Ivan Sergeevich Turgenev created his novel "On the Eve" in 1859. A year later, the work was published. Despite the remoteness of the events described in it, the novel remains in demand today. How does it attract the modern reader? Let's try to understand this issue.
History of creation
In the 1850s, Turgenev, who supported the views of the liberal democrats, began to think about the possibility of creating such a hero whose positions would be quite revolutionary, but at the same time would not conflict with his own. The embodiment of this idea would allow him to avoid the ridicule of his more radical colleagues at Sovremennik. His understanding of the inevitability of a generational change in progressive Russian circles was already clearly expressed in the epilogue to The Noble Nest and was reflected in the work Rudin.
In 1856, the landowner Vasily Karateev, a neighbor of the great writer in the Mtsensk district, left notes to Turgenev that served as a manuscript of an autobiographical story. It was a story about the author's unhappy love for a girl who left him for a Bulgarian student from Moscow University.
A little later, scientists from several countries conducted research, as a result of which the identity of this character was established. Nikolay Katranov turned out to be Bulgarian. He came to Russia in 1848, enrolling here at Moscow University. The girl fell in love with the Bulgarian, and together they went to his homeland in the town of Svishtov. However, all the plans of the lovers were canceled out by a fleeting illness. The Bulgarian contracted consumption and soon died. However, the girl, despite the fact that she was left alone, never returned to Karateev.
The author of the manuscript went to the Crimea to serve as an officer of the noble militia. He left his work to Turgenev and offered to process it. Already 5 years later, the writer began to create his novel "On the Eve". The manuscript left by Karateev, who had already died by that time, served as the basis for this work.
Shubin and Bersenev
The plot of the novel "On the Eve" by Turgenev begins with a dispute. It is led by two young men - sculptor Pavel Shubin and scientist Andrei Bersenev. The topic of the controversy concerns nature and the place of man in it.
I. S. Turgenev introduces his heroes to the reader. One of them is Andrei Pavlovich Bersenev. This young man is 23 years old. He has just graduated from Moscow University and is dreaming of starting an academic career. The second young man, Pavel Yakovlevich Shubin, is waiting for art. The young man is a budding sculptor.
Their dispute about the nature and place of man in it did not arise by chance. Bersenev is struck by its completeness and self-sufficiency. He is sure that nature outshines people. And these thoughts cause sadness and anxiety in him. According to Shubin, it is necessary to live life to the fullest and not reflect on this. He recommends that his friend get distracted from sad thoughts by making a friend of his heart.
After that, the conversation of young people turns into an ordinary course. Bersenev reports that he recently saw Insarov and wishes him to get to know Shubin and the Stakhov family. They are in a hurry to return to the dacha. You can't be late for dinner. Pavel's aunt, Anna Vasilievna Stakhova, will be extremely unhappy with this. But it was thanks to this woman that Shubin had the opportunity to do his favorite thing - sculpting.
Stakhov Nikolay Artemievich
What does the summary of "On the Eve" given in the article tell us about? Turgenev introduces his reader to a new character. Nikolai Artemyevich Stakhov is the head of the family, who from a young age dreamed of a profitable marriage. At 25, his plans came true. He married Anna Vasilievna Shubina. But soon Stakhov got a mistress - Augustina Christianovna. Both the one and the other women have already bored Nikolai Artemyevich. But he does not break his vicious circle. The wife tolerates his infidelity, despite the mental pain.
Shubin and Stakhovs
What else becomes known to us from the summary of "On the Eve"? Turgenev tells his reader that Shubin has been living with the Stakhov family for almost five years. He moved here after the death of his mother, a kind and intelligent French woman. Paul's father died before her.
Shubin does his job with great zeal, but in fits and starts. At the same time, he does not even want to hear about the academy and the professors. And despite the fact that in Moscow they believe that the young man shows great promise, he still could not do anything outstanding.
Here I.S.Turgenev introduces us to the main character of his novel - Elena Nikolaevna. This is Stakhov's daughter. She really likes Shubin, but the young man does not miss the opportunity to flirt with the 17-year-old plump Zoya, who is Elena's companion. Stakhov's daughter is not able to understand such a contradictory personality. She is outraged by the lack of character in any person and is angry at stupidity. In addition, the girl never forgives a lie. Anyone who has lost respect simply ceases to exist for her.
The image of Elena Nikolaevna
The review of the novel "On the Eve" by Turgenev speaks of this girl as an extraordinary nature. She is only twenty years old. She is stately and attractive. The girl has gray eyes and a dark blond braid. However, there is something impetuous and nervous in her appearance that not everyone likes.
Elena Nikolaevna's soul strives for virtue, but nothing can satisfy her. Since childhood, the girl was interested in animals, as well as sick, poor and hungry people. Their situation worried her soul. At the age of 10, Elena met a beggar girl named Katya and began to take care of her, making her a kind of object of her worship. Parents did not approve of this hobby. But Katya died, leaving an indelible mark on Elena's soul.
From the age of 16, the girl considered herself lonely. She lived an independent life, not constrained by anyone, believing that she had no one to love. In the role of her husband, she could not imagine Shubin in any way. After all, this young man was distinguished by inconstancy.
Bersenyev attracted Elena. She saw in him an intelligent, educated and deep person. But Andrei constantly and persistently told her about Insarov, a young man obsessed with the idea of liberating his homeland. This aroused Elena's interest in the personality of the Bulgarian.
Dmitry Insarov
We can also find out the story of this hero from the summary of "On the Eve". Turgenev told his reader that the boy's mother had been kidnapped and then killed by a Turkish aga. Dmitry was still a child then. The boy's father decided to avenge his wife, for which he was shot. At the age of eight, Insarov was left an orphan, and his aunt, who lived in Russia, took him to her.
At the age of 20, he returned to his homeland and in two years traveled the country far and wide, having studied it well. Dmitry was in danger more than once. During his travels he was persecuted. Bersenyev said that he himself saw a scar on the body of a friend, which remained at the site of the wound. However, the author of the novel indicates that Dmitry does not at all want to take revenge on the age. The goal pursued by the young man is more extensive.
Insarov, like all students, is poor. At the same time, he is proud, scrupulous and undemanding. He is distinguished by his enormous capacity for work. The hero studies law, Russian history and political economy. He is engaged in the translation of Bulgarian chronicles and songs, compiling the grammar of the native language for Russians, and Russian for his people.
Elena's love for Insarov
Dmitry, already during his first visit to the Stakhovs, made a strong impression on the girl. The courageous character traits of the young man were confirmed by an incident that happened soon. We can learn about him from the summary of Turgenev's "On the Eve".
Once Anna Vasilyevna came up with the idea to show her daughter and Zoya the beauty of Tsaritsyn. They went there in a large company. The ponds, the park, the ruins of the palace - all this made a great impression on Elena. During the walk, a man of impressive height approached them. He began to demand a kiss from Zoe, which would serve as compensation for the fact that the girl did not respond to applause during her beautiful singing. Shubin tried to protect her. However, he did it in an ornate manner, trying to admonish a drunken impudent person. His words only angered the man. And here Insarov stepped forward. He in a demanding manner invited the drunk to leave. The man did not listen and leaned forward. Then Insarov lifted him up and threw him into the pond.
Further, Turgenev's novel tells us about Elena's feeling. The girl admitted to herself that she loved Insarov. That is why the news that Dmitry was leaving the Stakhovs was a shock for her. Only Bersenyev understands the reason for such a sudden departure. After all, once his friend admitted that he would leave if he fell in love. Personal feelings should not be an obstacle to his duty.
Declaration of love
After her confession, Insarov clarified whether Elena was ready to follow him and accompany him everywhere? To this the girl answered him in the affirmative. And then the Bulgarian invited her to become his wife.
First difficulties
The beginning of the joint journey of the main characters of Turgenev "On the Eve" was not cloudless. As a husband for his daughter, Nikolai Artemyevich chose the chief secretary of the Senate Kurnatovsky. But this obstacle was not the only one for the happiness of lovers. Disturbing letters began to arrive from Bulgaria. Dmitry was going to go home. However, he suddenly caught a cold and was dying for eight days.
Bersenyev courted his friend and constantly talked about his condition to Elena, who was simply in despair. But the threat passed, after which the girl visited Dmitry. The young people decided to hurry up with their departure. On the same day they became husband and wife.
Elena's father, having learned about the date, called his daughter to account. And here Elena told her parents that Insarov had become her husband, and that they would soon leave for Bulgaria.
The journey of the young
Further in the novel by Turgenev, the reader is told that Elena and Dmitry arrived in Venice. Behind them were not only a difficult journey, but also two months of illness, which Insarov spent in Vienna. After Venice, the young went to Serbia, then to move to Bulgaria. To do this, you need to wait for Randych.
This old "sea wolf" will transport them to Dmitry's homeland. However, the young man is suddenly crushed by consumption. Elena looks after him.
Dream
Elena, exhausted from caring for the patient, fell asleep. She had a dream in which she was in a boat, first on a pond in Tsaritsyno, and then in the sea. After she is covered with a snow whirlwind, and the girl finds herself in a cart near Katya. The horses carry them straight into the snowy abyss. Elena's companion laughs and calls her into the abyss. The girl wakes up, and at this moment Insarov says that he is dying. Randich, who arrived to take the young to Bulgaria, no longer finds Dmitry alive. Elena asks him to take the coffin with the body of her beloved and goes with him.
The further fate of the heroine
After the death of her husband, Elena sent a letter to her parents that she was going to Bulgaria. She wrote to them that there was no other homeland for her besides this country. Nobody knows what happened to her later. They said that someone accidentally met a girl in Herzegovina. Elena got a job as a sister of mercy and worked with the Bulgarian army. After that, no one saw her.
Analysis of the work
The theme of Turgenev's work "On the Eve" touches on the artistic understanding of the issue of the active principle in a person. And the main idea of the novel is the need for active natures for the progress and movement of society.
The image of Elena Stakhova in Turgenev's novel "On the Eve" is what readers have long been expecting. After all, he shows us a strong-willed woman who has chosen an active and decisive man for herself. This was also noted by critics of Turgenev's novel "On the Eve". Reviews of literary critics confirmed that the completely Russian, lively and complete image of Elena became a real pearl of the work. Such a strong female character before Turgenev was not shown by any Russian work. The main feature of the girl is her self-sacrifice. Elena's ideal is active good, which is associated with the understanding of happiness.
As for Insarov, he, of course, rises above all the characters in the novel. The only exception is Elena, who is on the same step with him. The protagonist of Turgenev lives with the thought of a heroic deed. And the most attractive feature of this image is love for the homeland. The soul of the young man is filled with compassion for his people, which are in Turkish bondage.
The entire work of the Russian writer is imbued with the idea of the greatness and holiness of the idea of liberating the motherland. At the same time, Insarov is the real ideal of self-denial.
According to critics, Turgenev's genius is most clearly reflected in this novel. The writer was able to consider the topical problems of his time and reflect them in such a way that the work remains relevant for the modern reader. After all, purposeful, courageous and strong personalities are always needed by Russia.
The famous and talented writer Ivan Sergeevich Turgenev is a classic of Russian literature. He is known not only as a writer, but also as a poet, publicist, translator, playwright. His realistic works are still a great asset of Russian literature. Ivan Sergeevich made a tremendous contribution to the development of Russian literature in the nineteenth century.It is known that this wonderful writer succeeded not only in writing, but also became a corresponding member of the famous and prestigious Academy of Sciences, where he received a category in Russian language and literature. In addition, he was awarded an honorary doctorate from the University of Oxford, as well as an honorary member of the metropolitan university. But his main achievements are works, among which six novels stand out. They brought him fame and popularity. One of them is "On the Eve", which was published in 1860.
The history of the creation of the Turgenev novel
Ivan Turgenev, according to the recollections of his contemporaries, already in the second half of the 1850s began to think about creating in one of his works a completely new hero, who had not yet been in Russian literature before him. This decision came to the writer not so easily, but because the author of wonderful landscape works was influenced by the Liberal Democrats.
According to Ivan Turgenev's plan, his hero was supposed to reflect the views of the author himself, but be more moderate. This understanding of the creation of a new hero came from the writer much earlier, when he was just starting work on the first novel. And even the female images in his work have become new for modern literature. For example, Elena, about whom the author himself spoke:
"A strong desire for freedom, could surrender."
It is known for sure about the history of the creation of this novel that the manuscript of his autobiography was left to the writer by a neighbor who at that time lived in the neighboring, Mtsensk, district. This event happened to the author around 1855. And that landowner-neighbor turned out to be a certain Vasily Karataev. This officer, while serving in the noble militia, decided not only to leave his manuscript to the writer, but also agreed to Ivan Sergeevich to dispose of it as he pleases.
Of course, Ivan Turgenev read it, and he was interested in the love story about which was told in this handwritten notebook. This is how the plot of his novel was born: a young man loves a beautiful and charming girl who chooses another - a Bulgarian. He is just in Moscow, studying at the university.
The main characters of the novel:
✔ Anna Vasilievna Stakhova.
✔ Nikolay Artemyevich Stakhov.
✔ Dmitry Insarov.
✔ Andrey Bersenev.
✔ Pavel Shubin.
As you know, the prototype of this Bulgarian was a certain Nikolai Katranov, who lived in the capital, and then, together with his Russian wife, is trying to return to his homeland, since the Russian-Turkish war began. But soon he dies of consumption, never reaching his hometown.
It is known that the neighbor who gave his manuscript to the writer never returned from the war, as he died of typhus. Ivan Turgenev tried to publish this manuscript, but, from a literary point of view, it was too weak, so after many years he rereads this notebook again and realizes that he has found a new hero, which he was thinking about at that time.
In 1858, he undertakes the artistic reworking of the plot, which was suggested to him by his neighbor. But, as the writer himself explained, only one scene remained the same, everything else was reworked and changed. Ivan Turgenev also had an assistant - a famous writer, Turgenev's friend and traveler E. Kovalevsky. He was necessary for the author of the novel, as he was well versed in all the details of the liberation movement that was taking place in Bulgaria.
It is known that the writer wrote his novel not only in the family estate, but also abroad, for example, in London and in other cities. And as soon as he returned to Moscow, he himself delivers the manuscript to the publication of the then well-known magazine "Russian Bulletin".
The plot of the new novel
The plot of Turgenev's novel begins with a dispute. Scientist Andrei Bersenev and sculptor Pavel Shubin are participating in it. The topic of their dispute is the nature and place of man in the world around him. Gradually, the author acquaints the reader with the entire family of the sculptor. For example, with a distant relative, aunt Anna Vasilievna, who does not love her husband at all, as, indeed, he does not love her. Anna Vasilievna's husband met by chance with a German widow and therefore spends most of his time with her. And this is easy to explain: after all, he once married Anna Vasilyevna for the sake of money, and the only thing that unites them is their adult daughter Elena.
Everyone knows that Nikolai Artemyevich's new acquaintance is robbing her quite well. And the sculptor has been living in this family for five years, since he can only do art here, but most of the time he is lazy. He looks after the companion of the owner's daughter - Zoya, but he is still in love with Elena. But who is she, Elena? This is a young girl, twenty years old, dreamy and kind. She helps those who need help: hungry, sick people and animals. But at the same time, she herself is very lonely. She lives alone, she has no young man yet. She is not at all interested in Shubin, and her friend is only of interest to her for conversation.
Once Bersenev introduces Elena to his acquaintance, Dmitry Insarov, who lives in Russia, but dreams of the liberation of his homeland. The Bulgarian interested Elena, but not at the first meeting. He begins to like it when he protects her from a drunkard who stuck to the girl right on the street. And when the girl falls deeply in love, she finds out that Dmitry is leaving. Andrei tells the girl that he is afraid that his personal passionate feelings for Elena can deprive him of his will to fight for his country. Then the girl herself goes to the young man, confesses her feelings and is now ready to help him in everything and follow him everywhere.
Elena and Dmitry modestly communicate for some time, but Insarova, receiving disturbing and sad letters from her relatives and friends, begins to prepare for departure. And then Elena comes to his house in order to talk seriously about their joint future. After a heated explanation, it was decided to get married. Parents were shocked by her message about her marriage. For them, the news that she was going to foreign lands with her husband came as a big blow.
In Venice, they have to stay a little longer, as they are waiting for a ship going to Serbia, and only then they can get to Bulgaria. But then Dmitry falls ill: he has a fever and temperature. One day Elena has a terrible and terrible dream, and when she wakes up, she sees that her husband is dead. Therefore, only his body is delivered to his homeland. After that, there was another letter to her parents, where Elena wrote that she was going to Bulgaria and wanted to consider this country her new homeland. After that, she disappears, and only rumors are denouncing that she is playing the role of a sister of mercy.
Motives of the Turgenev plot
All the motives, as well as Turgenev's ideas in the novel, were analyzed by the critic Nikolai Dobrolyubov, who approached the plot from a progressive standpoint. The critic notes in the author a special literary sensitivity. This is perfectly manifested in the way Ivan Sergeevich portrays the main character. The critic saw in Elena Stakhova the image of Russia, which is still young and beautiful.
Elena in Turgenev's performance is addressed to the people, from them she takes a dream, seeks the truth. She is also willing to sacrifice herself for someone else. Elena is a wonderful heroine, men like her. The army of her admirers is large: it is an artist, an official, a scientist and even a revolutionary. The girl chooses the revolutionary Insarov, also trying to perform a civil feat. Her chosen one has a lofty goal, which he subordinates all his life. He dreams of happiness for his homeland.
There is another theme in Turgenev's work - this is a conflict of personal interests and sincerity. For example, Barsenev and Shubin argue about what happiness is, what love is, and what can be higher. The more the reader observes the protagonists, the more obvious it becomes that they must sacrifice their love. The author seems to be trying to emphasize that any life on Earth ends tragically. And according to the plot of the novel, it is known that Insarov unexpectedly dies of illness. And Elena dissolves into a crowd of people and no one else knows anything about her.
Criticism and reviews of Ivan Turgenev's novel "On the Eve"
The writer did not accept the position of the critic Nikolai Dobrolyubov on his novel, his interpretation of the general plot and look at the main characters. At the time when the critical article was supposed to be published, Turgenev turned to Nekrasov with a request to stop the review. It's not that the author was afraid of the publication. Ivan Sergeevich was upset by the very fact that the novel had been misunderstood. Therefore, as soon as Nekrasov's Sovremennik magazine came out, the writer decides to break with him forever, since his requests were not heeded. But the criticism of the novel "On the Eve" did not stop there. Soon, another article appeared on the pages of the same Nekrasov magazine, in which there was a negative review of the novel, but already written by Chernyshevsky. No less negative reaction to the content of the novel and its heroes was also from the conservative-minded writers and nobles.
What contemporaries did not write about the published novel. Most of all, the heroine was scolded, believing that she had absolutely no feminine qualities, that she was immoral and empty. The main character also got it, most often he was called dry and schematic.
This greatly upset the author. But time put everything in its place. The predictions made by the first readers that Nakanune will never have tomorrow did not come true. The novel, written more than 150 years ago, is one of the brightest creations of Russian classics, known as a bright and deep work to any contemporary.
Vladimir Goldin
Heroes in Turgenev's novels. Article 3.
"ONEVER"
The title of the novel itself is intriguing. On the eve - What? Every reader who starts reading this novel thoughtfully can answer this question in his own way, and he will be right. So after all, on the eve of what? ..
On a hot summer day, two young men are resting on the banks of the river under a linden tree. Their thoughts and words are commonplace, dreams are standards for young people who are starting their lives. Let's imagine them, following Turgenev: Bersenev, Andrei Petrovich - a university graduate and Shubin, Pavel Yakovlevich - a sculptor. Young people talk about love, about women, about nature, which, as it were, is the connecting principle in all life endeavors.
Shubin lived with a relative of Stakhova, Anna Vasilievna, a wealthy woman, but empty, carried away by various trifles and quickly tired of them. The birth of her daughter upset her health, and after that she did nothing but “she was sad and quietly worried,” she was a stay-at-home, she forgave her husband his male pranks. Stakhov, Nikolai Artemyevich, a retired warrant officer, "picked up" Anna Vasilievna at one of the secular balls, was a fronder.
After lunch, young people Bersenev, Shubin and Elena Nikolaevna, the daughter of the Stakhovs, go for a walk in the park. Here young people who have reached the age when it is necessary to think about starting a family, when it is necessary to determine the profession of their future adult life, share their desires and dreams. Here, in my opinion, is the first clue to the title of the novel "On the Eve", a moment in life that determines the meaning of all subsequent years of human existence. Bersenyev dreams of becoming a professor of history or philosophy. Shubin still hovers in the space of thoughts between the profession of a sculptor and a womanizer, he likes Elena, he flirts with Zoya, a Russianized German woman in the Stakhovs' house, and is fond of peasant "girls". Elena, a maximalist, speaking in a modern style, did not forgive anyone a lie "forever and ever", as soon as a person lost her respect and he ceased to exist for her. At the same time, she read a lot and longed for active good, gave alms and picked up crippled birds and animals, thought about love, and was surprised that there was no one to love.
Bersenyev goes to the city, where he meets a student friend and invites him to visit his country cottage. Bersenev's friend is a student, a Bulgarian Insarov, Dmitry Nikanorich has limited funds, he accepts the invitation, but on the condition that he will pay for the rented room himself.
The first acquaintance of Elena and Shubin with Insarov did not produce the impression that Bersenev had described for them. But if Shubin could be understood immediately - jealousy spoke in him, then Elena's consciousness did not accept Insarov as a hero. The trust in each other of Elena and Insarov developed slowly, but after their meeting in private, these relations began to develop hastily. Who is Insarov, and how does Turgenev present him to the reader?
Insarov is a man of ideas, the idea of liberating Bulgaria from the Turkish yoke. For this, Insarov lives, studies, suffers, suffers hardships, helps compatriots, refuses to love a woman - all for the sake of an idea. But the character of young Elena conquers Insarov. Elena finally falls in love with Insarov after a walk arranged by Stakhova, where Insarov showed himself as a hero, defending the company from the harassment of drunken Germans. Elena in her diary admits to herself that she is in love. Insarov, unable to control his feelings, leaves the dacha and leaves for Moscow.
But feeling wins. Elena and Insarov meet at an abandoned chapel in bad weather. Young people declare their love. For the sake of love, Elena refuses a profitable marriage offered by her father, leaves her home, full of wealth and bliss - goes to Insarov. Elena accepts Insarov's illness as her own, takes care of the patient, then, with an unrecovered Insarov, goes to Europe, with the aim of illegally entering Bulgaria, where the liberation movement flared up with renewed vigor. Insarov dies. Elena, faithful to him and his idea, travels with strangers to Bulgaria. The further fate of Elena is unknown.
The fate of the rest of the main characters of the novel "On the Eve" is interesting. Bersenev, as dreamed of, successfully began to make a career as a university professor, he is abroad and has already published two articles that have attracted the attention of specialists. Shubin's dream also came true, he is in Rome "... all devoted to his art and is considered one of the most remarkable and promising young sculptors." Elena found someone she could love, and fell in love not only with a person with a purposeful character, but also with his idea ... The dreams of the heroes that had developed on the eve of entering an independent adult life came true.
The novel "On the Eve" is multifaceted. Here are the deep thoughts and thoughts of the author. A thoughtful researcher on reading the novel is provided with material for numerous articles: male and female heroes in the novel, landscape and its connection with the thoughts and actions of the heroes, the relationship between the older and incoming generations, and others. Let us not creep our thoughts along the tree here. This is not the purpose of our article.
I would like to dwell once again on the title of the novel “On the Eve”. Dobrolyubov in the article "When Will the Present Day Come?" ran far ahead of real events, seeing in the novel signs of an impending revolution. This speaks of inexperience, intolerance and inability to deeply analyze the historical situation in Europe, and most importantly in Russia. Therefore, it was no coincidence that Turgenev insisted that Dobrolyubov's article not be published in the open press, and when the article was published, Turgenev decisively broke off relations with Nekrasov and Dobrolyubov. The strategists of the "advanced thought" turned out to be blind. Nekrasov and Dobrolyubov were simple propagandists of the "revolution" who understood neither the purpose of the revolution, nor its driving forces, nor the program of subsequent actions. For them, the revolution had to take place for the revolution - and only, beyond that, their thoughts did not go. Imagine Barin Nekrasov, traveling in a whole wagon train to hunt in 1919 !!! How many such revolutionaries have rejected the revolution and condemned it.
Turgenev in this case is more of an analyst and strategist than his compatriots.
Dear reader, pay attention to the dynamics of the actions of the main characters of Turgenev's novels. Rudin is a loner, a man who grew up and matured under the conditions of the noble nobility, at the expense of the labor of serfs. He is a poor nobleman who picked up ideas while traveling around Europe. Remember: "His eloquence is not Russian" !!! He is a fluffy man, lives on debt, and dies senselessly. In the "Noble Nest" Lavretsky strives to find himself in the active management of his household. Mikhalevich is all in search of finding a job for himself in order to be useful, if not to society, then to himself.
Insarov is a completely different person. Insarov is already acting with a group of like-minded people, he has connections in Russia and abroad, he is a member of a secret community. A man of ideas for which he gives his life. Insarov is a Bulgarian, on the territory of Russia the leader of some group of possessed people seeking to free their homeland from the Turkish yoke. There were no such groups, formed like-minded people in Russia when Turgenev wrote his novel. There were scattered loners like Rudin and Mikhalevich.
Let's turn to female images. In "Rudin" Natalia understood the character and deeds of her hero and found her "woman's happiness" in marriage. In the "Noble Nest" Elizaveta Mikhailovna could not understand the moral aspects of her admirers and went to a monastery.
In "On the Eve" Elena, on the contrary, chooses from the circle of admirers Insarov - a man of ideas. Elena's act is symbolic in that she chooses a foreigner and his ideology. Here Elena - a woman chooses someone else's ideology, is comparable to the concept of Elena - Russia, which is increasingly moving towards imitation of the West. Elena chose the Western ideology, and it is unknown how she dies. This is where, in my opinion, the answer to the title of the novel "On the Eve" is.
And Elena is also a symbol of the Russian noble intelligentsia, in whose ranks a spontaneous protest against the established foundations is born and begins to develop.
It was the noble intelligentsia that began to excite the minds of the practically absolutely illiterate peasantry, and the nascent illiterate working class.
However, “smart people. Damn them! " did not understand that the loners of the revolution will not do, for this it is necessary to train cadres. It's easy to build a factory or a ship, but they will not give the estimated economic and other returns if they are run by untrained people, this takes time.
The novel "On the Eve", in my opinion, is a novel a call to all strata of society to reflect on the future development of Russia.
I. S. Turgenev's novel "On the Eve"
The next, third in a row, Turgenev's novel "On the Eve" was created in the terrible time of the 60s. It was a time when society was under the impression of the defeat of tsarism in the Crimean War, which showed "the rottenness and impotence of serf Russia" 1 *. After the Sevastopol events, peasant uprisings not only intensified in comparison with the previous decade, but increased literally every year.
V. I. Lenin 1859-1861 called the era of the first revolutionary situation. The public atmosphere became unusually tense. As the first landowner, the tsar realized that it was better to free the serfs "from above" than to wait for them to free themselves "from below." The country was on the eve of peasant reform. Fearing a revolutionary explosion, Alexander II announced the preparation of a peasant reform. The country is experiencing a social upsurge. In the process of an acute ideological struggle, a revolutionary-democratic camp was formed, and the second stage of the liberation movement began. In broad strata of Russian society, the situation of the peasants was vividly discussed, and changes were expected. However, different circles assessed differently the methods of these changes, and the forces that could change the living conditions of rural workers. The regrouping of forces in our liberation movement belongs to these years. Revolutionary nobility has exhausted itself. The initiative was seized by the commoners, who concentrated in the leading organ of the era, the Sovremennik magazine. The revolutionary democrats were headed by Chernyshevsky, Dobrolyubov and Nekrasov. It was they who defended the interests of the people to the end. And if the liberals offered to take a ransom from the peasants for the land, then the consistent democrats demanded the emancipation of the peasants not only with the land, but also without the ransom. It is quite natural that Russian literature, always keeping pace with life, could not stay away from the processes that were taking place in the field of social life. Along with the strengthening of satire, interest in the problem of the positive hero has noticeably increased. It was in the 60s that the halo of charm was removed from unnecessary people. They degenerated into liberal phrase-mongers or Oblomov's idlers and could not satisfy the demands of a discerning progressive reader. It was necessary to reflect in the literature of a new hero who would not so much rant as act, would have energy, activity, purposefulness, so that the reader could follow him. Such a hero was sought by Russian writers. I.S.Turgenev was one of the first to turn to him.
In the composition of the first three novels of Turgenev, there are common characteristics. The development of the plot is usually determined by the quest of an inquisitive female nature, opposed to an environment with vulgar or, at least, primitive interests. So Natalia's impulses, her craving for a full-fledged, meaningful life are in contrast to her mother's claims to the role of the head of the salon, and to the careeristic aspirations of Pandalevsky, and to the cynicism of the eternally disgruntled and grumbling Pigasoz. In "The Noble's Nest" the sensitive Liza Kalitina ponders over the meaning of life and finds it in religious renunciation. And how far from her is her fiance, the superficial and vulgar Panshin, who covers up his egoism with an amateurish interest in art. In the novel "On the Eve", all the thoughts of the humane, striving to do good, Elena are connected with the expectation of useful, social activity. And how petty and insignificant both the empty liberal father, and the dimwitted mother, and the aesthetic artist Shubin seem in comparison with her. The candidate of the Moscow University Bersenev is spiritually closer to her, but he is also lower than her in terms of his life goals and aspirations.
This plot situation of the heroine's moral loneliness is violated in connection with the arrival of the hero of the novel. He compares favorably with the girl's usual environment, surpasses him with his moral or intellectual merits, in some cases and decency, and most importantly - social activity.
Rudin surpasses the visitors of the Lasunskaya salon both in his preaching of a meaningful life and in his oratory skills. And Insarov differs not only from Shubin or Bersenev, but also from Rudin and Lavretsky in his commitment to the patriotic cause, absence of doubts and hesitation, unity of word and deed, personal and social.
And it is quite natural that a girl languishing in an atmosphere of moral loneliness prefers a new acquaintance to her previous environment. A rapprochement begins between them, broken, however, in the first novel by the inconsistency and moral weakness of Rudin himself, and in the second by the unexpected arrival of Lavretsky's wife. And only in the novel "On the Eve" the heroine and the hero remain faithful to each other until the end of their days.
Turgenev's novels are united by another character of ties. The writer's creative manner is characterized by such a feature: each successive novel is devoted to the answer to the question posed at the end of the previous novel.
The "noble nest" ends with the collapse of both the personal happiness and social undertakings of Lavretsky, who acutely feels his loneliness, disorder, inability to join life in order to remake it. The landlord society cannot provide a hero, activist, fighter - this is the conclusion the writer comes to in his second novel, The Noble Nest. If so, what kind of environment can push him forward? Turgenev answers this question with his third novel "On the Eve".
The problem of the positive hero arose in its full height in front of Russian artists of the word precisely in the 60s in connection with the growth of peasant protests, anti-government sentiments, and public activity. And if liberal authors created works about virtuous officials who refuse bribes and suppress abuse on behalf of the government, then realist writers looked for solutions to a complex problem in life itself. Nekrasov creates the image of a fighter-worker, a democrat in the poem "Belinsky" (1855). But the poem was banned by censorship, and it was published only in an illegal publication - Herzen's almanac "Polar Star". Further efforts in this area by Nekrasov, as well as by Chernyshevsky, who painted the best image of the positive hero at the second stage of the liberation movement, were ahead.
Turgenev's contribution to the solution of this problem is exceptionally great. The remarkable image of the Russian peasant, now business and economic, now sincerely poetic, but always smart and gifted, is created in the "Notes of a Hunter". In the first novels, the writer is looking for his hero in an intelligent noble environment. According to Dobrolyubov's brilliant remark, the author of "Rudin" and "Noble Nest" was in danger of limiting himself to the image of persons with reflection. But Turgenev had a keen sense of modernity, he strove to overcome the vicious circle of images of superfluous people, he was tirelessly attracted to the creation of active, energetic characters, people who know how to act in life, and not exist, as was characteristic of superfluous people. This character is also reproduced in the novel "On the Eve".
To achieve this creative goal, the writer had to change the direction of his artistic endeavors. He seeks and finds his hero not in a noble, but in a different-class democratic environment. In addition, the author changed the time of the action. Events unfold not in the 40s, as it was before, but in the 50s. The exact dating of the plot and the indication of the place of action are among the constant features of Turgenev's works and gives his novels historical and everyday concreteness, artistic persuasiveness.
"In the shade of a tall linden tree, on the banks of the Moskva River, not far from Kuntsov, on one of the hottest summer days in 1853, two young men were lying on the grass." This is how the romance begins. The beginnings of Turgenev's novels are very characteristic. The main characters are not immediately put into action. Before that, as a rule, there is a vivid description of other characters and the setting in which they operate. Often, the appearance of central persons is preceded by conversations about secondary characters. So it was in the "Noble nest", so it was in "On the eve".
As usual, Turgenev is a master of landscape. The originality of the novel in this sense lies in the fact that it mainly describes the nature of the Moscow region. But as always, the landscape turns out to be not only the background of the action. It helps to reveal the character of the characters, awakens their thought. One of two young people lying on the grass near Kuntsov, historian Bersenev. It is he who begins a conversation with the artist Shubin that nature arouses in us anxiety, dissatisfaction, sadness. Shubin in nature prefers love, his own happiness, and Bersenev talks about the meaning of such concepts as homeland, freedom, justice 2 *. So in a relaxed conversation for both the characters and the reader, two opinions about the meaning of life collide. The writer, as it were, raises the question of whether a person should be interested in personal or social issues? The answer is revealed as the action of the novel develops, and it is to a greater extent given on other images - Elena Stakhova and Dmitry Insarov, which are preliminary mentioned already in the first chapter.
The compositional originality of the novel "On the Eve" is the central position of the female image. In the novel "Rudin" the image of Rudin prevailed over everyone, in the second novel the characters of Lavretsky and Liza occupied an equal position in the plot, and in the third novel the action unfolds, the aspirations of the characters are concentrated around Elena Stakhova.
Elena occupies a leading and at the same time her definite place in the gallery of Turgenev girls. Natalia Lasunskaya was characterized by impulses for meaningful life, activity, self-sacrifice. But not supported by Rudin, she stalled in her endeavor. Liza Kalitina differs from Natalia in the direction of her searches, the interests that she finds in the inner world, religion. She is also characterized by more persistence than Natalia in achieving goals. Elena's image is synthetic. It combines the progressive aspirations of Natalia and the strong-willed determination of Liza, but they are not simply united, but given in a new quality in connection with the needs of Russian social life in the 50s of the XIX century.
The image of Elena is sketched with extraordinary care by the author. The heroine of the novel first appears in the fourth chapter, but already in the first chapter an initial representation is created about her in the conversation of young friends.
“Is the bust of Elena Nikolaevna,” asked Bersenev, “is it moving?
- No, brother, not moving. From this person one can come to despair. Look, the lines are clean, strict, straight; it seems not hard to grasp the resemblance. It was not so ... It is not given as a treasure in the hands. Have you noticed how she listens? Not a single feature is touched, only the expression of the gaze is constantly changing, and the whole figure changes from it ”.
The sculptor, a good physiognomist, the author provides an opportunity to speak about Elena's appearance. Before us is an exceptionally expressive portrait of an extraordinary type for Turgenev. Instead of a detailed description of facial features (as was done with respect to Shubin himself, as well as Bersenev), a general idea is given. Nevertheless, this community does not complicate, but contributes to the transmission of the inner world. Psychological, rather characteristic of the creative manner of L. Tolstoy, Elena's portrait hints at the richness of her mental life. This description of the girl's appearance is repeated in the next chapter.
In the second chapter, a new image is introduced - Zoe. Its true compositional purpose - to set off Elena's character - is revealed afterwards. Here, the image is included in order to link the individual scenes of the novel. Zoya came to call Bersenev and Shubin for dinner. However, before the dinner scene, information about Elena's parents is given.
Creating typical characters, Turgenev almost always seeks to explain their appearance. Hence - quite frequent in his novels genealogical digressions, which provide information about the ancestors of the heroes. In the "Noble Nest" this excursion into the past is conducted up to the fourth generation. In "On the Eve" the author is limited to Elena's parents. Researchers usually do not pay attention to the image of Nikolai Artemyevich Stakhov. Meanwhile, it gives a sharp outline of a liberal, an empty and pompous man. The novel reveals the superficial character of Stakhov's liberalism. "Nikolai Artemyevich's frustration consisted in the fact that he would hear, for example, the word" nerves "and say:" What are nerves? " - or someone will mention in his presence the successes of astronomy, and he will say: "Do you believe in astronomy?" When he wanted to finally defeat the enemy, he said: "All these are one phrase." It must be confessed that to many people such objections seemed (and still seem to be) irrefutable. "
Leading the story in an ironic manner, Turgenev notes that people like Stakhov are untenable both in the public and in the personal sense. Stakhov marries for convenience, he has a mistress, and in her absence he goes to corrupt women, trying to captivate his relative there. In society, he loves to show off, to show off, and at home he grumbles, finds fault with him and seeks, under the guise of a course of treatment, to run away to his beloved as soon as possible.
The novel ridiculed the emptiness, the spiritual squalor of Russian liberalism, its selfish inclinations, it is shown that such a liberal undertakes to teach without having either an intellectual or a moral right to do so. Turgenev's images of the liberals Lenochkin, Panshin, Stakhov precede Shchedrin's and are a valuable contribution to Russian literature.
The pretense of liberalism on the part of a frivolous father, the superficial sadness of an impersonal mother - the influence of all this on the formation of the daughter's character becomes clear in the novel pretty soon: Elena was early accustomed to independence.
In the first chapters, the image of Elena appears as a fleeting silhouette. In conversations with Shubin and Bersenev during and after dinner (Chapter IV), it is clarified. The artist Shubin was given features of a certain external brilliance and internal inconstancy, frivolity. But Elena does not like his backbiting, his whims. She prefers to him the outwardly awkward, awkward, but intelligent, well-read, modest in his actions Bersenev. So the images of Shubin and Bersenev help to reveal some of Elena's character traits, to reveal the depth of her nature, the seriousness of her thoughts. With these preliminary strokes, we have already prepared for the detailed portrait-characterization of Elena, which is given in the sixth chapter.
It is in it that tells about Elena's past, about the conditions for the formation of her personality. It is here that the reader begins to understand the reason for the early mental and moral maturation of an inquisitive nature that has risen above the vulgar environment that surrounded her. If in this environment people are morally defective, then the girl is impressed by moral power, and she herself surpasses her father and mother by her strength of character. In her environment, limitations, spiritual poverty, even stupidity are in many ways visible, and Elena has mental needs, she loves to observe and reflect. If a lot is false around her, then Elena did not forgive lies "forever and ever." A sense of justice, a denial of arbitrariness, a desire for independence were characteristic of this enthusiastic republican, as her father called her. So the method of antithesis is skillfully used by the author and makes it possible to show Elena's superiority over people with whom she is associated by birth and upbringing.
Especially characteristic were her thirst for active good, active love for all living things. The examples given by the writer may seem ridiculous. So, she patronized the kittens condemned to death, the sparrows that fell out of the nest, freed the fly from the spider. But we are talking about a child girl who, moreover, cannot find other objects for her compassion, and when she met the poor girl Katya, then, naturally, she switched her ability of compassion, and the desire to do good, and love to her. The episodic image of a little beggar woman helps the writer to show the possibilities hidden in the soul of the girl Elena. But then Katya died, Elena had no friends, and she was left again alone with her thoughts and impulses.
The writer seeks to bring the image of Elena closer to the reader, to reveal it not only from the side of the circumstances of external life, but also from the inside, to impose lyrical colors on it: “And the years passed and passed, quickly and you can not hear how the snowy waters, Elena's youth flowed, in inaction external, in internal struggle and anxiety. "
It is this mood of Elena, languishing in anticipation of activity, that Dobrolyubov compares with the state of Russian society in the 60s: “This timidity, this practical passivity of the heroine, with the wealth of inner strength and with an agonizing thirst for activity, involuntarily strikes us in the very person of Elena makes you see something unfinished. But in this incomplete personality, in the lack of a practical role - we see the living connection of the heroine of Mr. Turgenev with the whole educated society ... ... Elena thirsts for active good, she is looking for opportunities to arrange happiness around herself, because she does not understand the possibility of not only happiness, but even her own calmness, if she is surrounded by grief, misfortune, poverty and humiliation of her neighbors ”3 *.
Elena understands that the meaning of life is to do good: being kind is not enough; doing good ... yes ... this is the main thing in life. But how do you do good? She is ready to give her love to the one who will teach her how to live, fill her existence with meaning, show her the way of action. And the author places around her a number of images of young people - Insarov, Bersenev, Shubin.
The sculptor Shubin seems gifted, witty, cheerful, active. But he wastes his talent on trinkets created under the influence of mood, and the young man turns out to be incapable of serious, everyday work. Wit and energy are spent on ridicule and love affairs. Shubin is ambivalent, contradictory: his talent is combined with laziness, he starts a lot, but does not bring it to the end. The writer needs Shubin's image not only in order to pass judgment on the amateurism of the aesthetic artist. Shubin is often entrusted with the role of commentator of events, sometimes from his, Shubin's, or even from the author's point of view. When we read that "Ira Insarov will come here now!" or that Insarov failed in Elena's eyes, we see here an expression of Shuba's dislike for Insarov. But now, at the end of the novel, Shubin says: “We have no one yet, there are no people, wherever you look. All - either small fry, rodents, Hamletics, Samoyeds, or darkness and wilderness underground, or pushers, from empty to empty sprinklers, and drum sticks! " - then in these words we find the thoughts not only of Shubin, but also of the author himself, giving an assessment of the noble society of the 50s of the XIX century. However, Shubin himself fits the concept of small fry. Clever Elena soon realized the shallowness of this character. Being younger in age, she was older than him in the sincerity of her feelings, the seriousness of her aspirations, and she treated him like a child. Shubin, with his inconstancy, was not the person who would help the girl find a place in life.
Turgenev's compositional techniques include contrasting comparisons. Such comparisons help the author not only to show the diversity of life, but also to highlight the idea of the work. Pairs-antitheses are reproduced in all novels: the cynical debater Pigasov and the ingratiating ladies' man Pandalevsky in Rudin, who has secular talents, outwardly rude Panshin and the mentally sensitive, talented loser musician Lemm in The Noble Nest. In "On the Eve" such a contrasting pair were Bersenev and Shubin. They differ from one another in their profession, character, life views, and principles. The individualization of these images was carried out unusually consistently and affects both the social explanation of types and phenomena and their psychological expression.
Shubin's specialty as an artist determines the glibness of his character, epicureanism, and the preaching of personal happiness. In contrast, Bersenev is a man of science. The profession of a scientist gives him the opportunity to be not just a well-read person, but also a logical reasoning thinker. However, if Shubin indulges in frivolous pleasures, then Bersenyev not only shuns them, but tries to justify his Puritanism. He is far from craving for pleasures of this type and for human happiness in general. And as an intellectual nature, he has a lengthy explanation for such a fear of personal happiness, which has resulted in a philosophy of duty. Moreover, the young historian is unusually consistent in his principles. He understands that Elena prefers him to Shubin, but he himself admires Insarov's character and seeks to introduce the girl to his wonderful friend. He is kind, but all his kindness comes from the principle of duty. The philosophy of duty, which is consistently implemented by Bersenev, makes him introduce his girlfriend to a potential rival, take care of him during his serious illness, and abandon his personal happiness.
Doubt in one's own abilities plays an important role in this. Bersenyev is modest, but his modesty often turns into a rejection of his own "I", into lack of initiative. He cannot be in the foreground, he considers second place to be normal for himself, he feels himself number two.
Turgenev was impressed by Bersenev's commitment to science, his high decency as a person and a young scientist. But objectively, this image reproduces professorial liberalism with its departure from life to culture. And if Shubin is a fan of pure art, then Bersenev personifies pure science.
Elena is attracted to Bersenev by his undoubted erudition, decency, seriousness. She sees his superiority over the frivolous Shubin. But if Bersenyev is higher than Shubin, then he is much lower than Insarov. Both Shubin's inconstancy and Bersenev's indecision are opposed by Insarov's purposefulness.
The images of Shubin and Bersenev are vivid human characters. But at the same time, they personify different eras of the cultural life of Russia and the hobbies of Russian society. At first, our society was interested in art. The success of poetry and painting is a testament to this. At the next stage, in the 40s, there is a fascination with science. Granovsky's lectures, which, according to Chaadaev, are of historical importance, have become a factor in Russian public life. And just as Russian society was first conquered by art, then by science, and then by social problems, so Elena, after the sculptor Shubin, is interested in the scientist Bersenev and, finally, gives her heart to the figure of the national liberation struggle Insarov.
Turgenev draws his traditional contrasting comparisons along several lines. Grouping minor characters according to the principle of antithesis, he then, taken together, opposes a new, but more significant in the ideological and artistic sense of the person - Insarova.
Shubin and Bersenev are fed by the same landlord environment as Rudin or Lavretsky. But if Rudin and Lavretsky confront the persons of their own noble circle, then in the struggle for Elena - and even then without much effort on their part, only by the strength of their life goals - the commoner Insarov wins.
Insarov differs even more from Shubin and Bersenev than they are from each other. Shubin is the embodiment of feeling in the novel, Bersenev is the embodiment of mind. And in Insarov, the intellectual and emotional principles merge organically. In Shubin, an organic striving for personal happiness is personified, in Bersenev - a sense of duty. The important theme of happiness in the novel is solved in a new way in the image of Insarov, in whom the personal and the public merge into one.
And in fact. Insarov's parents were killed by a Turkish aga, his homeland, Bulgaria, is under a foreign yoke. His personal aspirations boil down to revenge on the rapist - age. But their implementation coincides with the solution of a social, patriotic task - the liberation of the homeland from foreigners. And the point is not simply that the idea of retribution for the murderer of the parents exceeds the intention to live for pleasure, or that a specific patriotic idea is higher than the abstract idea of duty. The essence of Insarov's personality is determined by the harmonious fusion of his own and the folk, which Bersenev and Shubin do not even trace.
The image of Insarov is created with extraordinary thoroughness in the manner usual for Turgenev of the gradual accumulation of details, the transition from the portrait to the inner world and the passage of the character through life's trials. As always, the writer puts the hero in a plot situation that allows him to reveal the discrepancy or correspondence between his words and deeds.
The technique of anticipation, the communication of initial information about a person before the appearance of him himself, is also used when sketching the image of Insarov. In the conversation between Bersenev and Shubin, which has the character of an exposition (Chapter I), Insarov is first mentioned, known to Bersenev, whom Shubin asks:
“- Is he an extraordinary individual, or what?
- Clever? Gifted?
- Smart ... Yes. Gifted? I don’t know, I don’t think so.
- No? What is so great about it?
- You will see".
From the point of view of Shubin, human dignity is determined by intelligence or talent. He considers himself gifted, and Bersenev smart. However, in the words of Bersenev, “You’ll see,” a new solution to the question of the criterion of human value is outlined, and a hint of the importance of social dignity is contained.
The reader first meets Insarov himself when Bersenev visits him. In this scene, the writer finds new paint for his hero - he creates his portrait. It is quite natural that Insarov was given the appearance of a Bulgarian. But the main thing in his appearance is not national, but individual traits that convey his character. Thinness, a sunken chest, that is, his physical weakness, are designed to set off a deep inner strength and willpower.
Despite the poverty (which is emphasized by an old but neat frock coat), he agrees to move to Bersenev's dacha only on payment terms. And when he moved to Kuntsevo, he fiddled with a desk for a long time, which could not fit into the partition assigned to him. However, Insarov, with his characteristic tacit persistence, achieves his goal.
The portrait and individual actions of Insarov are complemented by the author's description. It contains the first indication of the activities of Insarov, who studies at the university, translates Bulgarian songs and chronicles, collects material on the Eastern question, compiles Russian grammar for Bulgarians, Bulgarian for Russians.
As noted earlier, Turgenev's creative method does not exclude, but presupposes the depiction of the characters in two planes - the author characterizes their past and present. But if the story of Elena's childhood and adolescence is narrated on behalf of the author, then Insarov's past appears in the transmission of one of the characters in the novel. Thus, this episode performs a double function: Bersenyev tells Elena, the author - to the reader. It is in this story that information is given about the fate of Insarov's parents and about his visit to his native Bulgaria. A new important portrait detail is added: a scar on the neck, according to Bersenev's assumptions, is a trace of a wound resulting from some kind of fight with the Turks.
Clever Bersenyev seeks to convey his observations of Insarov's personality: “This is an iron man. And at the same time, you will see, there is something childish, sincere in him, with all his concentration and even secrecy. "
The compositional significance of this story is great: the main storyline uniting Elena and Insarova is tied in it. In general, it should be noted that the plot of most of Turgenev's novels contains a lot in common. The action begins with the inclusion of the main character in the plot. In the novel "Rudin" the main events unfold after the arrival of Dmitry Rudin at the Lasunskaya estate, in the "Noble nest" - after returning to Lavretsky's native places, in "On the Eve" - in connection with the appearance of Insarov.
Of course, such a story about Insarov made a tremendous impression on Elena. She was carried away by the majestic and effective idea of the liberation of the homeland, which was owned by Insarov. But Turgenev seems to be following the line of greatest resistance. He shows that Insarov's personality at first made less impression on Elena than the idea to which he devoted his life. But gradually she becomes convinced of his superiority over the people around him.
After Turgenev settles Insarov in Kuntsevo, he modifies the method of characterizing him. A portrait, author's stories, an appeal to the past are replaced by a show of Insarov in action. At the same time, the two episodes introduced into the plot are of great importance.
One of them is Insarov's three-day departure from Kuntsevo with two dusty hungry Bulgarians who came to him. Then it turns out that Insarov went to reconcile the quarreling fellow countrymen. This scene reveals Insarov's indisputable authority among his associates. And the seeming mystery of his absence at first emphasizes the significance of Insarov's position among the Bulgarians living in Russia.
If the episode with a sudden departure reveals Insarov's inner strength, then a collision with a drunken company in Tsaritsyno is intended to set off his outer physical strength. The scene is built on contrast: a thin, medium-sized Insarov throws a rude, obsessive German giant into the water.
Such a plot situation is also important, when Insarov encounters an impudent man in a rather impressive male environment: here are Bersenev, and Shubin, and the retired cornet Uvar Ivanovich. But Uvar Ivanovich showed the ability to imitate the cry of a quail, and Shubin tried only to address the impudent person with a lengthy speech. In short, there was such a situation when it was necessary to act, and not speak, and it was not the impetuous orator Shubin, who was not at a loss Bersenev, but Insarov, who was previously modest and imperceptible, and at the crucial moment showed exceptional restraint, determination, and skill. stand up for others and for yourself.
Elena's attention to Insarov increased. An interest in a character unprecedented in her midst was replaced by sympathy, which grew into a passion, love. It is quite natural in the construction of the novel that it is after the episode in Tsaritsyno that the heroine's diary is given in a special chapter (sixteenth). This diary reveals to us the soul of Elena, her longing and searching, the story of her love for Insarov. Turgenev proved to be a connoisseur of the human, and especially the girl's heart, a master of psychological analysis. And if L. Tolstoy reproduces the cohesion of concepts and feelings that change, move, grow before our eyes, then Turgenev's creative manner seems to be completely different. The author of "On the Eve" also has an image of the inner world, the process of thoughts and emotional experiences of the characters, but this process is not continuous, as if divided into separate stages, inside which feelings and thoughts seem to be frozen. And it is these motionless ideas and moods that are analyzed by the writer. At the same time, the results of the manifestations of inner life appear before the reader, but not the psychological process as such.
The intensification of the psychological intensity accompanies the growth of the general plot tension caused by the appearance of Insarov and the rapprochement between him and Elena. Turgenev gives a love intrigue a new meaning: it helps to reveal the social value of the hero. In his explanation with Natalya, Rudin reveals inconsistency and hesitation. Having carried away Natalia, he reveals weakness at the decisive moment. The hero's inability to love sets off his social inferiority.
In the novel "On the Eve", the outwardly plot situation seems to be repeated: the hero, after the unity of views and feelings has been outlined, runs away from the heroine, but the meaning of all this in this case is different. Insarov does not want, in his own words, transferred by Bersenev to Elena, to betray his business and his duty. This emphasizes Insarov's adherence to his social idea, loyalty to the patriotic cause.
The dramatic tension of the novel increases. At a time when both Elena and Insarov felt themselves in love with each other, the young Bulgarian not only intends to leave, but does not even come to say goodbye to the girl who was tensely waiting for him (as it turns out afterwards, Insarov did not promise to come, to which Elena did not pay attention). It is no coincidence that Turgenev complicates the relationship between the heroes. He puts his heroine in a position that is designed to reveal her activity.
The development of the action is approaching its culminating point - the explanation of Elena and Insarov. Moreover, the efforts of the heroes before this conversation are opposite: Elena strives for an explanation, and Insarov, on the contrary, avoids it. The contradiction is resolved by the fact that Elena shows exceptional decisiveness, vigorously seeks a date, goes to Bersenev's apartment, where Insarov lived, and meets Insarov in the forest, near the chapel, where the heroine took refuge from the rain.
As you know, Turgenev is one of the greatest landscape painters in the history of all world literature. Pictures of Russian nature are often so significant with him that they become self-sufficient ("Forest and Steppe"). But most often the landscape is not just a background for the development of an action, but one of the means of characterization. Descriptions of nature in the stories, stories and novels of Turgenev are closely related to the plot. It is significant that in the climaxes of his novels, the role of the landscape is unusually significant. The abandoned Avdyukhin pond, at which the last meeting of Rudin and Natalya takes place, emphasizes the unusual and dramatic nature of the date that led to the breakup. A significant lyrical conversation between Lavretsky and Liza takes place in the cozy garden of the Kalitins. The decisive explanation of Elena and Insarov, her unexpected meeting with him took place in the forest, after a thunderstorm. Corresponding psychological associations arise in connection with this landscape. Black clouds that covered the sun, the wind gusting in the trees - all this sets off the mood of Elena, who does not know what will happen to her next, in a state of confusion and despair. Thunderstorm and storm occurred not only in nature, but also in Elena's soul. Like a sudden whirlwind, emotions captured Elena. But now the rain almost stopped, the sun began to play, and at that time, unexpectedly for Elena, Insarov, walking along the forest road, appeared.
In the scene of a decisive explanation of the characters, the author fully reveals their characters, shows their purposefulness, the absence of doubts and hesitation, the unity of word and deed. Elena's love is decisive and boundless. She is not stopped by the poverty of Insarov, she is ready to break with her family, to leave Russia. Dmitry's homeland will become her homeland as well. And Insarov turned out to be not a dry rigorist, not a lifeless ascetic, but a responsive person, deeply feeling all the diversity of life. Loving Elena, he is gladly convinced that he has found not just a loving wife, but a friend and like-minded person.
Usually the central characters in Turgenev's novels diverge from each other. So Rudin does not show the same determination as Natalya. He hesitates, is ready to be guided by the deliberately negative opinion of her mother and thus falls in her eyes, causes her disappointment, leaves the Lasunsky estate. So they never met again in life.
Outwardly, the relationship between Lavretsky and Liza Kalitina is developing in a different way, but they also end in a break. Lavretsky, after the moral shock caused by the betrayal of his wife, abandons her, comes from abroad to his native places, gradually calms down, finds sympathy in Liza. The heroes of the novel "A Noble Nest" fell in love with each other. After the news of his wife's death, Lavretsky is ready to propose to Lisa. But the newspaper report about his wife's death turned out to be false. Varvara Pavlovna comes to Lavretsky, and the religious Liza, feeling punished for her love, leaves for a monastery.
With the woman he loves, it is not only the extra people Rudin or Lavretsky who cannot connect with Turgenev. And the democrat Bazarov ("Fathers and Sons") turns out to be far from personal happiness. The main characters in the first Turgenev novels - men and women - begin to converge, but they never connect with each other, although their meetings are the brightest pages in their lives.
“On the eve” in this sense is an exception. Insarov and Elena decide to go hand in hand for the rest of their lives. However, happiness is not immediately given to them. The writer complicates the plot with various obstacles that lovers have to overcome. This is the alleged disagreement of Elena's family to this marriage.
And if Rudin was frightened and forced to retreat, then the heroes of the novel "On the Eve" decided not to pay attention to it and get married secretly.
Another obstacle is Insarov's disease. But she shows a readiness for anything, determination, determination and loyalty to Elena, who loves the terminally ill Insarov. Like other events of the novel, for example, a trip to Tsaritsyno, this illness is motivated by the author. Insarov caught a cold while bothering to get a passport for Elena. The psychology of the sick Insarov is also skillfully conveyed in the novel. In a delusional state, he sees a retired prosecutor, to whom he went to consult about a passport and who said: “And the passport ... is the work of human hands; For example, you are driving: who knows you, are you Marya Bredikhina, or are you Caroline Vogelmeyer? " And here is how Insarov, who is in a state of illness, imagines all this: “What is this? the old prosecutor in front of him, in a tarmalam robe, belted with a fuller, as he had seen him the day before ... "Caroline Vogelmeyer," mutters a toothless mouth. Insarov looks, and the old man grows, swells, grows, he is no longer a man - he is a tree ... Insarov has to climb steep branches. He clings, falls with his chest on a sharp stone, and Carolina Vogelmeyer sits on his haunches, in the form of a tradeswoman, and babbles: "pies, pies, pies" - and there is blood flowing and sabers glisten unbearably ... Elena!., And that's all disappeared into crimson chaos. "
Turgenev shows that even in a delusional state, human psychology depends on real life experiences, feeds on them. Only in a diseased brain are these perceptions peculiarly, unsystematically, chaotically refracted. Such an artistic detail is also unusually successful. Before Insarov's illness, Elena came to him, and the delicate smell of mignonette she left behind reminded her of her visit. But Elena comes to him again and learns from Bersenev that Insarov is ill. After Elena leaves, Insarov awakens from oblivion and the following conversation takes place between him and Bersenev:
Bersenyev went up to him.
- I'm here, Dmitry Nikanorovich. What do you want? How are you feeling?
- One? The patient asked.
- Who is she? - Bersenyev said almost with dismay.
Insarov was silent.
- Reseda, - he whispered, and his eyes closed again.
Turgenev's work was a step forward in the development of Russian realism. In the novel "On the Eve", in fact, for the first time in literature, the image of a plebeian democrat was reproduced. Moreover, the noble author was able to show his superiority over the best people from the same noble environment.
But the realism of Turgenev was not able to show his rascal hero in action. This circumstance is explained by the writer’s ignorance of all aspects of the life of the democrat Insarov. Turgenev did not have to observe such people in the process. That is why Insarov dies before reaching his long-suffering homeland - Bulgaria.
In addition, it should be borne in mind that the pain and premature death of Insarov is not just a fact of his personal biography. The state of Turgenev's hero, who went through a difficult life school, was typical of democratic leaders of that era. Let us recall the death of Belinsky or Dobrolyubov from tuberculosis. Harsh living conditions undermine the health of the hero of Nekrasov's poem "Who Lives Well in Russia?" Grisha Dobrosklonova, to whom
Fate was preparing
Glorious path, loud name
People's defender,
Consumption and Siberia.
Insarov also dies of consumption.
His illness and death are motivated and impressively described by Turgenev.
Separated by several months from the previous events, the paintings of the last days of Turgenev's hero represent, as it were, an independent story, a novella, of course, at the same time closely related to the content of the entire novel and is the denouement of the entire action.
Usually, the writer begins the narrative, the characterization of the characters, with a description of their appearance. This is what he does at the end of the novel. During the time that has passed since winter, when Insarov and Elena left Moscow, until April, when they were in Venice awaiting departure to Bulgaria, their appearance has changed. But if Elena's face changed not so much as their expression ("it was more deliberate and stricter, and the eyes looked bolder"), then Insarov, on the contrary, had the same expression, but his features changed dramatically. He looked like a completely sick person, lost weight, aged, hunched over, coughed almost incessantly, and his sunken eyes shone with a strange brilliance.
The character of the drama also changes in the novel. If earlier it was determined by the struggle of heroes with life obstacles, now, in the last three chapters, it is the powerlessness of a person before inexorable death, the contradiction between the ideological aspirations of the character and his physical capabilities, between the height and nobility of the life goal and its impracticability caused by the dying state of the hero. So drama develops into tragedy, because the tragic is expressed in the suffering or death of a person. Moreover, "a chance or necessity is the cause of a person's suffering and death, - all the same, suffering and death are terrible" 4 *.
The tragic flavor gradually builds up at the end of the novel. Softened at the beginning of the last three chapters, it then sharply intensifies. So the painfulness of Insarov, the uncertainty of his future, Elena's fears are mitigated by a beautiful description of the Venetian cityscape. The writer is amazingly artistically able to convey the beauty of Venice in April. The description is carried out in the style of rhythmic prose, which is easy to dismember into separate poetic lines:
Who has not seen Venice in April,
that hardly knows
all unspeakable beauty
of this magical city.
The gentleness and gentleness of spring
go to Venice,
like the bright summer sun
to the magnificent Genoa,
like the gold and purple of autumn
to the great old man - Rome.
In the lines dedicated to Venice, a certain periodicity is felt, most often repeated three times:
This silvery tenderness of the air
this flying away and close distance,
this marvelous harmony of the most graceful outlines and melting colors.
Such a perception of the Italian city raises the spirits, contributes to the emergence of a joyful outlook. This is exactly what happened with the heroes of the novel. And in order to reveal some constancy (albeit for the time being) of the feeling of gaiety, the author leads them to the Academy of Fine Arts, makes them laugh at the religious subjects of Italian painters. And after the gaiety has already seized Insarov and Elena, they will laugh at the sight of both the gondolier and the gray-haired tradeswoman, and even when they look at each other.
But this laugh was the last in their life. Outwardly unreasonable gaiety was caused by the needs of the minute. But what the soul demanded held back the weakness of the body. Turgenev contrasts this outburst of youthful joy with the dramatic nature of the plot of the opera. The story of the woeful life of Traviata emphasizes the tragedy of Insarov's fate.
Psychological moods, fates, and individual details are contrasted. So, the handshakes that Elena and Insarov exchanged in the gondola after visiting the museum were made out of an excess of joyful feelings. The meaning of the gesture was that the heroes of the novel greeted each other, and the handshake in the theater was caused by the anticipation of the expectation of something terrible, inspired by the death of Violetta and her exclamation: "Let me live ... die so young."
If the scene in the museum was covered with joyful memories of the time when young people met and, overcoming life's obstacles, united with each other, then the scene in the theater hinted at a sad future, foreshadowed the tragic end of Insarov, and therefore Elena's reflections on the fate of her husband are so natural ...
Turgenev's art of psychological observation is diverse. Most often, he analyzes feelings and thoughts, decompose them into their component parts with a skill that puts him in the forefront of the world's greatest psychologists. Less often the writer shows the flow of the inner world, but with such a rare case we meet at the end of the novel "On the Eve". Returning from the theater, Elena, seized with grievous forebodings, reflects on the fate of Insarov. Just like L. Tolstoy, Turgenev turns to the reception of an internal monologue. Just like L. Tolstoy, he reproduces Elena's moods and thoughts in their fluidity, their process, although this process is shorter than that of the author of War and Peace.
Sketches of nature are continuously introduced by Turgenev into the novel, constantly shading the experiences of his heroes. Elena's inner monologue is framed by two landscape pictures. Before thinking about Insarov, it seems to her that the night is so quiet and gentle, the azure air breathes with such dove-like meekness that any grief should have ceased and fell asleep under this clear sky. But her wish does not come true. Insarov's disease continues to take its toll. The patient rushes about on the pillow, and when he calms down, Elena sees a white seagull through the window high above the water and thinks about Insarov's future. However, the seagull did not fly towards her, which would have meant a good omen. She didn’t even fly away, but “whirled around, folded her wings - and, like a shot, with a pitiful cry, fell somewhere far beyond the dark ship”. So this landscape detail aggravates the premonition of death, precedes the denouement itself.
The last link in the preparation of the reader for the death of Insarov is Elena's dream. Dreams were often used by Russian writers as one of the methods of characterization. Tatiana Larina's dream sets off the ignorance, primitiveness of her environment. Dreams of Vera Pavlovna from Chernyshevsky's novel "What is to be done?" accompany the main stages of her life and explain them for Vera Pavlovna herself, and the heroine of Chernyshevsky - to readers and - especially - to readers. Elena's dream is not cited by the author to clarify her environment or her past. He hints at a sad future, anticipates it. The "carriage of life" on which she "rode" falls into a yawning abyss, and Insarov's voice is heard from there.
And when Elena wakes up, she really heard the voice of her dying husband.
Through the last chapters are Insarov's remarks about Randich, who is supposed to transport him to Bulgaria. These lines play a very important role at the end of the novel, highlighting the meaning of Randich. Randich is the unfulfilled future of Turgenev's hero, who could never get to his homeland. The episodes with Randich are built in contrast: when this person is not there, Insarov prepares to go, but then the eagerly awaited face appears, but it's too late: Insarov has just died, without even having time to speak with the one with whom he certainly wanted to meet.
The death of Insarov did not affect Elena's determination to devote her strength to the cause of the liberation of Bulgaria. And this is hinted at in the traditional Turgenev lyrical epilogue.
Lyricism is generally characteristic of the author of the novel "On the Eve", whose creative method can be contrasted with the manner of Goncharov. The originality of Turgenev's talent in comparison with the peculiarities of Goncharov's talent was very aptly established by N.A. Goncharov “does not give you, and, apparently, does not want to give any conclusions. The life he depicts serves for him not as a means to abstract philosophy, but as a direct goal in itself. He does not care about the reader and about the conclusions you draw from the novel: that’s your business. Wrong - blame your myopia, not the author. He presents you with a living image and only vouches for its resemblance to reality; and then it's up to you to determine the degree of dignity of the depicted objects: he is completely indifferent to this. He does not have that fervor of feeling, which gives the greatest strength and charm to other talents. Turgenev, for example, talks about his heroes as about people close to him, snatches their hot feeling from his chest and with tender sympathy, watches him with painful trepidation, he suffers and rejoices along with the faces he created, he himself is carried away by that poetic environment, which he always loves to surround them ... And his hobby is contagious: it irresistibly takes possession of the reader's sympathy, from the first page rivets his thought and feeling to the story, makes him experience, feel those moments in which Turgenev's faces appear before him. And it will take a long time - the reader may forget the course of the story, lose the connection between the details of the events, lose sight of the characteristics of individuals and positions, may, finally, forget everything he has read; but he will nevertheless remember and cherish the vivid, gratifying impression he experienced while reading the story ”5 *.
Thus, Insarov appears before us as a hero of a new type. This new is expressed not in moral principles, not in intellectual merit and not in artistic talent, but in relation to social responsibilities. High morality, depth of mind, talent were characteristic of the former heroes, but they lacked a high, life-conditioned ideology. Reflection corroded the old noble hero. He watched more than acted, spoke more readily than did. The new democratic hero was far from ambivalent. Insarov was characterized by inner concentration and strength of personality.
He was so purposeful, uncommon, so monolithic and solid, as if carved out of a piece of marble.
To contrast Insarov more clearly with the noble heroes who loved to talk, argue, and prove their case, Turgenev forces Insarov to be laconic, almost silent. It is no coincidence that the novel does not show how Insarov speaks about his homeland. This is only recorded in Elena's diary: "When he talks about his homeland, he grows, grows, and his face becomes prettier, and his voice is like steel, and it seems that then there is no such person in the world before whom he would lower his eyes." In this recording there are no words uttered by Insarov, but his transformation when talking about Bulgaria and admiration for Elena are conveyed. Insarov's charm lay not in external beauty, but in internal virtues, under the influence of which his whole appearance was transformed.
Insarov's lack of words was more than compensated for by his ability to work and act. This ability to work manifested itself in him both in the field of science and in the field of social practice.
His work as a translator and philosopher was determined not by academic considerations (as in Bersenev's), but by the pressing needs of life.
Using Insarov as an example, the author emphasized the importance of an advanced worldview. Insarov's strength, his activity and effectiveness are conditioned by the idea that he serves and knows how to subjugate himself without reserve. This is exactly what the idea of liberating one's homeland turns out to be, full of inner energy, burning and patriotic pathos. Selfless dedication to such a noble goal, the willingness to make any sacrifices for its implementation is the core of this innovative image.
Consequently, Insarov was head and shoulders above any noble hero. He surpassed him both in integrity and concentration of character, and in the presence of a noble life goal, a patriotic idea, and the ability to implement it, the unity of theory and practice.
Insarov's image is far from dry schematism. Turgenev managed to create a vivid human character, given in all the splendor of vital concreteness. The individual and the typical merge into one.
Turgenev made his hero a Bulgarian, because he wanted to put on a Slavic theme, to express his sympathy for the liberation movement in Bulgaria. However, Insarov's Bulgarian nationality also has another meaning: the writer believed that Russian life did not advance such a hero. In this regard, it is interesting to recall the creative history of the novel, told by the writer in the preface to the collection of novels of 1880. During his exile in Spasskoye-Lutovinovo, Turgenev met his neighbor on the estate V. Karateev, who, before leaving with the noble militia for Crimea in the fall of 1854, transferred Turgenev a small notebook, fifteen pages. It described the story of Karateev. Its content boils down to the fact that Karateev in Moscow fell in love with a girl who reciprocated him. But when she met the Bulgarian Katranov, she became interested in him, went with him to Bulgaria, where he soon died. “The story of this love was conveyed sincerely, although ineptly. Indeed, Karateev was not born a writer. Only one scene, namely a trip to Tsaritsyno, was sketched quite vividly, and in my novel I retained its main features. True, at that time other images revolved in my head: I was going to write Rudin; but the task that I later tried to accomplish in "On the Eve" occasionally arose in front of me. The figure of the main character, Elena, then still a new type in Russian life, was quite clearly outlined in my imagination; but there was a lack of a hero, a person to whom Elena, with her still vague, though strong desire for freedom, could surrender.
After reading Karateev's notebook, I involuntarily exclaimed: "Here is the hero I was looking for!" "There was no such thing between the Russians of that time."
Thus, the writer believed that Insarov could not have arisen in Russian life. This point of view finds confirmation both in the whole novel and in its individual passages. Elena writes in her diary that Insarov "could not have been Russian." The author puts the same idea into Shubin's mouth.
Naturally, the revolutionary democrats could not agree with such a formulation of the question. N. A. Dobrolyubov in his article "When will the present day come?" highly appreciated the entire novel "On the Eve", considered it a step forward in the work of Turgenev. In connection with the image of Insarov, the critic skillfully showed the failure of the liberals, who are incapable of living, active work, since their class positions, belonging to the landowner circles, hindered this.
“The Russian hero,” wrote N. A. Dobrolyubov, “who usually comes from an educated society, is himself vitally connected with what he must rebel against. He is in such a position as, for example, one of the sons of the Turkish aga, who decided to free Bulgaria from the Turks, would have been ”6 *.
The true hero, according to Dobrolyubov, will be vitally connected not with the social system, not with the state regime, but with the people,
Dobrolyubov saw the emergence of a new democratic hero both in literature and in Russian life. His article contains a revolutionary call to fight against the "internal Turks", that is, autocratic-serf despotism.
And Dobrolyubov rightly disagreed with the fact that Russian Insarovs could not appear in Russian life. "When Will the Present Day Come?" was imbued with a passionate faith in the arrival of their freedom-loving and fearless Insarovs, promoted in Russian life, in the coming of the present day when Russian democratic heroes will take part in revolutionary events and lead them.
Turgenev's novel had, in addition to artistic, enormous political significance, since it allowed Russian journalism to put the forbidden theme of the revolution in magazine articles. However, the author himself objected to this.
When Turgenev found out that N. A. Nekrasov was going to publish an article by N. A. Dobrolyubov "When will the real day come?", He asked him not to do this. And when the article was finally published, Turgenev and a group of liberal-minded writers and critics left the staff of Sovremennik.
Notes (edit)
1* (V. I. Lenin, Works, vol. 17, p. 95.)
2* (It is noteworthy that Rudin says the same thing, but Rudin's reasoning is deeper and more meaningful than Bersenev's words.)
3* (N. A. Dobrolyubov, Complete Works, under the general editorship of P. I. Lebedev Polyansky, vol. II, Goslitizdat, 1935, pp. 215, 216.)
4* (N. G. Chernyshevsky, Complete Works Vol. II, Goslitizdat, 1949, p. 30.)
5* (N. A. Dobrolyubov, Complete Works, vol. II, Goslitizdat, 1935, pp. 6-7.)
6* (N. A. Dobrolyubov, Complete Works, vol. I, Goslitizdat. 1935, p. 229.)
Elena Nikolaevna, a twenty-year-old beauty, from an early age was distinguished by a kind and dreamy soul. She is attracted by the opportunity to help the sick and hungry - both people and animals. At the same time, she has long been showing independence and lives by her own mind, but has not yet found a companion for herself. Shubin does not attract her because of his volatility and inconstancy, and Bersenev is interesting to her for his intelligence and modesty. But then Bersenev introduces her to his friend, the Bulgarian Dmitry Nikanorovich Insarov. Insarov lives with the idea of liberating his homeland from Turkish rule and attracts Elena's keen interest.
After the first meeting, Insarov did not manage to please Elena, but everything turns upside down after the incident in Tsaritsyn, when Insarov protects Elena from the harassment of a drunkard of enormous stature, throwing him into a pond. After that, Elena admits to herself in her diary that she fell in love with the Bulgarian, but soon it turns out that he intends to leave. At one time, he told her that he would leave if he fell in love, since he did not intend to give up debt for the sake of personal feelings. Elena goes to Dmitry and confesses her love to him. When asked if she will follow him everywhere, the answer is yes.
After that, Elena and Dmitry for some time contact through Bersenev, but in the meantime, more and more disturbing letters come from Insarov's homeland, and he is already seriously preparing to leave. One day Elena goes to him herself. After a long and heated conversation, they decide to get married. This news becomes a blow to Elena's parents and friends, but she still leaves with her husband.
Having reached Venice, Dmitry and Elena are waiting for the arrival of the old sailor Randich, who is supposed to ferry them to Serbia, from where their path lies to Bulgaria. However, Insarov is ill, he begins to develop a fever. Exhausted Elena has a nightmare, and, waking up, she realizes that Dmitry is dying. Randich no longer finds him alive, but at Elena's request he helps her deliver her husband's body to his homeland.
Three weeks later, Anna Stakhova receives a letter from her daughter: she is sent to Bulgaria, which will become her new homeland, and will never return home. Further traces of Elena are lost; she was rumored to have been seen with the troops as a sister of mercy.
Motives of the novel
The ideas and motives of the novel were analyzed in detail from a progressive standpoint by NA Dobrolyubov in the Sovremennik magazine in January 1860 (article "When will the present day come?"). Dobrolyubov notes Turgenev's sensitivity as a writer to pressing social issues and dwells on how the author reveals some of these topics in his new novel.
Dobrolyubov paid special attention to the issue of choosing the main character. Dobrolyubov sees in Elena Stakhova an allegory of young Russia on the eve of social upheavals - an interpretation with which Turgenev himself did not agree (see Criticism):
Elena drew from the Russian people the dream of the truth, which must be sought in distant lands, and the readiness to sacrifice herself for the sake of others. An artist, a scientist, a successful official and a revolutionary claim to love Elena, and in the end she chooses not a pure mind, not art and not a civil service, but a civil feat. Dobrolyubov emphasizes that of all the candidates, the only worthy one is Insarov, who cannot imagine his happiness without the happiness of his homeland, who is all subordinate to a higher goal and whose word does not differ from deed.
Another theme running through the novel is the theme of the conflict between egoistic and altruistic aspirations in the human soul. For the first time, this question is raised in the scene of the dispute between Bersenev and Shubin about happiness: is not the pursuit of happiness an egoistic feeling, which is higher - “love-pleasure” separating people or “love-sacrifice” that unites people. At first it seems to Elena and Insarov that this contradiction does not exist, but then they become convinced that this is not so, and Elena is torn between Insarov and her family and homeland, and later Insarov himself asks her whether his illness was sent as a punishment for their love. Turgenev emphasizes this inevitable tragedy of human existence on Earth, when at the end of the book Insarov dies, and Elena disappears and her trace is lost. But this ending even more emphasizes the beauty of the emancipatory impulse, giving the idea of the search for social perfection a timeless, universal character.
Criticism
Turgenev, who dreamed of an alliance of anti-serfdom forces and reconciliation of liberals with radical democrats for the sake of fighting for a common national idea, did not accept the position of Dobrolyubov, who denied the viability of noble liberalism and opposed the Russian Insarovs to the "internal Turks", among which he included not only obscurantist reactionaries, but also dear to the heart of the author of the liberals. He tried to persuade Nekrasov to refuse to publish Dobrolyubov's article in Sovremennik, and when he did not heed his arguments, he finally broke with the editorial board of the magazine. For their part, the commoners of Sovremennik also embarked on a course of confrontation, and soon a devastating review of Rudin, already written by Chernyshevsky, appeared in the magazine.
The criticism of the novel from more conservative circles was also upsetting for Turgenev. So, Countess Lambert denied Elena Stakhova such qualities as femininity or charm, calling her immoral and shameless. The same position was taken by the critic MI Daragan, who called the main character "an empty, vulgar, cold girl who violates the decorum of the world, the law of female modesty" and even "Don Quixote in a skirt", and Insarov - dry and schematic. In secular circles, they joked about the novel: "This is 'On the Eve', which will never have its tomorrow." Finding himself under the crossfire of progressive and conservative critics who ignored Insarov's call for national reconciliation, Turgenev, in his own words, began to feel a desire to "resign from literature." The grave condition of the writer was aggravated by hints from I.A.
