The famous Russian writer I. S. Turgenev wrote many wonderful works, “The Noble Nest” is one of the best.

In the novel “The Noble Nest,” Turgenev describes the morals and customs of life of the Russian nobility, their interests and hobbies.

Main character works - nobleman Fyodor Ivanovich Lavretsky - was brought up in the family of his aunt Glafira. Fyodor's mother, a former maid, died when the boy was very young. My father lived abroad. When Fyodor was twelve years old, his father returned home and raised his son himself.

The novel “The Noble Nest” and a brief summary of the work give us the opportunity to find out what kind of home education and upbringing children in noble families received. Fedor was taught many sciences. His upbringing was harsh: he was woken up early in the morning, fed once a day, taught to ride a horse and shoot. When his father died, Lavretsky left to study in Moscow. He was then 23 years old.

The novel “The Noble Nest”, a brief summary of this work will allow us to learn about the hobbies and passions of the young nobles of Russia. During one of his visits to the theater, Fyodor saw in the box beautiful girl- Varvara Pavlovna Korobina. A friend introduces him to the beauty’s family. Varenka was smart, sweet, educated.

Studying at the university was abandoned due to Fyodor's marriage to Varvara. The young couple move to St. Petersburg. There their son is born and soon dies. On the advice of a doctor, the Lavretskys go to live in Paris. Soon, enterprising Varvara becomes the owner of a popular salon and starts an affair with one of her visitors. Having learned about accidentally reading a love note from her chosen one, Lavretsky breaks off all relations with her and returns to his estate.

One day he visited his cousin, Kalitina Maria Dmitrievna, who lived with two daughters - Liza and Lena. The eldest - the pious Lisa - interested Fyodor, and he soon realized that his feelings for this girl were serious. Lisa had an admirer, a certain Panshin, whom she did not love, but on her mother’s advice she did not push away.

In one of the French magazines, Lavretsky read that his wife had died. Fyodor declares his love to Lisa and learns that his love is mutual.

Happily young man there were no boundaries. Finally, he met the girl of his dreams: gentle, charming and also serious. But when he returned home, Varvara was waiting for him in the foyer, alive and unharmed. She tearfully begged her husband to forgive her, at least for the sake of their daughter Ada. Notorious in Paris, the beautiful Varenka was in dire need of money, since her salon no longer provided her with the income she needed for a luxurious life.

Lavretsky assigns her an annual allowance and allows her to settle on his estate, but refuses to live with her. Smart and resourceful Varvara talked to Lisa and convinced the pious and meek girl to give up Fyodor. Lisa convinces Lavretsky not to leave his family. He settles his family on his estate, and he himself leaves for Moscow.

Deeply disappointed in her unfulfilled hopes, Lisa breaks off all relations with secular world and goes to a monastery to find the meaning of life there in suffering and prayer. Lavretsky visits her in the monastery, but the girl did not even look at him. Her feelings were revealed only by her fluttering eyelashes.

And Varenka again left for St. Petersburg, and then to Paris to continue her cheerful and carefree life there. “The Noble Nest”, the summary of the novel reminds us how much space in a person’s soul is occupied by his feelings, especially love.

Eight years later, Lavretsky visits the house where he once met Lisa. Fyodor again plunged into the atmosphere of the past - the same garden outside the window, the same piano in the living room. After returning home, he lived for a long time with sad memories of his failed love.

“The Noble Nest”, a brief summary of the work, allowed us to touch on some of the features of the lifestyle and customs of the Russian nobility of the 19th century.

The main images in Turgenev’s novel “The Noble Nest”

“The Noble Nest” (1858) was enthusiastically received by readers. The general success is explained by the dramatic nature of the plot, the severity of moral issues, and the poetry of the writer’s new work. The noble nest was perceived as a certain socio-cultural phenomenon that predetermined the character, psychology, actions of the heroes of the novel, and ultimately their destinies. Turgenev was close and understandable to the heroes who emerged from the nests of the nobility; he treats them and portrays them with touching sympathy. This was reflected in the emphasized psychologism of the images of the main characters (Lavretsky and Lisa Kalitina), in the deep revelation of the richness of their spiritual life. Favorite heroes and writers are able to subtly feel nature and music. They are characterized by an organic fusion of aesthetic and moral principles.

For the first time, Turgenev devotes a lot of space to the background history of the heroes. Thus, for the formation of Lavretsky’s personality, it was of no small importance that his mother was a serf peasant woman, and his father was a landowner. He managed to develop solid life principles. Not all of them stand the test of life, but he still has these principles. He has a sense of responsibility to his homeland and a desire to bring practical benefit to it.

An important place in “The Noble Nest” is occupied by the lyrical theme of Russia, the awareness of the peculiarities of its historical path. This issue is most clearly expressed in the ideological dispute between Lavretsky and the “Westernizer” Panshin. It is significant that Liza Kalitina is completely on Lavretsky’s side: “The Russian mentality made her happy.” L. M. Lotman’s remark is fair that “in the houses of the Lavretskys and Kalitins, spiritual values ​​were born and matured, which will forever remain the property of Russian society, no matter how it changes.”

The moral issues of “The Noble Nest” are closely connected with two stories written by Turgenev earlier: “Faust” and “Asey”. The collision of concepts such as duty and personal happiness determines the essence of the conflict in the novel. These concepts themselves are filled with high moral and, ultimately, social meaning and become one of the most important criteria for assessing personality. Liza Kalitina, like Pushkin's Tatyana, fully accepts the people's idea of ​​duty and morality, brought up by her nanny Agafya. In the research literature, this is sometimes seen as the weakness of Turgenev’s heroine, leading her to humility, obedience, religion...

There is another opinion, according to which behind the traditional forms of asceticism of Liza Kalitina lie elements of a new ethical ideal. The sacrificial impulse of the heroine, her desire to join in the universal grief foreshadow a new era, carrying the ideals of selflessness, readiness to die for a majestic idea, for the happiness of the people, which will become characteristic of Russian life and literature of the late 60-70s.

Turgenev’s theme of “extra people” essentially ended in “The Noble Nest.” Lavretsky comes to the firm realization that the strength of his generation has been exhausted. But he was given the opportunity to look into the future. In the epilogue, he, lonely and disappointed, thinks, looking at the young people playing: “Play, have fun, grow, young forces... you have life ahead, and it will be easier for you to live...” Thus, the transition to Turgenev’s next novels, in which the main role was planned, was planned The “young forces” of the new, democratic Russia were already playing.

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

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

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

trembled before the governor and fussed over the police officer." This was the history of one of the families of the Russian nobility

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

This whole picture is complemented by the figures of the gossip and jester of the old official Gedeonov, the dashing retired captain and famous gambler - Father Panigin, the lover of government money - retired General Korobin, the future father-in-law of Lavretsky, etc. Telling the story of the families of the characters in the novel, Turgenev creates a picture very far from the idyllic image of “noble nests”. He shows a rag-tag Russia, whose people are going through all sorts of hardships, from heading completely west to literally vegetating wildly on their estate.

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

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

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

In addition to the peasant and noble lines, the author is also developing a love line. In the struggle between duty and personal happiness, the advantage is on the side of duty, which love is unable to resist. The collapse of the hero’s illusions, the impossibility of personal happiness for him are, as it were, a reflection of the social collapse that the nobility experienced during these years.

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

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

Lisa Kalitina - the most poetic and graceful of all female personalities ever created by Turgenev. When we first meet Lisa, she appears to readers as a slender, tall, black-haired girl of about nineteen. “Her natural qualities: sincerity, naturalness, natural common sense, feminine softness and grace of actions and spiritual movements. But in Liza, femininity is expressed in timidity, in the desire to subordinate one’s thoughts and will to someone else’s authority, in the reluctance and inability to use innate insight and critical ability.<…>She still considers submissiveness to be the highest virtue of a woman. She silently submits so as not to see the imperfections of the world around her. Standing immeasurably higher than the people around her, she tries to convince herself that she is the same as them, that the disgust that evil or untruth arouses in her is a grave sin, a lack of humility” 1 . She is religious in the spirit of folk beliefs: she is attracted to religion not by the ritual side, but by high morality, conscientiousness, patience and willingness to unconditionally submit to the demands of strict moral duty. 2 “This girl is richly gifted by nature; there is a lot of fresh, unspoiled life in it; Everything about her is sincere and genuine. She has a natural mind and a lot of pure feeling. By all these properties, she is separated from the masses and joins the best people of our time” 1. According to Pustovoit, Lisa has an integral character, she tends to bear moral responsibility for her actions, she is friendly to people and demanding of herself. “By nature, she is characterized by a lively mind, warmth, love for beauty and - most importantly - love for the simple Russian people and a feeling of her blood connection with them. She loves ordinary people, wants to help them, get closer to them.” Lisa knew how unfair her noble ancestors were towards him, how much disaster and suffering her father, for example, caused to people. And, having been brought up in a religious spirit from childhood, she sought to “atone all this” 2. “It never occurred to Liza,” writes Turgenev, “that she was a patriot; but she was happy with the Russian people; the Russian mentality pleased her; She, without any formality, spent hours talking with the headman of her mother’s estate when he came to the city, and talked with him as if he were an equal, without any lordly condescension.” This healthy beginning manifested itself in her under the influence of her nanny - a simple Russian woman, Agafya Vlasyevna, who raised Lisa. Telling the girl poetic religious legends, Agafya interpreted them as a rebellion against the injustice reigning in the world. Influenced by these stories, Lisa youth She was sensitive to human suffering, sought the truth, and strived to do good. In her relationship with Lavretsky, she also seeks moral purity and sincerity. Since childhood, Lisa was immersed in the world of religious ideas and legends. Everything in the novel somehow imperceptibly, invisibly leads to the fact that she will leave the house and go to the monastery. Lisa’s mother, Marya Dmitrievna, predicts Panshin to be her husband. “...Panshin is simply crazy about my Lisa. Well? He has a good family name, serves well, is smart, well, a chamberlain, and if it is God’s will... for my part, as a mother, I will be very happy.” But Lisa does not have deep feelings for this man, and the reader feels from the very beginning that the heroine will not have a close relationship with him. She does not like his excessive straightforwardness in relationships with people, lack of sensitivity, sincerity, and some superficiality. For example, in the episode with the music teacher Lemm, who wrote a cantata for Lisa, Panshin behaves tactlessly. He unceremoniously talks about a piece of music that Lisa showed him in secret. “Lisa’s eyes, looking straight at him, expressed displeasure; her lips did not smile, her whole face was stern, almost sad: “You are absent-minded and forgetful, like all secular people, that’s all.” She is unpleasant that Lemm was upset because of Panshin’s indelicacy. She feels guilty before the teacher for what Panshin did and to which she herself has only an indirect connection. Lemm believes that “Lizaveta Mikhailovna is a fair, serious girl, with lofty feelings,” and he<Паншин>- amateur.<…>She doesn’t love him, that is, she is very pure in heart and doesn’t know what it means to love.<…>She can love one thing that is beautiful, but he is not beautiful, that is, his soul is not beautiful.” The heroine’s aunt Marfa Timofeevna also feels that “... Liza will not be with Panshin, she is not worth the kind of husband.” The main character of the novel is Lavretsky. After breaking up with his wife, he lost faith in the purity of human relationships, in female love, in the possibility of personal happiness. However, communication with Lisa gradually revives his former faith in everything pure and beautiful. He wishes the girl happiness and therefore inspires her that personal happiness is above all, that life without happiness becomes dull and unbearable. “Here is a new creature just entering life. Nice girl, will anything come of her? She's pretty too. A pale, fresh face, eyes and lips so serious, and a look pure and innocent. It's a pity, she seems a little enthusiastic. He is tall, he walks so easily, and his voice is quiet. I really love it when she suddenly stops, listens with attention without smiling, then thinks and throws back her hair. Panshin is not worth it.<…> But why was I daydreaming? She will also run along the same path that everyone else runs on...” - 35-year-old Lavretsky, who has experience of unsuccessful family relationships, talks about Lisa. Lisa sympathizes with the ideas of Lavretsky, in whom romantic dreaminess and sober positivity were harmoniously combined. She supports in his soul his desire for activities useful for Russia, for rapprochement with the people. “Very soon both he and she realized that they loved and did not love the same thing” 1. Turgenev does not trace in detail the emergence of spiritual intimacy between Lisa and Lavretsky, but he finds other means of conveying the rapidly growing and strengthening feeling. The history of the characters' relationships is revealed in their dialogues, with the help of subtle psychological observations and hints from the author. The writer remains true to his technique of “secret psychology”: he gives an idea of ​​the feelings of Lavretsky and Lisa mainly with the help of hints, subtle gestures, pauses saturated with deep meaning, and sparse but capacious dialogues. Lemm's music accompanies the best movements of Lavretsky's soul and the poetic explanations of the heroes. Turgenev minimizes the verbal expression of the characters’ feelings, but forces the reader to guess about their experiences by external signs: Lisa’s “pale face”, “she covered her face with her hands,” Lavretsky “bended at her feet.” The writer focuses not on what the characters say, but on how they speak. Almost every action or gesture reveals a hidden inner content 1 . Later, realizing his love for Lisa, the hero begins to dream about the possibility of personal happiness for himself. The arrival of his wife, mistakenly recognized as dead, put Lavretsky in a dilemma: personal happiness with Lisa or duty towards his wife and child. Lisa does not doubt one iota that he needs to forgive his wife and that no one has the right to destroy a family created by the will of God. And Lavretsky is forced to submit to sad but inexorable circumstances. Continuing to consider personal happiness the highest good in a person’s life, Lavretsky sacrifices it and bows to duty 2. Dobrolyubov saw the drama of Lavretsky’s position “not in the struggle against his own powerlessness, but in the clash with such concepts and morals, with which the struggle should really frighten even an energetic and courageous person” 3. Lisa is a living illustration of these concepts. Her image helps to reveal the ideological line of the novel. The world is imperfect. Accepting it means coming to terms with the evil that is happening around. You can close your eyes to evil, you can isolate yourself in your own little world, but you cannot remain human. There is a feeling as if well-being was purchased at the price of someone else's suffering. To be happy when there is someone suffering on earth is shameful. What an unreasonable thought and characteristic of the Russian consciousness! And a person is doomed to an uncompromising choice: selfishness or self-sacrifice? Having chosen correctly, the heroes of Russian literature renounce happiness and peace. The most complete version of renunciation is entering a monastery. It is precisely the voluntariness of such self-punishment that is emphasized - not someone, but something forces a Russian woman to forget about youth and beauty, to sacrifice her body and soul to the spiritual. The irrationality here is obvious: what is the use of self-sacrifice if it is not appreciated? Why give up pleasure if it doesn't harm anyone? But maybe joining a monastery is not violence against oneself, but a revelation of a higher human purpose? 1 Lavretsky and Lisa fully deserve happiness - the author does not hide his sympathy for his heroes. But throughout the entire novel, the reader is haunted by the feeling of a sad ending. The non-believer Lavretsky lives according to a classicist system of values, which establishes a distance between feeling and duty. Debt for him is not an internal need, but a sad necessity. Liza Kalitina opens a different “dimension” in the novel - vertical. If Lavretsky’s collision lies in the plane of “I” – “others,” then Lisa’s soul conducts an intense dialogue with the One on whom a person’s earthly life depends. In a conversation about happiness and renunciation, a gulf suddenly appears between them, and we understand that mutual feeling is too unreliable a bridge over this abyss. It's like they speak different languages. According to Lisa, happiness on earth depends not on people, but on God. She is sure that marriage is something eternal and unshakable, sanctified by religion and God. Therefore, she unquestioningly reconciles herself with what happened, because she believes that true happiness cannot be achieved at the cost of violating existing norms. And the “resurrection” of Lavretsky’s wife becomes the decisive argument in favor of this belief. The hero sees in this retribution for neglect of public duty, for the life of his father, grandfathers and great-grandfathers, for his own past. “Turgenev, for the first time in Russian literature, posed very subtly and imperceptibly the important and acute question of the church shackles of marriage” 2. Love, according to Lavretsky, justifies and sanctifies the desire for pleasure. He is sure that sincere, non-selfish love can help you work and achieve your goal. Comparing Lisa with his ex-wife, as he believed, Lavretsky thinks: “Liza<…>She herself would inspire me to honest, strict work, and we would both go forward towards a wonderful goal” 3. It is important that in these words there is no renunciation of personal happiness in the name of fulfilling one’s duty. Moreover, Turgenev in this novel shows that the hero’s refusal of personal happiness did not help him, but prevented him from fulfilling his duty. His lover has a different point of view. She is ashamed of the joy, the fullness of life that love promises her. “In every movement, in every innocent joy, Lisa anticipates sin, suffers for the misdeeds of others and is often ready to sacrifice her needs and desires as a sacrifice to someone else’s whim. She is an eternal and voluntary martyr. Considering misfortune to be a punishment, she bears it with submissive reverence” 1. In practical life, she retreats from all struggle. Her heart acutely feels the undeservedness, and therefore the illegality of future happiness, its catastrophe. Lisa does not have a struggle between feeling and duty, but there is call of Duty , which calls her away from worldly life, full of injustice and suffering: “I know everything, both my sins and those of others.<…> I need to pray for all this, I need to pray for it... something calls me back; I feel sick, I want to lock myself away forever.” It is not sad necessity, but an inescapable need that draws the heroine to the monastery. There is not only a heightened sense of social injustice, but also a sense of personal responsibility for all the evil that has happened and is happening in the world. Lisa does not have any thoughts about the injustice of fate. She is ready to suffer. Turgenev himself appreciates not so much the content and direction of Lisa’s thought as the height and greatness of her spirit - that height that gives her the strength to immediately break with her usual situation and familiar environment 2. “Lisa went to the monastery not only to atone for her sin of love for a married man; she wanted to make a cleansing sacrifice for the sins of her relatives, for the sins of her class” 3. But her sacrifice cannot change anything in a society where such vulgar people as Panshin and Lavretsky’s wife Varvara Pavlovna quietly enjoy life. Liza’s fate contains Turgenev’s verdict on society, which destroys everything pure and sublime that is born in it. No matter how much Turgenev admired Lisa’s complete lack of selfishness, her moral purity and fortitude, he, in Vinnikova’s opinion, condemned his heroine and in her person - all those who, having the strength for the feat, were, however, unable to accomplish it. Using the example of Lisa, who in vain ruined her life, which was so necessary for the Motherland, he convincingly showed that neither a cleansing sacrifice, nor a feat of humility and self-sacrifice committed by a person who misunderstood his duty can bring benefit to anyone. After all, the girl could have inspired Lavretsky to the feat, but did not do so. Moreover, it was precisely in the face of her false ideas about duty and happiness, supposedly depending only on God, that the hero was forced to retreat. Turgenev believed that “Russia now needs sons and daughters who are not only capable of feats, but also aware of what kind of feats the Motherland expects from them” 1 . So, by going to the monastery “the life of a young, fresh being, who had the ability to love, enjoy happiness, bring happiness to others and bring reasonable benefit in the family circle, ends. What broke Lisa? Fanatical fascination with a misunderstood moral duty. In the monastery, she thought of making a cleansing sacrifice, she thought of performing a feat of self-sacrifice. Lisa’s spiritual world is entirely based on the principles of duty, on complete renunciation of personal happiness, on the desire to reach the limit in the implementation of her moral dogmas, and the monastery turns out to be such a limit for her. The love that arose in Lisa's soul is, in the eyes of Turgenev, the eternal and fundamental mystery of life, which is impossible and does not need to be solved: such a solution would be sacrilege 2. Love in the novel is given a solemn and pathetic sound. The end of the novel is tragic due to the fact that happiness in Liza’s understanding and happiness in Lavretsky’s understanding are initially different 3. Turgenev's attempt to portray equal, full-fledged love in the novel ended in failure, separation - voluntary on both sides, personal catastrophe, accepted as something inevitable, coming from God and therefore requiring self-denial and humility 4. Lisa's personality is shaded in the novel by two female figures: Marya Dmitrievna and Marfa Timofeevna. Marya Dmitrievna, Liza’s mother, according to Pisarev’s characterization, is a woman without convictions, not accustomed to thinking; she lives only in secular pleasures, sympathizes with empty people, has no influence on her children; loves sensitive scenes and flaunts frayed nerves and sentimentality. This is an adult child in development 5. Marfa Timofeevna, the heroine's aunt, is smart, kind, gifted with common sense, insightful. She is energetic, active, speaks the truth, does not tolerate lies and immorality. “Practical meaning, softness of feelings with harshness of external treatment, merciless frankness and lack of fanaticism - these are the predominant features in the personality of Marfa Timofeevna...” 1. Her spiritual make-up, her character, truthful and rebellious, much of her appearance is rooted in the past. Her cold religious enthusiasm is perceived not as a feature of contemporary Russian life, but as something deeply archaic, traditional, coming from some depths of folk life. Among these female types, Lisa appears to us most fully and in better light . Her modesty, indecision and bashfulness are set off by the harshness of her judgments, courage and pickiness of her aunt. And the mother’s insincerity and affectation sharply contrast with the daughter’s seriousness and concentration. There could not be a happy outcome in the novel, because the freedom of two loving people was constrained by insurmountable conventions and age-old prejudices of the society of that time. Unable to renounce the religious and moral prejudices of her environment, Lisa renounced happiness in the name of a falsely understood moral duty. Thus, “The Noble Nest” also reflected the negative attitude of Turgenev the atheist towards religion, which instilled in a person passivity and submission to fate, lulled critical thought and led him into the world of illusory dreams and unrealizable hopes 2 . Summarizing all of the above, we can draw conclusions about the main ways in which the author creates the image of Lisa Kalitina. Of great importance here is the author’s narration about the origins of the heroine’s religiosity and the ways of developing her character. Portrait sketches, reflecting the softness and femininity of the girl, also occupy a significant place. But the main role belongs to the small but meaningful dialogues between Lisa and Lavretsky, in which the image of the heroine is revealed to the maximum. The characters' conversations take place against the backdrop of music that poetizes their relationships and their feelings. The landscape plays an equally aesthetic role in the novel: it seems to connect the souls of Lavretsky and Lisa: “for them the nightingale sang, and the stars burned, and the trees quietly whispered, lulled by sleep, and the bliss of summer, and warmth.” The author's subtle psychological observations, subtle hints, gestures, meaningful pauses - all this serves to create and reveal the image of the girl. I doubt that Lisa can be called a typical Turgenev girl - active, capable of self-sacrifice for the sake of love, possessing self-esteem, strong will and strong character. We can admit that the heroine of the novel has determination - leaving for a monastery, breaking with everything that was dear and close is evidence of this. The image of Liza Kalitina in the novel serves as a clear example of the fact that giving up personal happiness does not always contribute to universal happiness. It is difficult to disagree with the opinion of Vinnikova, who believes that Lisa’s sacrifice, which went to the monastery, was in vain. Indeed, she could become Lavretsky’s muse, his inspirer, and encourage him to do many good deeds. It was, to a certain extent, her duty to society. But Lisa preferred an abstract one to this real duty - having withdrawn from practical affairs into a monastery, “atone” for her sins and the sins of those around her. Her image is revealed to readers in faith, in religious fanaticism. She is not a truly active person; in my opinion, her activity is imaginary. Perhaps, from a religious point of view, the girl’s decision to enter a monastery and her prayers have some significance. But in real life real action is required. But Lisa is not capable of them. In her relationship with Lavretsky, everything depended on her, but she chose to submit to the demands of moral duty, which she misunderstood. Lizaveta is sure that true happiness cannot be achieved at the cost of violating existing norms. She is afraid that her possible happiness with Lavretsky will cause someone else's suffering. And, according to the girl, it is shameful to be happy when there is someone suffering on earth. She makes her sacrifice not in the name of love, as she thinks, but in the name of her views, faith. It is this circumstance that is decisive for determining Liza Kalitina’s place in the system female images created by Turgenev.

Plot of the novel In the center of the novel is the story of Lavretsky, taking place in 1842 in the provincial town of O., the epilogue tells what happened to the heroes eight years later. But in general, the scope of time in the novel is much wider - the backstories of the characters lead to the last century and to different cities: the action takes place on the estates of Lavriki and Vasilyevskoye, in St. Petersburg and Paris. Time also “jumps”. At the beginning, the narrator indicates the year when “the thing happened,” then, telling the story of Marya Dmitrievna, he notes that her husband “died ten years ago,” and fifteen years ago, “he managed to win her heart in a few days.” A few days and a decade turn out to be equivalent in retrospect to the character's fate. Thus, “the space where the hero lives and acts is almost never closed - behind him one sees, hears, lives Rus'...”, the novel shows “only a part of his native land, and this feeling permeates both the author and his heroes ". The destinies of the main characters of the novel are included in the historical and cultural situation of Russian life at the end of the 18th century. half of the 19th century V. The backstories of the characters reflect the connection of times with the characteristics of life, national structure, and morals characteristic of different periods. A relationship between the whole and the part is created. The novel shows the flow of life events, where everyday life is naturally combined with tirades and secular debates on social and philosophical topics (for example, in Chapter 33). The personalities represent different groups of society and different currents of social life, the characters appear not in one, but in several detailed situations and are included by the author in a period longer than one human life. This is required by the scale of the author’s conclusions, generalizing ideas about the history of Russia. The novel presents Russian life more broadly than the story and touches on a wider range of social issues. In the dialogues in “The Noble Nest,” the characters’ remarks have a double meaning: the word in its literal meaning sounds like a metaphor, and the metaphor unexpectedly turns out to be a prophecy. This applies not only to the lengthy dialogues between Lavretsky and Lisa, discussing serious worldview issues: life and death, forgiveness and sin, etc. before and after the appearance of Varvara Pavlovna, but also to the conversations of other characters. have seemingly simple, minor cues. For example, Liza’s explanation with Marfa Timofeevna: “And you, I see, were tidying up your cell again.” “What word did you say!” Lisa whispered...” These words precede the heroine’s main announcement: “I want to go to a monastery.”

Plot of the novel

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

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

Upon returning home to Russia, Lavretsky visits his cousin, Maria Dmitrievna Kalitina, who lives with her two daughters - Liza and Lenochka. Lavretsky immediately becomes interested in Liza, whose serious nature and sincere dedication to the Orthodox faith give her great moral superiority, strikingly different from Varvara Pavlovna's flirtatious behavior to which Lavretsky is so accustomed. Gradually, Lavretsky realizes that he is deeply in love with Lisa, and 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, a 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 foyer. As it turns out, the advertisement in the magazine was given by mistake, and Varvara Pavlovna’s salon is going out of fashion, and now Varvara needs the money she demands from Lavretsky.

Having learned about the sudden appearance of the living Varvara Pavlovna, Lisa decides to go to a remote monastery and lives the rest of her days as a monk. Lavretsky visits her in the monastery, seeing her in those short moments when she appears for moments between services. The novel ends with an epilogue, which takes place eight years later, from which it also becomes known that Lavretsky returns to Lisa’s house. There he, after the passing years, despite many changes in the house, sees the piano and the garden in front of the house, which he remembered so much because of his communication with Lisa. Lavretsky lives with his memories, and sees some meaning and even beauty in his personal tragedy.

Accusation of plagiarism

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

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

Film adaptations

	"Noble Nest" in Wikiquote
	in Wikisource

The novel was filmed in 1914 by V. R. Gardin and in 1969 by Andrei Konchalovsky. In the Soviet film, the main roles were played by Leonid Kulagin and Irina Kupchenko. See Nobles' Nest (film).

Notes

Ivan Sergeevich Turgenev
Novels
Stories and stories
Dramaturgy	Lack of money Where it is thin, there it is torn Freeloader Breakfast at the leader Bachelor A month in the village Provintsialka
Other	Poems in prose Literary and everyday memories
Characters
Related articles

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See what “Noble Nest” is in other dictionaries: Noble Nest

See what “Noble Nest” is in other dictionaries:- (Smolensk, Russia) Hotel category: 3 star hotel Address: Microdistrict Yuzhny 40 ... Hotel catalog

NOBLE NEST, USSR, Mosfilm, 1969, color, 111 min. Melodrama. Based on the novel of the same name by 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 socio-cultural consciousness.... ... Encyclopedia of Cinema

Noble Nest- Outdated. About a noble family, an estate. The noble nest of the Parnachevs was one of the endangered ones ( 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. Turgeneva*. Written in 1858, published in 1859. The main character of the novel is a wealthy landowner (see nobleman*) Fyodor Ivanovich Lavretsky. The main story line. Disappointed in his marriage to the secular beauty Varvara... ... Linguistic and regional dictionary

NOBLE NEST- for many years the only elite house in all of Odessa, located in what is still the most prestigious area of ​​the city on French Boulevard. Separated by a fence, with a line of garages, a house with huge independent apartments, front doors... ... Large semi-interpretive dictionary of the Odessa language

1. Unlock Outdated About a noble family, an estate. F 1, 113; Mokienko 1990.16. 2. Jarg. school Joking. Teacher's room. Nikitina 1996, 39. 3. Jarg. Morsk. Joking. iron. The forward superstructure on the ship where the command staff lives. BSRG, 129. 4. Zharg. they say Luxury housing (house… Big dictionary Russian sayings

As usual, Gedeonovsky was the first to bring the news of Lavretsky’s return to the Kalitins’ house. Maria Dmitrievna, the widow of a former provincial prosecutor, who at fifty years old has retained a certain pleasantness in her features, favors him, and her house is one of the nicest 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 invent and talkativeness. Why, a popovich, even though he is a state councilor.

However, it is generally difficult to please Marfa Timofeevna. Well, she doesn’t like Panshin either - everyone’s favorite, an enviable groom, the first gentleman. Vladimir Nikolaevich plays the piano, composes romances based on his own words, draws well, and recites. He is a completely secular person, educated and dexterous. In general, he is a St. Petersburg official on special assignments, a chamber cadet who arrived in O... on some kind of mission. He visits the Kalitins for the sake of Lisa, Maria Dmitrievna’s nineteen-year-old daughter. And it looks like his intentions are serious. But Marfa Timofeevna is sure: her favorite is not worth such a husband. Panshin and Lizin are rated low by music teacher Christopher Fedorovich Lemm, a middle-aged, unattractive and not very successful German, secretly in love with his student.

The arrival of Fyodor Ivanovich Lavretsky from abroad is a notable event for the city. His story passes from mouth to mouth. In Paris, he accidentally caught his wife cheating. Moreover, after the breakup, the beautiful Varvara Pavlovna gained scandalous European fame.

The inhabitants of the Kalitino house, however, did not think that he looked like a victim. He still exudes steppe health and lasting strength. Only the fatigue is visible in the eyes.

Actually, Fyodor Ivanovich is a strong breed. His great-grandfather was a tough, daring, smart and crafty man. The great-grandmother, a hot-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 raised, 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 mentor poured it entirely into his head, where it remained, without mixing with the blood, without penetrating into the soul.

Upon returning to his parents, Ivan found his home dirty and wild. This did not stop him from paying attention to Mother Malanya’s maid, a very pretty, intelligent and meek girl. A scandal broke out: Ivan’s father deprived him of his inheritance, and ordered the girl to be sent to a distant village. Ivan Petrovich recaptured Malanya on the way and married her. Having arranged a young wife with the Pestov relatives, Dmitry Timofeevich and Marfa Timofeevna, he himself went to St. Petersburg, and then abroad. Fedor was born in the village of Pestov on August 20, 1807. Almost a year passed before Malanya Sergeevna was able to appear with her son at the Lavretskys. And that’s only because Ivan’s mother, before her death, asked the stern Pyotr Andreevich for her son and daughter-in-law.

The baby's happy father finally returned to Russia only twelve years later. Malanya Sergeevna had died by this time, and the boy was raised by his aunt Glafira Andreevna, ugly, envious, unkind and domineering. Fedya was taken away from his mother and given to Glafira while she was still alive. He did not see his mother every day and loved her passionately, but he vaguely felt that there was an indestructible barrier between him and her. Fedya was afraid of Auntie and didn’t dare make a murmur in front of her.

Having returned, Ivan Petrovich himself began raising his son. Dressed him in Scottish clothes and hired a porter for him. Gymnastics, natural sciences, international law, mathematics, carpentry and heraldry formed the core of the educational system. They woke the boy up at four in the morning; having doused them with cold water, they forced them to run around a pole on a rope; fed once a day; taught to ride a horse and shoot 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 at the age of twenty-three entered the university. The strange upbringing bore fruit. He didn’t know how to get along with people, he didn’t dare look into the eyes of a single woman. He became friends only with Mikhalevich, an enthusiast and poet. It was this Mikhalevich who introduced his friend to the family of the beautiful Varvara Pavlovna Korobina. The twenty-six-year-old child only now understood why life was worth living. Varenka was charming, smart and well-educated, she could talk about the theater, and played the piano.

Six months later, the young people arrived in Lavriki. The university was left (not to marry a student), and a happy life began. Glafira was removed, and General Korobin, Varvara Pavlovna’s dad, arrived in the place of the manager; and the couple drove off to St. 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 addressed to his wife, whom he trusted so blindly, fell into Lavretsky’s hands. At first he was seized with rage, a desire to kill both of them (“my great-grandfather hung men by the ribs”), but then, having ordered a letter about the annual allowance for 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 I learned that he had a daughter. Indifference to everything appeared. And yet, after four years, he wanted to return home, to the city of O..., but he did not want to settle in Lavriki, where he and Varya spent their first happy days.

From the very first meeting, Lisa attracted his attention. He noticed Panshin and her nearby. Maria Dmitrievna did not hide the fact that the chamber cadet was crazy about her daughter. Marfa Timofeevna, however, still believed that Liza should not follow Panshin.

In Vasilievskoye, Lavretsky examined the house, garden with a pond: the estate had managed to run wild. The silence of a leisurely, solitary life surrounded him. And what strength, what health there was in this inactive silence. The days passed monotonously, but he was not bored: he did housework, rode horseback, and read.

Three weeks later I went to O... to the Kalitins. I found Lemma there. 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 Vasilievsky, the conversation about poetry and music imperceptibly turned into a conversation about Liza and Panshin. Lemm was categorical: she doesn’t love him, she just listens to her mother. Lisa 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 separation from his wife: how can one break off what God has united? You must forgive. She is sure that one must forgive and submit. This was taught to her as a child by her nanny Agafya, who told her the life of the Most Pure Virgin, the lives of saints and hermits, and took her to church. Her own example fostered humility, meekness and a sense of duty.

Unexpectedly, Mikhalevich appeared in Vasilyevskoye. 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, / I 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. This means building on sand. You need faith, and without it Lavretsky is a pitiful Voltairian. No faith - no revelation, no understanding of what to do. He needs a pure, unearthly being who will tear him out of his apathy.

After Mikhalevich, the Kalitins arrived in Vasilyevskoye. The days passed joyfully and carefree. “I speak to her as if I were not an obsolete person,” Lavretsky thought about Lisa. As he saw off their carriage on horseback, he asked: “Aren’t we friends now?..” She nodded in response.

The next evening, while 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 already 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 need to think about this now, but about forgiveness...” she objected and at the end of the conversation she reciprocated with the same trust: Panshin asks for her hand. She is not at all in love with him, but she is ready to listen to her mother. Lavretsky begged Lisa to think about it, not to marry 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 his wife’s death. And Lisa, when asked if she decided to give an answer to Panshin, said that she knew nothing. She doesn't know herself.

One summer evening in the living room, Panshin began to reproach the new generation, saying that Russia had fallen behind Europe (we didn’t even invent mousetraps). He spoke beautifully, but with secret bitterness. Lavretsky suddenly 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 thing, but Lisa secretly hoped to lead him to God. Embarrassment last days disappeared.

Everyone gradually dispersed, and Lavretsky quietly went out into the night garden and sat down on a bench. Light appeared in the lower windows. It was Lisa walking with a candle in her hand. He quietly called her and, sitting her down under the linden trees, said: “... It brought me here... I love you.”

Returning through the sleepy streets, full of joyful feelings, he heard the wonderful sounds of music. He turned to where they were rushing from and called: Lemm! The old man appeared at the window and, recognizing him, threw 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 perfume, and there were trunks standing right there. Having crossed the threshold of the living room, he saw his wife. Confusedly 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 Lavriki, but never count on renewing the relationship. Varvara Pavlovna was all submission, but on the same day she visited the Kalitins. The final explanation between Liza and Panshin had already taken place there. Maria Dmitrievna was in despair. Varvara Pavlovna managed to occupy and then win her over, hinting that Fyodor Ivanovich had not completely deprived her of “his presence.” Lisa received Lavretsky’s note, and the meeting with his wife was not a surprise for her (“Serves me right”). She was stoic in the presence of the woman whom “he” had once loved.

Panshin appeared. Varvara Pavlovna immediately found the tone with him. She sang a romance, talked about literature, about Paris, and occupied herself with half-secular, half-artistic chatter. When parting, Maria Dmitrievna expressed her readiness to try to reconcile her with her husband.

Lavretsky reappeared in the Kalitin house when he received a note from Lisa inviting him to come see them. He immediately went up to Marfa Timofeevna. She found an excuse to leave him and Lisa alone. The girl came to say that they had only to do their duty. Fyodor Ivanovich must make peace with his wife. Doesn’t he now see for himself: happiness depends not on people, but on God.

When Lavretsky was going downstairs, the footman invited him to Marya Dmitrievna. She started talking about his wife’s repentance, asked to forgive her, and then, offering to accept her from hand to hand, she brought 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 agreement violated if she allowed herself to leave Lavriki.

The next morning he took his wife and daughter to Lavriki and a week later he left for Moscow. And a day later Panshin visited Varvara Pavlovna and stayed for three days.

A year later, news reached Lavretsky that Lisa had taken monastic vows in a monastery in one of the remote regions of Russia. After some time, he visited this monastery. Lisa walked close to him and didn’t look, only her eyelashes trembled slightly and her fingers holding the rosary clenched even more tightly.

And Varvara Pavlovna very soon moved to St. Petersburg, then to Paris. A new admirer appeared near her, a guardsman of unusually strong build. She never invites him to her fashionable evenings, but otherwise he enjoys her favor completely.

Eight years have passed. Lavretsky again visited O... The older inhabitants of the Kalitino house had already died, and youth reigned here: Lisa’s younger sister, Lenochka, and her fiancé. It was fun and noisy. Fyodor Ivanovich walked through all the rooms. There was the same piano in the living room, the same embroidery frame 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 tormenting, although the turning point had already taken place in him, without which it is impossible to remain a decent person: he stopped thinking about his own happiness.

Retold

The novel “The Noble Nest” by Turgenev was written in 1858 and 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 thoughts 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 calculating person.

Lisa Kalitina- the eldest daughter of Marya Dmitrievna, a pure and deeply decent girl.

Other characters

Marya Dmitrievna Kalitina- widow, sensitive woman.

Marfa Timofeevna Pestova- Maria Dmitrievna’s dear aunt, an honest and independent woman.

Lena Kalitina- youngest daughter of Marya Dmitrievna.

Sergei Petrovich Gedeonovsky- State Councilor, friend of the Kalitin family

Vladimir Nikolaevich Panshin- a handsome young man, an official.

Christopher Fedorovich Lemm- old music teacher of the Kalitin sisters, German.

Ada- daughter of Varvara Pavlovna and Fyodor Ivanovich.

Chapters I-III

On “one of the outer streets of the provincial town of O...” there is a 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 being brought up in one of the best educational institutions in St. Petersburg, and two daughters live with her.

Marya Dmitrievna’s company is kept by her own aunt, her father’s sister, Marfa Timofeevna Pestova, who “had an independent disposition and told everyone the truth to their faces.”

Sergei Petrovich Gedeonovsky, a good friend of the Kalitin family, says that Fyodor Ivanovich Lavretsky, whom he “personally saw,” returned to the city.

Due to some ugly story with his wife, the young man was forced to leave his hometown and go abroad. But now he has returned and, according to Gedeonovsky, he has begun to look even better - “his shoulders are even broader, and his cheeks are flushed.”

A handsome young rider on a hot horse gallops dashingly towards the Kalitins' house. Vladimir Nikolaevich Panshin easily pacifies the zealous stallion and allows Lena to stroke 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 “gained a reputation as one of the most amiable and dexterous young men in St. Petersburg.” He was sent to the town of O. on service matters, and in the Kalitins’ house he managed to become his own man.

Panshin performs his new romance to those present, which they find delightful. Meanwhile, an old music teacher, Monsieur Lemme, comes to the Kalitins. His whole appearance shows that Panshin’s music did not make any impression on him.

Christopher Fedorovich Lemm was born into a family of poor musicians, and at the age of “eight years old he was orphaned, and at ten he began to earn a piece of bread for himself with his art.” He traveled a lot, wrote beautiful music, but was never able to become famous. Fearing poverty, Lemm agreed to lead the orchestra of a Russian gentleman. So he ended up in Russia, where he settled firmly. Christopher Fedorovich “alone, with an old cook he took from an almshouse” lives in small house, earning a living by giving private music lessons.

Lisa accompanies Lemm, who has finished his lesson, to the porch, where she meets a tall, stately stranger. He 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 everyone present.

Leaving the Kalitins' house, Panshin declares his love to Liza.

Chapters VIII-XI

Fyodor Ivanovich “descended from an old noble tribe.” His father, Ivan Lavretsky, fell in love with a courtyard girl and married her. Having received a diplomatic position, he went to London, where he learned about the birth of his son Fedor.

Ivan’s parents softened their anger, made peace with their son and accepted a rootless daughter-in-law and their one-year-old son into their home. After the death of the old people, the master almost did not do housework, and the house was managed by his elder sister Glafira, an arrogant and domineering old maid.

Having become closely involved in raising his son, Ivan Lavretsky set himself the goal of making a real Spartan out of a frail, lazy boy. They woke him up at 4 o'clock in the morning, doused him with cold water, forced him to do intensive gymnastics, and restricted him in food. Such measures had a positive effect on Fedor’s health - “at first he caught a fever, but soon recovered and became a young man.”

Fyodor's adolescence passed under the constant oppression of his oppressive father. Only at the age of 23, after the death of his parent, was the young man able to breathe deeply.

Chapters XII-XVI

Young Lavretsky, fully aware of the “shortcomings of his upbringing,” went to Moscow and entered the university in the physics and mathematics department.

The unsystematic and contradictory upbringing of his father played a role in Fedor cruel joke: “he didn’t know how to get along with people,” “he had never dared to look a single woman in the eye,” “he didn’t know a lot of things that every high school student has known for a long time.”

At the university, the withdrawn and unsociable Lavretsky made friends with 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 embezzlement of government money, was forced to move with his family from St. Petersburg to “Moscow for cheap bread.” By that time, Varvara had graduated from the Institute for Noble Maidens, where she was known as the best student. She adored the theater and tried to often attend performances, where Fyodor 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, Fyodor “was blissful, reveling in happiness.” Varvara Pavlovna skillfully got Glafira out of her own house, and the empty position of estate manager was immediately taken by her father, who dreamed of getting his hands on the estate of his rich son-in-law.

Having moved to St. Petersburg, the newlyweds “traveled and received a lot, gave the most delightful music and dance parties,” at which Varvara Pavlovna shone in all her splendor.

After the death of their first-born, the couple, on the advice of doctors, went to the waters, then to Paris, where Lavretsky accidentally learned about his wife’s infidelity. The betrayal of a loved one greatly undermined him, but he found the strength to tear the image of Varvara out of his heart. The news of the birth of his daughter did not soften him either. Having assigned 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. Having learned 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 there is great desolation 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 Vasilyevskoye, and not in the rich Lavriki. However, Fyodor 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.”

After some time, he visits the Kalitins, where he makes friends with the old man Lemm. Fyodor, who “passionately loved music, sensible, classical music,” shows sincere interest in the musician and invites him to stay with him for a while.

Chapters XXII-XXVIII

On the way to Vasilyevskoye, Fyodor invites Lemm to compose an opera, to which the old man replies that he is too old for this.

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 and Lisa.” Lemm does not hide his annoyance, because he is sure that the young official is not worthy of such a wonderful girl as Lisa.

Fyodor offers 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 Lisa. The girl is “afraid of making him angry,” but, plucking up courage, she asks about the reasons for separating from his wife. Fyodor tries to explain to her the baseness of Varvara’s act, to which Lisa replies that he must certainly forgive her and forget about the betrayal.

Two days later, Marya Dmitrievna and her daughters come to visit Fyodor. The widow considers her visit “a sign of great condescension, almost good deed". On the occasion of the arrival of his favorite student Lisa, Lemm composes a romance, but the music turns out to be “confusing and unpleasantly tense,” which greatly upsets the old man.

In the evening they gather “to go fishing with the whole community.” At the pond, Fyodor talks with Lisa. He feels “the need to talk to Lisa, to tell her everything that came into his soul.” This surprises him, because before this he considered himself a complete man.

As dusk falls, Marya Dmitrievna gets ready to go home. Fyodor volunteers to escort his guests. On the way, he continues to talk with Lisa, and they part as friends. During the evening reading, Lavretsky notices “in the feuilleton of one of the newspapers” a message about the death of his wife.

Lemme is going home. Fyodor goes with him and stops by the Kalitins, where he secretly gives the magazine with the obituary to Lisa. 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 doesn’t like him, and Pashin speaks of him not at all flatteringly.

While walking along the alley, Lisa asks how Fyodor reacted to the death of his wife, to which he honestly replies that he was practically not upset. He hints to the girl that meeting her has touched deeply dormant strings in him.

Lisa admits that she received a letter from Pashin proposing marriage. She doesn't know what to answer because she doesn't love him at all. Lavretsky begs the girl not to rush into an answer and not to rob “herself of the best, the only happiness on earth” - to love and be loved.

In the evening, Fyodor again goes to the Kalitins to find out about Lisa’s decision. The girl tells him that she did not give Panshin a definite answer.

As an adult, mature man, Lavretsky is aware that he is in love with Lisa, but “this conviction did not bring him much joy.” He does not dare hope for the girl’s reciprocity. In addition, he is tormented by the painful anticipation of official news of his wife’s death.

Chapters XXXIII-XXXVII

In the evening at the Kalitins’, Panshina begins to talk at length about “how he would have turned everything his 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 his opponent’s arguments. Fyodor is supported by Lisa in everything, since Panshin’s theories scare her.

A declaration of love takes place between Lavretsky and Lisa. Fedor does not believe his luck. He follows the sounds of unusually beautiful music and finds out that it is Lemm playing his work.

The next day after declaring his love, the happy Lavretsky comes to the Kalitins, but for the first time in all his time they do not accept him. He returns home and sees a woman in a “black silk dress with frills,” whom he recognizes with horror as his wife Varvara.

With tears in his eyes, his wife asks him for forgiveness, promising to “sever all ties with the past.” However, Lavretsky does not believe Varvara’s feigned tears. Then the woman begins to manipulate Fyodor, appealing to his paternal feelings and showing him his daughter Ada.

In complete confusion, Lavretsky wanders the streets and comes to Lemm. Through the musician, he passes a note to Lisa 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.

Fyodor returns home and can hardly stand the 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 of Varvara Pavlovna’s return, Lisa has a painful explanation with Panshin. She refuses an eligible groom, which greatly upsets her mother.

Marfa Timofeevna comes into 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 a reception with the Kalitins, Varvara Pavlovna manages to charm Marya Dmitrievna with stories about Paris and appease her with a bottle of fashionable perfume.

Having learned about the arrival of Fyodor Petrovich’s wife, Lisa is sure that this is a punishment for all her “criminal hopes.” The sudden change in fate shocks her, but she “didn’t 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 dinner, and Varvara Pavlovna, who was bored, instantly perks up. She charms a young man while singing a romance together. And even Lisa, “to whom he had offered his hand the day before, disappeared as if in a fog.”

Varvara Pavlovna does not hesitate to try her charms even on old man Gedeonovsky in order to finally win the place of the first beauty in the district town.

Chapters XLI-XLV

Lavretsky does not find a place for himself in the village, tormented by “incessant, impetuous and powerless 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 carriage and sets off for the city.

Having learned that Varvara Pavlovna went to the Kalitins, he hurries there. Climbing the back stairs to Marfa Timofeevna, he asks her for a date with Liza. The unhappy girl begs him to make peace with his wife for the sake of his daughter. Parting forever, Fyodor asks to give him a scarf as a souvenir. A footman enters and conveys to Lavretsky Marya Dmitrievna’s request to urgently come to her.

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 relentless. He sets a condition for his wife - she must live in Lavriki without a break, and he will observe all external decency. If Varvara Petrovna leaves the estate, this agreement can be considered terminated.

Hoping to see Lisa, Fyodor Ivanovich goes to church. The girl doesn’t want to talk to him about anything and asks him to leave her. The Lavretskys go to the estate, and Varvara Pavlovna vows to her husband to live quietly in the wilderness for the sake of a happy future for her daughter.

Fyodor Ivanovich goes to Moscow, and the very next day after leaving, Panshin appears in Lavriki, “whom Varvara Pavlovna asked not to forget her in solitude.”

Lisa, despite the pleas of her family, makes a firm decision to enter a 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 took monastic vows 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 grown 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 - theater. Fyodor Ivanovich became an excellent owner and managed to do a lot for his peasants.

Marfa Timofeevna and Marya Dmitrievna died long ago, but the Kalitin house was not empty. He even “seemed to have become younger” when carefree, blooming youth settled in him. Lenochka, who had grown up, was getting ready to get married; her brother came from St. Petersburg with his young wife and her sister.

One day the Kalitins are visited by the aged Lavretsky. He wanders around the garden for a long time, and 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 clenched fingers can one understand that she recognized Fyodor Ivanovich.

Conclusion

History is at the center of I. S. Turgenev’s novel tragic love Fedora and Lisa. The impossibility of personal happiness and 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.yu

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