes. Her name is Varvara Pavlovna, and now Fyodor Lavretsky declares his love for her and asks for her hand in marriage. The couple marries and the newlyweds move to Paris. There, Varvara Pavlovna becomes a very popular salon owner, and starts an affair with one of her regular guests. Lavretsky learns about his wife's affair with another only at the moment when he accidentally reads a note written from a lover to Varvara Pavlovna. Shocked by the betrayal of a loved one, he breaks all contact with her and returns to his family estate, where he was raised.
Upon returning home to Russia, Lavretsky visits his cousin, Maria Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky immediately becomes interested in Lisa, whose serious nature and sincere devotion to the Orthodox faith give her great moral superiority, strikingly different from the coquettish behavior of Varvara Pavlovna, to which Lavretsky was so accustomed. Gradually, Lavretsky realizes that he is deeply in love with Lisa, and when he reads a message in a foreign magazine that Varvara Pavlovna has died, he declares his love to Lisa and learns that his feelings are not unrequited - Lisa also loves him.
Unfortunately, the cruel irony of fate prevents Lavretsky and Lisa from being together. After a declaration of love, the happy Lavretsky returns home ... to find Varvara Pavlovna, alive and unharmed, waiting for him in the lobby. As it turns out, the advertisement in the magazine was given erroneously, and Varvara Pavlovna's salon is going out of fashion, and now Varvara needs the money that Lavretsky demands.
Upon learning of the sudden appearance of the living Varvara Pavlovna, Lisa decides to leave for a remote monastery and lives out the rest of her days as a monk. Lavretsky visits her in the monastery, seeing her in those brief moments when she appears for moments between services. The novel ends with an epilogue set eight years later, from which it also becomes known that Lavretsky is returning to Liza's house. There, after the past years, despite many changes in the house, he sees the piano and the garden in front of the house, which he remembers so much because of his communication with Lisa. Lavretsky lives by his memories, and sees some meaning and even beauty in his personal tragedy.
Accusation of plagiarism
This novel was the reason for a serious quarrel between Turgenev and Goncharov. D. V. Grigorovich, among other contemporaries, recalls:
Once - I think at the Maikovs - he [Goncharov] told the contents of a new alleged novel, in which the heroine was supposed to retire to a monastery; many years later, Turgenev's novel "The Nest of Nobles" was published; the main female face in it was also removed to the monastery. Goncharov raised a whole storm and directly accused Turgenev of plagiarism, of appropriating someone else's thought, probably assuming that this thought, precious in its novelty, could only come to him, and Turgenev would lack such talent and imagination to reach it. The case took such a turn that it was necessary to appoint an arbitration court, composed of Nikitenko, Annenkov and a third person - I don’t remember whom. Nothing came of it, of course, except laughter; but since then Goncharov ceased not only to see, but also to bow to Turgenev.
Screen adaptations
| "Noble Nest" at Wikiquote | |
| in Wikisource |
The novel was filmed in 1914 by V. R. Gardin and in 1969 by Andrei Konchalovsky. In the Soviet tape, the main roles were played by Leonid Kulagin and Irina Kupchenko. See Nest of Nobles (film).
Notes
| Ivan Sergeevich Turgenev | |
|---|---|
| Novels | |
| Tales and stories |
|
| Dramaturgy |
Lack of money Where it is thin, there it breaks Freeloader Breakfast at the leader Bachelor A month in the village |
| Other |
Poems in prose Literary and everyday memories |
| Characters | |
| Related articles |
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See what the "Noble Nest" is in other dictionaries:
Noble Nest- (Smolensk, Russia) Hotel category: 3 star hotel Address: Microdistrict Yuzhny 40 … Hotel catalog
Noble Nest- (Korolev, Russia) Hotel category: 3 star hotel Address: Bolshevskoe shosse 35, K … Hotel catalog
NOBLE NEST, USSR, Mosfilm, 1969, color, 111 min. Melodrama. By novel of the same name I.S. Turgenev. The film by A. Mikhalkov Konchalovsky is a dispute with the genre scheme of the "Turgenev novel" that has developed in modern social and cultural consciousness. ... ... Cinema Encyclopedia
Noble Nest- Obsolete. About the noble family, the estate. The noble nest of the Parnachevs belonged to the number of endangered ( Mamin Sibiryak. mother-stepmother). A sufficient number of noble nests were scattered in all directions from our estate (Saltykov Shchedrin. Poshekhonskaya ... ... Phraseological dictionary of the Russian literary language
NOBLE NEST- Roman I.S. Turgenev*. Written in 1858, published in 1859. The protagonist of the novel is a rich landowner (see nobleman *) Fyodor Ivanovich Lavretsky. With his fate is connected the main story line. Disappointed in marriage with the secular beauty Barbara ... ... Linguistic Dictionary
NOBLE NEST- for many years the only elite house in all of Odessa, located in the most prestigious area of the city to this day on French Boulevard. Separated by a fence, with a line of garages, a house with huge independent apartments, front doors with ... ... Large semi-explained dictionary of the Odessa language
1. Unfold Obsolete About the noble family, the estate. F 1, 113; Mokienko 1990.16. 2. Jarg. school Shuttle. Teacher's. Nikitina 1996, 39. 3. Jarg. marine Shuttle. iron. The front superstructure on the ship, where the command staff lives. BSRG, 129. 4. Zharg. they say Luxury housing (house … Big Dictionary Russian sayings
