The main character of the novel is Rudin. Avdyukhin Pond: Natalia and Rudin’s last date

Turgenev Lebedev Yuri Vladimirovich

Roman "Rudin"

The year 1855 suddenly brought such a contradictory stream of life impressions upon Turgenev, confronting him with such conflicts that, willy-nilly, he had to think about himself and about the people of his generation. Time confronted them with decisive and direct questions, demanding from them equally decisive and consistent action. Conversations and disputes in a close circle of like-minded people, which once determined the meaning of the existence of the cultural part of the Russian nobility, could now satisfy no one. The time of the “word” was becoming a thing of the past, replaced by a new era that called a thinking person to action, to practical participation in the political life of the country. Dramatic changes were brewing in society, affecting primarily the fate of two classes of Russia - the nobility and the peasantry.

In such a historical atmosphere, in the summer of 1855, Turgenev began work on the novel “Rudin,” a largely autobiographical work. Its main character is a man of the Turgenev generation, formed in the late 30s - early 40s, one of the best representatives of the cultural nobility. Rudin received an excellent education, first in the Pokorsky circle (prototype N.V. Stankevich), and then at the University of Berlin. In the appearance of Rudin, contemporaries recognized Turgenev's friend M.A. Bakunin, although in the process of working on the novel Turgenev tried to obscure the similarities with him.

Turgenev was concerned with the question of what a noble hero could do in conditions when society was faced with specific practical tasks. At first the novel was called “Nature of Brilliant.” By “genius” Turgenev understood the ability to enlightenment, a versatile mind and broad education, and by “nature” - firmness of will, a keen sense of the urgent needs of social development, and the ability to translate words into deeds.

As he worked on the novel, this title ceased to satisfy Turgenev. It turned out that when applied to Rudin, the definition of “genius nature” sounds ironic: he has “genius”, but no “nature”; he has the talent to awaken the minds and hearts of people, but does not have the strength and ability to lead them.

“Rudin” opens with a contrasting image of a poor village and a noble estate. One is buried in a sea of blooming rye, the other is washed by the waves of the Russian river. In one there is ruin and poverty, in the other there is idleness and illusiveness of vital interests. Moreover, the hardships and misfortunes of the “forgotten village” are directly related to the lifestyle of the owners of noble nests. A peasant woman dying in a smoke hut asks not to leave her orphan girl unattended: “Our gentlemen are far away...”

Here the reader meets Lezhnev and Pandalevsky. The first one is hunched over and dusty, immersed in endless household chores, reminiscent of a “big flour sack.” The second is the embodiment of lightness and groundlessness: “a young man of short stature, in a light frock coat open wide, a light tie and a light gray hat, with a cane in his hand.” One hurries to the field where buckwheat is sown, the other is at the piano, learning a new etude by Thalberg.

Pandalevsky is a ghost man without social, national and family roots. Even his speech is a paradox. He speaks Russian “clearly”, but with a foreign accent, and it is impossible to determine which one. He has oriental features, but a Polish surname. He considers Odessa his homeland, but was brought up in Belarus. The hero’s social position is equally uncertain: under Daria Mikhailovna Lasunskaya, he is either an adopted child or a lover, but most likely a parasite and a hanger-on.

The features of “groundlessness” in Pandalevsky are absurd, but symbolic in their own way. With his presence in the novel, he highlights the illusory existence of some of the wealthy nobility. Turgenev skillfully notices something “Pandalevsky” in all the heroes involved in Daria Mikhailovna’s circle. Although people's Russia is on the periphery of the novel, all the heroes, all the events in it are assessed from democratic positions. The Russian theme of “Notes of a Hunter,” which has faded into subtext, still determines the moral atmosphere of the novel. “Rudin’s misfortune is that he doesn’t know Russia, and this is definitely a big misfortune. Russia can do without each of us, but none of us can do without it,” says Lezhnev.

There is a hidden irony in the fact that Baron Muffel, expected in Daria Mikhailovna’s salon, is “replaced” by Dmitry Rudin. The impression of dissonance is also created by the appearance of this hero: “tall”, but “some stoop”, “thin voice” that does not correspond to his “wide chest” - and an almost symbolic detail - “the liquid sparkle of his eyes”.

From the first pages of the novel, Rudin captivates the society in Lasunskaya's salon with the brilliance of his mind and eloquence. This is a talented speaker; in his improvisations about the meaning of life, about the high purpose of man, he is irresistible. A deft and witty debater, he utterly defeats the provincial skeptic Pigasov. The young teacher, commoner Basistov and Lasunskaya’s young daughter Natalya are amazed by the music of Rudin’s words, his thoughts about the “eternal meaning of a person’s temporary life.”

But there is also some flaw in the hero’s eloquence. He speaks captivatingly, but “not entirely clearly,” not quite “definitively and precisely.” He does not feel well the reactions of others, being carried away by the “flow of his own sensations” and “not looking at anyone in particular.” He does not notice, for example, Basistov, and it is not without reason that the sad young man comes up with the thought: “Apparently, in words he was only looking for pure and devoted souls.”

The thematic circle of Rudin’s eloquence also turns out to be extremely narrow. The hero has an excellent command of abstract philosophical language: his eyes glow, and his speech flows like a river. But when Daria Mikhailovna asks him to tell something about student life, the talented speaker wilts, “his descriptions lacked color. He didn't know how to make people laugh." Rudin didn’t even know how to laugh: “When he laughed, his face took on a strange, almost senile expression, his eyes shrank, his nose wrinkled.” Deprived of humor, he does not feel the comicality of the role that Daria Mikhailovna forces him to play, for the sake of a master’s whim, “pitting” Rudin against Pigasov. The hero’s human deafness is also manifested in his insensitivity to simple Russian speech: “Rudin’s ear was not offended by the strange diversity of speech in the mouth of Daria Mikhailovna, and it is unlikely that he had an ear for it.”

Gradually, from many contradictory strokes and details, a holistic idea of the complex character of the hero emerges, whom Turgenev finally brings to the main test - love.

The young and inexperienced Natalya takes Rudin’s enthusiastic speeches as his deeds: “She kept thinking - not about Rudin himself, but about some word he said...” In her eyes, Rudin is a man of feat, the hero of the cause for which she ready to make any sacrifices recklessly. Nature responds to Natalya’s young, bright feeling in the novel: “Low, smoky clouds rushed smoothly across the clear sky, without blocking the sun, and from time to time dropped abundant streams of sudden and instant rain onto the fields.” This landscape is an expanded metaphor for Pushkin’s famous poems from Eugene Onegin, poeticizing young, cheerful love:

Love for all ages;

But to young, virgin hearts

Her impulses are beneficial,

Like spring storms across the fields...

But the life of Natalia’s chosen one has reached its zenith and is heading towards sunset. Years of abstract philosophical work have dried up the living springs of the heart and soul in Rudin. The preponderance of the head over the heart is especially noticeable in the scene of the love confession. Natalya’s retreating steps have not yet sounded, and Rudin indulges in reflection: “I’m happy,” he said in a low voice. “Yes, I’m happy,” he repeated, as if wanting to convince himself.” In love, Rudin clearly lacks “nature”.

But at the same time, the novel between Rudin and Natalya is not limited to exposing the social inferiority of the “superfluous person”: there is a deep artistic meaning in the hidden parallel that exists in the novel between the “morning” of Natalya’s life and Rudin’s joyless morning at the dry Avdyukhin pond. “Continuous milky clouds covered the entire sky; the wind quickly drove them, whistling and squealing.” Once again, the novel implements the “formula” given by Pushkin for late love:

But at a late and barren age,

At the turn of our years,

Sad is the passion of the dead trail:

So the storms of autumn are cold

A meadow is turned into a swamp

And they expose the forest around.

In the literature about the novel, there is an opinion that in the scene at Avdyukhin's pond Rudin's cowardice was revealed, that the obstacle that arose in his way - Daria Mikhailovna's reluctance to marry her daughter to a poor man - determined his refusal, his advice to Natalya: “We must submit.” On the contrary, this most likely reflected the nobility of the hero, who finally realized that Natalya had mistook him for the wrong person who he really was. Rudin perfectly feels his own weaknesses, his ability to quickly get carried away, flare up and go out, being satisfied with the wonderful moments of first love - a trait characteristic of all idealists of the era of the 30s and 40s, including Turgenev.

In subsequent chapters, the author moves from the trial of the hero to his acquittal. After a love disaster, Rudin tries to find a worthy use for his vitality. Of course, not content with little, the romantic enthusiast sets his sights on obviously impossible things: rebuilding the entire system of high school teaching on his own, making the river navigable, regardless of the interests of the owners of small mills on it. But the tragedy of Rudin the practitioner lies in something else: he is not capable of being Stolz, he does not know how and does not want to adapt and dodge.

Rudin in the novel has an antipode - Lezhnev, affected by the same disease of time, but only in a different version: if Rudin soars in the clouds, then Lezhnev creeps along the ground. Turgenev sympathizes with this hero, recognizes the legitimacy of his practical interests, but does not hide their limitations. Lezhnev, like Rudin, lacks the desired integrity. By the way, the hero himself pays tribute of respect and love to Dmitry Rudin at the end of the novel. "He has enthusiasm, and that... is the most precious quality in this day and age." So weakness turns into strength, and strength into weakness.

By the end of the novel, the social theme is transferred to a different, national-philosophical plane. Rudin's prophetic words are coming true, which at first might have seemed like a phrase: “Now all I have to do is drag along the hot and dusty road, from station to station, in a shaking cart.” A few years later we meet Rudin in a shaking cart, wandering from nowhere to nowhere. Turgenev deliberately does not specify the scene of action here, giving the narrative a generalized poetic meaning: “... in one of the remote provinces of Russia,” “in the very heat, along the main road, a poor matting wagon, drawn by three philistine horses, was dragging along. Sticking out on the beam... was a gray-haired man in a leaky overcoat...” Pushkin’s metaphor is again realized in the novel, and there is a echo with “The Cart of Life”:

Dashing coachman, gray time,

Lucky, he won't get off the irradiation board.

And the “tall stature”, “dusty cloak” and “silver threads” in Rudin’s hair make us remember the eternal wanderer-truth-seeker, the immortal Don Quixote. The motifs of “road”, “journey”, “wandering” acquire a national flavor at the end of the novel. Rudin’s truth-seeking is akin to that spiritual restlessness that makes Russian kasyans wander around Rus', forgetting about home, about a cozy nest: “So what! Are you staying at home for a long time? But as you go, as you go and feel better, really.”

In the epilogue of the novel, not only Rudin’s appearance, but also his speech changes. In the style of Rudin’s phrase, folk intonations appear, the sophisticated dialectician now speaks in the language of Koltsov: “What have you, my youth, brought me to, you have driven me so far that there is nowhere to take a step.” The unfortunate fate of the hero is echoed by the mournful Russian landscape: “And in the yard the wind rose and howled with an ominous howl, heavily and angrily hitting the ringing glass. A long autumn night has arrived. It’s good for the one who sits under the roof of the house on such nights, who has a warm corner... And may God help all homeless wanderers!”

Rudin reflects the dramatic fate of Turgenev's generation of Russian wanderers in search of truth. The ending of the novel is heroic and tragic at the same time. Rudin dies on the Parisian barricades during the 1848 revolution. True to himself, he appears here when the uprising of the national workshops has already been suppressed. The Russian Don Quixote rises to the barricade with a red banner in one hand and a crooked and blunt saber in the other. Struck by a bullet, he falls dead, and the retreating insurgents mistake him for a Pole.

And yet Rudin’s life is not fruitless. His enthusiastic speeches are eagerly captured by the young commoner Basistov, in whom one can discern the young generation of “new people”, the Chernyshevskys and Dobrolyubovs. Rudin’s preaching will bear fruit in a new generation of “consciously heroic natures” who know Russian life and have emerged from its depths. “He still sows good seed!” And with his death, despite its tragic futility, Rudin defends the high value of the eternal search for truth, the indestructibility of heroic impulses. Rudin cannot be a hero of modern times, but he did everything possible in his position to make such heroes appear. This is the final result of the socio-historical assessment of the strengths and weaknesses of the “sticky man.”

At the same time, in “Rudin” the idea clearly sounds about the tragedy of human existence, about the fleetingness of young years, about the fatal incompatibility of people of different generations, different psychological ages. Turgenev, in this novel, looks at human life not only from a historical, but also from a philosophical point of view. A person’s life, he believes, is determined not only by the social relations of a given historical moment, not only by the entire totality of national experience. She is also at the mercy of the inexorable laws of nature, obeying which a child becomes a youth, a youth becomes a youth, a youth becomes a mature husband and, finally, an old man. The blind laws of nature give a person time to live, and this time is painfully instantaneous compared even to the life of a tree, not to mention eternity. The short duration of human life is a source of not only personal, but also historical dramas. Generations of people who nurture small or grandiose historical plans equally go to their graves without having accomplished even a hundredth part of what they planned. In the process of working on “Rudin,” Turgenev especially acutely felt the rapidity of historical time, which had taken a sharp turn. So much had been lived through and gone through that mental fatigue was already beginning to overcome, the burden of the past years was pressing on my shoulders, hopes for family happiness, for finding spiritual refuge, my “nest” were fading.

“Rudin,” despite all the favorable critical assessments, evoked reproaches from contemporaries for lack of coherence, “the main thing of its construction.” A.V. Druzhinin believed that a true work of art should be built on a culminating event, to which the threads of the narrative are pulled together. In Turgenev's novel, this culminating event - a love plot - does not completely explain the mystery of the hero's personality. “The author himself sees this and, like the mythological Sisyphus, again takes up the work he has just finished, trying, with the help of Lezhnev’s notes and his last, excellent conversation with Rudin, to supplement what is necessary.” The critic made demands of classical aesthetics for the novel, which Turgenev decisively abandoned. On top of the usual plot with a love story at the climax, the author of the novel layered several “extra-plot” short stories - a story about Pokorsky’s circle, the second denouement of the novel - Lezhnev’s meeting with Rudin in a provincial hotel, the second epilogue - Rudin’s death on the barricades. The connections between these short stories arose not so much on an eventual basis, but on an associative basis. The reader approached a complete idea of Rudin through the process of mutual reflection of his contradictory characteristics, which give the image volume and completeness, but still do not fully exhaust the entire depth of the Rudin type. This stereoscopic image was enhanced by the fact that Turgenev surrounded Rudin with “doubles” - Lezhnev, Pandalevsky, Muffel and others - in which, as in a system of mirrors, the strengths and weaknesses of the hero were multiplied. In the construction of the novel, the aesthetic law of “Notes of a Hunter” was in effect, where a holistic image of living Russia was formed in artistic exchanges between sketches of different folk characters.

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Turgenev began work on “Rudin” in 1855, immediately after the failures of the Crimean War, in an atmosphere of brewing social upsurge. The main character of the novel is largely autobiographical: he is a man of the Turgenev generation who received a good philosophical education abroad, at the University of Berlin. Turgenev was concerned with the question of what a cultured nobleman could do in new conditions, when society was faced with specific practical questions. At first the novel was called “Nature of Brilliant.” By “genius” Turgenev understood the ability to convince and enlighten people, a versatile mind and broad education, and by “nature” - firmness of will, a keen sense of the urgent needs of public life and the ability to translate words into deeds. As he worked on the novel, this name ceased to satisfy the writer. It turned out that in relation to Rudin it sounded ironic: he had “genius”, but there was little “nature”; he had the talent to awaken the minds and hearts of people, but lacked willpower and taste for practical matters.
There is a hidden irony in the fact that Baron Mufel, expected in the salon of the wealthy landowner Lasunskaya, is “replaced” by Rudin. The impression of dissonance is deepened by his appearance: “tall”, but “some stoop”, “thin voice”, which does not correspond to the “wide chest”, and “the liquid sparkle of his eyes”.
Rudin's character is revealed in words. He conquers the society in Lasunskaya's salon with the brilliance of his mind and eloquence. This is a brilliant speaker. In philosophical improvisations about the meaning of life, about the high purpose of man, Rudin is irresistible. The young Basistov teacher and Lasunskaya’s young daughter Natalya are fascinated by the music of Rudin’s speech about the “eternal significance of a person’s temporary life.” His speeches inspire and call for a renewal of life, for extraordinary, heroic achievements.
Young people do not notice that there is a flaw in the hero’s eloquence: He speaks with inspiration, but “not entirely clearly”, not quite “definitely and accurately”; he does not feel well about those around him, being carried away by the “flow of his own sensations.” Excellent command of abstract philosophical language, he is helpless in ordinary descriptions, does not know how to make people laugh and does not know how to laugh: “when he laughed, his face took on a strange, almost senile expression, his eyes shrank, his nose wrinkled.”
Turgenev subjects the contradictory character of his hero to the main test - love. Young Natalya mistakes Rudin’s enthusiastic speeches for his deeds. In her eyes, Rudin is a man of feat, for whom she is ready to make recklessly any sacrifice. But Natalya is mistaken: years of abstract philosophical work have dried up the living springs of the heart and soul in Rudin. The retreating steps of Natalya, who declared her love for Rudin, had not yet sounded when the hero indulged in reflection: “... I’m happy,” he said in an undertone. “Yes, I’m happy,” he repeated, as if wanting to convince himself.” The preponderance of the head over the heart is already noticeable in the scene of the first love confession.
There is a deep contrast in the novel between the morning in the life of young Natalya and Rudin’s joyless morning at the dry Avdyukhin pond. Natalya’s young, bright feeling is answered in the novel by life-affirming nature: “Low, smoky clouds rushed smoothly across the clear sky, without blocking the sun, and from time to time dropped abundant streams of sudden and instant rain onto the fields.” Rudin experiences a completely different, gloomy morning during the period of decisive explanation with Natalya: “Continuous milky clouds covered the entire sky; the wind quickly drove them, whistling and squealing.” The first obstacle that arose on his way - Daria Mikhailovna Lasunskaya's refusal to marry her daughter to a poor man - leads Rudin into complete confusion. In response to Natalya’s love impulses, he says in a fallen voice: “We must submit.” The hero does not stand the test of love, revealing his human inferiority.
In Russian life he is destined to remain a wanderer. A few years later we meet him in a shaking cart, traveling from nowhere to nowhere. The “dusty cloak”, “tall stature” and “silver threads” in Rudin’s hair make us recall another eternal wanderer-truth-seeker, the immortal Don Quixote. His wandering fate is echoed in the novel by a mournful and homeless landscape: “And outside the wind rose and howled
with an ominous howl, hitting the rattling glass heavily and angrily. A long autumn night has arrived. It’s good for the one who sits under the roof of the house on such nights, who has a warm corner... And may the Lord help all homeless wanderers!”
The ending of the novel is heroic and tragic at the same time. Rudin dies on the Parisian barricades in 1848. True to his “genius” without “nature,” he appears here when the uprising of national workshops has already been suppressed. The Russian Don Quixote rises to the barricade with a red banner in one hand and a crooked and blunt saber in the other. Struck by a bullet, he falls dead, and the retreating workers mistake him for a Pole. I remember the words from Rudin’s letter to Natalya: “I will end up sacrificing myself for some nonsense that I won’t even believe in...” One of the characters in the novel says: “Rudin’s misfortune is that he does not know Russia , and this is definitely a big misfortune. Russia can do without each of us, but none of us can do without it. Woe to the one who thinks this, double woe to the one who actually gets along without it! Cosmopolitanism is nonsense, cosmopolitan is zero, worse than zero; outside the people there is no art, no truth, no life, nothing.”
And yet, Rudin’s fate is tragic, but not hopeless. His enthusiastic speeches are eagerly captured by the young commoner Basistov from the future “new people”, the Dobrolyubovs, the Chernyshevskys. And with his death, despite its apparent senselessness, Rudin defends the value of the eternal search for truth, the height of the heroic impulse.

The novel “Rudin” was written in 1855. The main character of the book can be classified as a type of superfluous people who cannot find their place in life. Of course, it is impossible to fit all the intricacies of a relationship into a brief summary. Turgenev’s novel “Rudin” did not particularly glorify him, but for the author this work was very important, because it was his first literary experience. The book consists of 12 chapters and an epilogue.

Chapter 1

For those who have not read the novel “Rudin,” a summary of the chapters, or rather, parts, will allow you to get the most complete picture of the work.

The action begins in the salon of Daria Mikhailovna Lasunskaya, a landowner. She has a big house and a fortune. Once upon a time she was a famous socialite. Out of old habit, she still organizes the salon. On the day on which the story begins, a group of people gathered at Daria Mikhailovna’s place. The guests are waiting for the baron. He promised to acquaint those gathered with his scientific discoveries.

In the novel “Rudin,” the summary of the work is rich in descriptions of the main characters. Almost all of them gathered that day at the landowner’s:

Chapter 2

A lot of time passes while waiting for the baron, Lasunskaya entertains the guests with conversations, and the meeting goes on as usual. Pigasov criticizes the female sex, Basistov entertains children, etc. However, the philosopher and scientist does not appear at the appointed time. The people gathered at the landowner's place are somewhat upset. At this time, the footman announces that a certain Dmitry Nikolaevich Rudin has arrived.

Chapter 3

In the novel “Rudin,” a summary of which is discussed, the author describes only the appearance of the main character. The man who entered was very tall, with an irregular but expressive face. The clothes he was wearing were not new and did not fit. The thin voice did not match his broad chest. Rudin introduced himself as a friend of the baron, whom everyone was waiting for, and apologized for him that he could not visit in person.

At first there is no conversation, the guests feel awkward. Lasunskaya asks the newcomer about his activities and lifestyle. The conversation begins to touch on the article, and here Pigasov becomes animated, he begins to attack “high matters” and “philosophies.” A dispute ensues between him and Rudin. The latter soon finds weak points in Pigasov’s beliefs and deftly points out them. The public is following the conversation with interest. All the guests are simply fascinated by Rudin’s erudition and logical thinking. He is asked to talk about his student life, but he suddenly turns out to be a bad storyteller, his descriptions are pale, and his jokes are not funny. He soon moves on to general discussions.

All the guests are delighted, except Pigasov, he is offended and leaves before the meeting ends. Daria Mikhailovna is thinking about how to bring the “acquisition” to light. She persuades Rudin to stay overnight. All the other guests go home, because they live nearby. But no one can sleep, their minds are so excited by the speeches of Dmitry Nikolaevich.

Chapter 4

In the morning, Lasunskaya calls Rudin to her office to have tea. She decided that he would become a “highlight” in her salon.

Over tea, they discuss the advantages and disadvantages of Daria Mikhailovna's environment. It turns out that Rudin knows some people, for example, her neighbor Lezhnev Mikhailo Mikhailych.

At the same time, the footman reports his arrival. However, when they meet, neither Rudin nor Lezhnev show good, friendly feelings; they communicate very coldly. After his neighbor’s departure, Dmitry Nikolaevich says that he is trying to hide his lack of talent.

After tea, Rudin goes down to the garden and meets Natalya, Lasunskaya’s daughter, there.

Chapter 5

The author describes in great detail the appearance and inner world of Natalya in the novel “Rudin”, a brief summary of which is discussed. The girl was very pretty, and even her slightly large features did not spoil the overall pleasant impression. She was educated at home and read a lot. The mother tried to monitor her daughter’s education and tastes, but in fact she was not aware of her true hobbies. In general, they understood each other little.

Rudin begins to talk with Natalya, long and passionately preaches the need for work, claims that everyone should be busy with work, and disgraces the laziness and cowardice of modern people. These speeches shock the girl.

However, Volyntsev does not like this interest, because he is not indifferent to the daughter of the owner of the estate. He goes to his sister and finds Lezhnev there. Mikhailo Mikhailych begins to remember his student youth. Then they talked a lot with Rudin. Lipina did not like many of the episodes told by Lezhnev. He decided to stop and promised to tell something else another time.

Chapter 6

Rudin has been living with Lasunskaya for 2 months. During this time, she gets used to him terribly, consults with him on many things, except for managing the household. Daria Mikhailovna is delighted with her guest and believes that he will surpass all the capital's wits. She was used to being surrounded by sophisticated and intelligent people. Rudin, in her opinion, is precisely from this category.

However, not everyone shares the hostess’s emotions: Pigasov began to appear much less often, Pandalevsky thinks that Rudin is too much, he is putting pressure, Volynsky is jealous of Natalya.

Basistov, on the contrary, eagerly listens to Dmitry Nikolaevich’s speeches, almost bows before him. However, Rudin practically does not notice the teacher.

The impression made by the hero is very often emphasized in the work by Turgenev. "Rudin", a brief summary of which is given, gives a complete picture of the attitude towards the main person.

During this time, the pet of the house tried to leave twice, but borrowed money from the owners and stayed.

More often than others, Natalya becomes his interlocutor. Rudin's words sink into her soul, she greedily catches every word and is imbued with his ideas. She begins to have new thoughts and sensations and confides her secrets to her guest.

In conversations, Rudin touches on various topics, including love. He claims that at present there are no strong and passionate natures capable of experiencing the full depth of feelings. The girl thinks about his words for a long time, and then begins to sob.

Lipina, in turn, is trying to find out what Rudin is. She exhausts Lezhnev for a long time with questions and requests to tell him more. He gives a very unflattering description of the hero and tells how they quarreled. According to Mikhailo Mikhailovich, Rudin is a bad person. The content of the novel, even brief, describes this moment. Dmitry Nikolaevich loves to play the role of an oracle, speak incendiary speeches, live at the expense of others, but he himself does not really understand what he is saying, his erudition is superficial. Lezhnev considers the main drawback to be that, while igniting the fire in others, Dmitry himself remains cold and does not think about what consequences may befall impressionable young people who have become enamored with the speaker’s ideas.

Chapter 7

Rudin seeks Natalya’s favor. First, he says that the ideal match for her is Volyntsev, that he is a very worthy person, and for himself love no longer exists. The captain-captain becomes a witness to this conversation. The scene he saw was unpleasant to him.

In the evening of the same day, Rudin declares his love to Natalya and seeks a reciprocal confession. Pandalevsky overhears this conversation and decides to tell the hostess about everything.

This is a retelling of part 7 of the novel “Rudin”, a summary of which is presented to your attention.

Chapter 8

Volyntsev, despondent, locks himself in his room. His sister sends for Lezhnev to consult what to do with her brother.

Unexpectedly, Rudin arrives to announce that he loves Natalya, and she loves him. Volyntsev is perplexed as to why all this is happening and considers such an announcement to be outright impudence. Rudin tries to explain his appearance by politeness, a desire to be honest. However, upon arriving home, he blames himself for his rashness and boyishness.

In the evening, Natalya gives him a note in which she makes an appointment.

Chapter 9

Arriving at the appointed place, Rudin saw a saddened Natalya. The girl said that her mother knew everything, and she was against their marriage. What will the chosen one do now, since Daria Mikhailovna doesn’t want to hear any more about Rudin?

He, in turn, asks Natalya what she is going to do. Both are confused. Finally, Rudin suggests submitting to fate so as not to forcibly separate his beloved from her family. Moreover, he is not rich and is unlikely to be able to support his wife.

Natalya considers such an act cowardly and is bitterly disappointed in her chosen one. They are arguing. Rudin believes that he is insignificant in front of the girl.

Turgenev conveys the hero’s inner experiences with the help of nature. "Rudin", a brief summary of which is given, is replete with colorful descriptions of nature.

Chapter 10

Volyntsev decides to challenge Rudin to a duel, but then a letter arrives from the latter. This is a long-winded explanation that the author does not intend to make excuses and a notice of departure.

Chapter 11

Rudin went into Daria Mikhailovna’s office and informed her that he was forced to leave, allegedly because of bad news from his village. The sudden decision surprised everyone in the house; Basistov was openly upset. Rudin left a long letter to Natalya, which she read and burst into tears. However, she did not show her feelings to anyone. Life on the estate returned to normal.

As Turgenev shows, Rudin feels very bad when leaving.

Chapter 12

2 years have passed. Lipina married Lezhnev, they had a child. Natalya agreed to marry Volyntsev. The conversation turned to Rudin; little has been heard about him.

As Turgenev portrays, Rudin almost completely disappeared from the life of this society.

On the same day, the culprit of the commotion is driving along a country road. However, there are no horses at the station. But you can go the other way. Rudin agrees.

Epilogue

The novel "Rudin", a summary of which gives only a condensed idea of the hero's suffering, ends with an epilogue.

A few years later, Rudin and Lezhnev meet at a hotel. Both are passing through here and should soon leave each in their own direction. They decide to have lunch together. Rudin begins to talk about himself. He has already changed many jobs: he was a home secretary, land improvement worker, and teacher. However, no matter what he did, failure awaited him everywhere. It even began to seem to him that he was being pursued by an evil fate, an unhappy fate.

Lezhnev does not console his comrade, but does not criticize him either. Maybe, he says, Rudin is fulfilling his highest purpose - to kindle passion in hearts, fight for the truth, and convince others of it.

The novel "Rudin" ends tragically. On July 26, 1848 in Paris, when the uprising of the “national workshops” was almost suppressed, troops took one of the last barricades. Its defenders, sensing imminent defeat and losing courage, fled. Suddenly a tall gray-haired man appeared at the top with a banner in his hands. A moment later, he fell face down: the bullet went through his heart.

“The Pole was killed!” - someone shouted. This Pole was Dmitry Rudin. The author gives a brief description of his death.

Actor system. In the first and second expositional chapters of the novel, Rudin is depicted in a small circle of characters, household members, neighbors, children of the rich lady Daria Mikhailovna Lasunskaya - this is her secular village salon. Unlike Goncharov, a master of objective portraiture, Turgenev makes you feel the author’s attitude towards the character. The characterization of Daria Mikhailovna is imbued with subtle irony. The narrator ironically asks: “...Reader, have you noticed that a person who is unusually absent-minded in a circle of subordinates is never absent-minded with higher-ups? Why would this be? The sly “remark to the side” is directly related to Lasunskaya. In her address one can see “a shade of contempt of the capital’s lioness for those around her.”<…>dark and small creatures." The author reports that in her youth Lasunskaya was very beautiful and enjoyed great success in the world - “poets wrote poems to her, young people fell in love with her, important gentlemen trailed after her.” But the beauty that once overshadowed her human essence disappeared; over the years, “not a trace remained of the former charms.” But Daria Mikhailovna continues to crave the worship of others. And since the previous “scale” is inaccessible to her, she “reigns” in the narrow circle of her living room.

The young Bassist teacher arouses sympathy. Human weaknesses (“he loved to eat, he loved to sleep”) only add to the attractiveness: “The bassist was a tall fellow, with a simple face, a large nose, large lips and piggy eyes, ugly and awkward, but kind, honest and straightforward. He dressed casually, did not cut his hair - not out of panache, but out of laziness<…>but loved<…>a good book, a heated conversation..."

To understand Turgenev's characters, one must take them not in isolation, but in constant comparison. The leisurely description ends on a “shock” note: “And I hated Pandalevsky with all my soul.” They are revealed in contrast, or in relation to each other. Both of them are poor, living as servants in someone else's rich house. It seemed that they should behave the same way. But it is enough to compare the teacher’s carelessness with Pandalevsky’s “neat and graceful figure,” for whom attractive appearance is one of the means of success in life.

Basistov’s “awkwardness” is contrasted with Pandalevsky’s helpfulness, ready to forget about everything just to please his benefactress. In the guise of a young teacher, everything is clear, sincere, independent - “with everyone<…>“He was on the short side in the house, which the hostess didn’t quite like, no matter how she talked about the fact that prejudices don’t exist for her.” In the description of the living creature, on the contrary, the unsteady, shapeless, chameleon-like predominates. Pandalevsky speaks with an accent, “although it was difficult to determine which one.” He himself “called Odessa his homeland,” despite the fact that he “was brought up in Belarus.”

We have already met a character similar to him in the first of Goncharov’s novels - Anton Ivanovich took root. There is a difference in the depiction of the heroes. The point is not that Goncharov’s character wanders from neighbor to neighbor, but Pandalevsky firmly “took root” on the estate of his only benefactor. Anton Ivanovich from “Ordinary History” - lived “for all times,” as Goncharov noted. This can be found in any rich estate in any era. Whereas Konstantin Diomidych could appear precisely in this house of a society lady, which pretends to be sophistication. And precisely in this era.

With one detail, Turgenev sketches the everyday background surrounding the character of the forties. The author makes him admire “the beneficial old man Roksolan Mediarovich Ksandryk.” Under this transparent and at the same time mocking allegory, the author hid the name of Alexander Skarlatovich Sturdza. Sturdza was a well-known reactionary in his time, a constant target of Pushkin’s epigrams. Ridiculing loyalty and servility, the poet called him “monarchical” Sturdza. Pandalevsky imitates his ideal in sycophancy and flattery. He obviously dreams of making a dizzying career.

At the same time, Pandalevsky is not without signs of external gloss and sophistication. It’s not for nothing that he serves the lady for whom the lyres once “clanged”! For her sake, he practices Thalberg's etudes on the piano. Again, a true trait, both historical and personal-psychological. The Austrian pianist Sigismund Thalberg, the author of light, thoughtless, but very popular musical creations, toured Russia in those years. His music cannot satisfy true connoisseurs like young Natalya Lasunskaya, daughter of Daria Mikhailovna, as it will become clear later to the main character of the novel: “First Natalya<...>I listened with attention, then went back to work.” Despite his good manners and social splendor, Pandalevsky turns out to be capable of meanness. It is his actions that predetermine the rapid outcome of the relationship between the main characters.

Among Lasunskaya's regular guests is her neighbor, African Semenovich Pigasov. Ultimately, he plays the role of a jester, intruding with his stupid paradoxes into the highly intelligent speeches of Daria Mikhailovna. Life presented obstacles to him everywhere. I wanted to become a scientist - and was “cut off” by a less talented, but more prepared student. He wanted to become a successful official - and he went too far. He married favorably - but his wife left him. The surname itself alludes to the winged horse Pegasus, who once fell from Olympus. Now the aged Pigasov makes furious speeches, blaming women, philosophy, and Ukrainian literature. Everything that hits the tongue. And what? He doesn’t notice that with his bitterness and desire to make fun of everyone, he himself becomes funny.

Introducing the characters, Turgenev simultaneously initiates us into the relationships between them. We watch how Pandalevsky unsuccessfully tries to court the lovely Alexandra Pavlovna. We learn that Volyntsev has had feelings for Natalya for a long time. The girl treats him with restraint. Trying to start a conversation, Volyntsev inquires:

What did you read?

“I read… the history of the Crusades,” Natalya said with a slight hesitation. Volintsev looked at her.

A! - he said finally, - this should be interesting.

Natalya does not look like an ordinary provincial young lady. Her area of interest includes “the whole of Pushkin,” serious scientific publications. Whereas Volyntsev, judging by his exclamation, has never read such books, although he is embarrassed to admit it. Later we learn that “Volyntsev did not feel any attraction to literature, and was simply afraid of poetry.” A “stammer” in a conversation speaks of the girl’s delicacy. The younger Lasunskaya is afraid of inadvertently offending her inexperienced interlocutor. In this respect, and in many others, Natalya appears to be the opposite of her arrogant mother.

The work was carried out quite intensively, about which the author periodically informed his comrades.

On July 25 (August 6), 1855, the writer invited the writer Pavel Annenkov to his place in Spasskoye-Lutovinovo to get acquainted with a new work, on which he “worked like he had never worked before in his life.” A few days later, Turgenev arrived at the Pokrovskoye estate (Tula province), where Leo Tolstoy’s sister, Maria Nikolaevna, and her husband Valerian Petrovich lived. It was this couple who became the first listeners of “Rudin”: Turgenev read his work aloud to them and later took into account the comments made by Maria Nikolaevna - in particular, he changed the scene of the hero’s last meeting with his mother.

In 1862, the novel was translated into French (Louis Viardot and the author himself became the translators) and published in the same collection as The Diary of an Extra Man and Three Encounters.

Characters

Plot

The novel takes place in the 1840s. The capital's lady Daria Mikhailovna Lasunskaya goes to the village with her children every summer. On her estate, she strives to maintain the atmosphere of a secular literary and musical salon, and therefore welcomes all educated guests.

One day Rudin appears at her house. His penchant for polemics, ardor, and wit captivate listeners; Lasunskaya, impressed by Dmitry Nikolaevich’s speeches about education, science, and the meaning of life, invites the guest to stay in her house.

For more than two months of living on the estate, Rudin became Daria Mikhailovna’s favorite interlocutor. He also spent a lot of time with the owner’s daughter Natalya - he gave her books and read introductions to his future articles. The bass teacher looked at the guest with delight; Pigasov, whom Dmitry Nikolaevich put pressure on with his presence, began to come to Lasunskaya much less often.

The news that Rudin was living in a neighbor’s house made an unpleasant impression on the landowner Lezhnev. In their youth, they studied together in Moscow and attended the same Pokorsky circle, had conversations about literature, philosophy, and art. When Lezhnev fell in love with a good girl, he told Rudin about it. He began to interfere too actively in the couple’s relationship; As a result, the upcoming wedding did not take place.

Daria Mikhailovna did not like Rudin’s frequent conversations with her daughter, but she believed that here in the village Natalya was reaching out to the guest out of boredom. The lady was mistaken. One summer day, Dmitry Nikolaevich confessed his love to the girl and heard in response: “I will be yours.” Lasunskaya Sr., having learned about this secret meeting from Pandalevsky, announced to her daughter that she would rather agree to see her dead than Rudin’s wife.

Due to Dmitry Nikolaevich's indecisiveness, the lovers separate. Rudin writes farewell letters to Volyntsev and Natalya and leaves the Lasunskaya estate. Two years later, Natalya marries Volyntsev. Lezhnev marries Lipina. Rudin has been wandering around the world all this time.

Heroes and prototypes

According to researchers, the prototype of Daria Mikhailovna Lasunskaya was the secular beauty Alexandra Osipovna Smirnova. In her youth she was pretty and was on good terms with Zhukovsky, Vyazemsky and other poets; Turgenev considered this lady “double-minded and hypocritical.” In the original outline of the novel, the author made a note that the action would take place in the house of “Al. Os.”, but subsequently forwarded the name.

In the image of Rudin, contemporaries found traits of the thinker Mikhail Bakunin and the historian Timofey Granovsky. At the same time, some personality traits of Turgenev himself were revealed in the hero: for example, Herzen wrote openly that Rudin is “Turgenev the 2nd, who had heard enough of the philosophical jargon of the young Bakunin.”

The leader of the philosophical circle, Pokorsky, according to the author, is largely “copied” from Nikolai Stankevich - it was this figure that constantly arose in Turgenev’s mind while working on the novel. However, the character also absorbed the qualities inherent in Vissarion Belinsky, whose “irresistible power” the writer never tired of admiring.

First reviews

The first reaction of contemporaries to the novel turned out to be very friendly. Nikolai Nekrasov, in a letter to Vasily Botkin (November 24, 1855), said that he had familiarized himself with the first version of “Rudin” and suggested that after revision “a wonderful thing would come out.”

Pavel Annenkov noted that the novel can be called “a complete triumph of the author” - in “Rudin” for the first time an “almost historical” character appears, who had long been of interest to both Turgenev and his contemporaries.

Writing an epilogue

Three or four years after the release of “Rudin,” the intonation of critics, who initially warmly received the novel, changed. In 1859, Nikolai Dobrolyubov’s article “” appeared, the author of which included the hero of Turgenev’s novel in the list of people who bear the “stamp of idleness, parasites and complete uselessness in the world.” Having paid, on the one hand, tribute to Rudin as a bearer of new ideas, Dobrolyubov at the same time noted the obsolescence of this type for the new stage in the life of Russia.

A year later, an even harsher article was published in Sovremennik, the author of which saw in Rudin a caricature of Bakunin. Turgenev, hurt by this assessment, decided that the review belonged to Dobrolyubov. In a letter to Pavel Annenkov, Turgenev, explaining the reasons for his refusal to cooperate with Sovremennik, advised him to read the June issue for 1860 - “Dobrolyubov’s passage”, after which he stated that working in this publication “is no longer necessary for a decent person.” Turgenev was mistaken - Chernyshevsky wrote the article. Nevertheless, critical remarks prompted Turgenev to include an epilogue in the novel, in which the hero dies on the Parisian barricades. The small episode became a kind of response to opponents who did not believe that Rudin was capable of being selfless and knew how to lead people.

Literary criticism

Rudin

Critics had mixed reactions to the main character. Rudin aroused sympathy in Konstantin Aksakov; the publicist saw in him “a wonderful man,” with a strong mind, but at the same time confused in life.

Grigory Byaly, calling Rudin a “superfluous man,” clarified that such a hero is in the most literal sense of the word: he is one of those young people who remain strangers both in the landowner environment, and in the state field, and in military service - “for They are too smart, too tall for that.”

A researcher of Turgenev’s work, Vladimir Shcherbina, recognizing that the origins of Rudin’s internal drama lay in his duality, came to the conclusion that the hero’s activity was not completely fruitless: “it awakened the consciousness of the most sensitive people.”

For L. M. Dolotova, it is obvious that Rudin’s “quixotic selflessness and dedication” contradicts both his amateurish approach to life and the unpreparedness of society for the views that the hero professes.

Lezhnev

Rudin's student friend Lezhnev in the novel is his antipode in the novel. One is maximally open - the other is closed. One can talk a lot and passionately - the other is taciturn. One lives on credit, borrowing money from the owner of the estate, while the other does not depend on anyone. One often does not understand himself; the other is sensitive to those around him and knows how to come to their aid. Nevertheless, the author’s sympathies are clearly not on Lezhnev’s side: he is too everyday a person for Turgenev, “his activities are not aimed at the future.”

Volyntsev

The retired captain Volyntsev is described by the author with a certain degree of sympathy: he is good-looking, kind, honest; his devotion to Natalya is beyond doubt. At the same time, according to Grigory Byaly, Turgenev introduces “a certain diminishing shade of condescending participation” into the portrayal of this character. Sergei Pavlovich himself is aware of his limitations, hence his uncertainty and “the stamp of some kind of internal inferiority.”

And although the girl shows warmth and attention to him, with the appearance of the main character it becomes clear that at this stage the relationship between Natalya and Volyntsev is doomed.

Test of love

Natalya's love becomes the most serious test for Rudin. The girl chose him not only because he was “the best of the men around her,” but also because she was at that age when strong sensations are needed. Pisarev, comparing Natalya Lasunskaya’s novel with the feelings of another Turgenev heroine, Asya, summarizes that “both of them stumbled upon sluggish reasoning and shameful weakness.”

Turgenev paints the scene of the date near the Avdyukhin pond, which became a “psychological catastrophe” for Natalya, using simple strokes: he shows how her eyebrows, eyes and lips change. The change in facial features, more than any other reasoning, shows the shock that the girl experienced when faced with her lover’s indecision.

The weakness and failure in love demonstrated by Rudin comes not only from his “internal fragmentation”, but also from confusion before the “element of young idealism” that Natalya carries within herself. The hero, taking her at first almost for a child, does not know the strength of character of this girl. For the sake of her beloved, Lasunskaya Jr. is ready to break off relations with her mother and leave home for a world of lack of money and deprivation; in this situation, she is “higher than the hero - with integrity of nature, spontaneity of feeling, recklessness in decisions.”

Screen adaptation

In 1977, the film “Rudin” was shot in the USSR. Directed by Konstantin Voinov.

Write a review about the article "Rudin (novel)"

Notes

I. S. Turgenev. Complete collection of works and letters in thirty volumes. - M.: Nauka, 1980. - T. 5. - P. 463-498. - 543 p.
Turgenev Ivan Sergeevich./ afterword by G. Byaly. - M.: Children's literature, 1990. - 158 p.
, With. 205.
, With. 192.
, With. 194.
, With. 196.
, With. 213.
, With. 207.
, With. 209.
, With. 206.
, With. 212.
, With. 206.
I. S. Turgenev. Rudin. Noble nest / introductory article by L. M. Dolotova. - M.: School Library, 1974. - P. 294. - 303 p.
I. S. Turgenev. Complete collection of works and letters in 28 volumes. - M.-L., 1960-1968. - T. VI. - P. 464.
N. G. Chernyshevsky. Complete works in 15 volumes. - M.: Goslitizdat, 1947. - T. 3. - P. 197-198.
Turgenev I. S. Rudin. Noble nest / introductory article by L. M. Dolotova. - M.: School Library, 1974. - P. 9-19. - 304 s.
Herzen A.I. Complete works in 30 volumes. - M.: USSR Academy of Sciences, 1959. - T. 18. - P. 239.
I. S. Turgenev in portraits, illustrations, documents / A. I. Batyuto. - M.: Education, 1966. - P. 183. - 399 p.
Chernyshevsky N. G. Full composition of writings. - M.: Goslitizdat, 1947. - T. 3. - P. 776-782.
Annenkov P.V. Literary Memoirs. - M.: Pravda, 1989. - P. 376. - 688 p.
A. B. Muratov. N. A. Dobrolyubov and I. S. Turgenev’s break with the magazine “Sovremennik” // . - M.: Soviet writer, 1989.
Annenkov P.V. Literary Memoirs. - M.: Pravda, 1989. - P. 411. - 688 p.
N. G. Chernyshevsky. Complete works in 15 volumes. - M.: Goslitizdat, 1950. - T. 7. - P. 449.
/ Shcherbina V.R.. - M.: Nauka, 1991. - T. 7.
Aksakov K. S. Aesthetics and literary criticism. - M.: Art, 1995. - 526 p. - ISBN 5-210-02065-7.
Dmitry Ivanovich Pisarev.. - pp. 578-579.
// Russian Electronic Library
D. I. Pisarev. .
Kurlyandskaya G. B. The artistic method of Turgenev the realist. - Tula: Priokskoye Book Publishing House, 1972. - P. 237. - 344 p.

Literature

Turgenev I. S. Rudin. Novels and stories. - M.: Pravda, 1984. - 496 p.
Byaly G. Homeless sower, enthusiast. . . (Novel “Rudin” by I. S. Turgenev). - M.: Vershiny, 1981. - P. 174-192.
Efimova E. M. Novel by I. S. Turgenev “Rudin” // Creativity of I. S. Turgenev / S. M. Petrov, I. T. Trofimov. - M.: State educational and pedagogical publishing house of the Ministry of Education of the RSFSR, 1959. - 575 p.



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Excerpt characterizing Rudin (novel)

The face of Kutuzov, standing in the doorway of the office, remained completely motionless for several moments. Then, like a wave, a wrinkle ran across his face, his forehead smoothed out; He bowed his head respectfully, closed his eyes, silently let Mac pass by him and closed the door behind himself.
The rumor, already spread before, about the defeat of the Austrians and the surrender of the entire army at Ulm, turned out to be true. Half an hour later, adjutants were sent in different directions with orders proving that soon the Russian troops, which had hitherto been inactive, would have to meet the enemy.
Prince Andrei was one of those rare officers at the headquarters who believed his main interest was in the general course of military affairs. Having seen Mack and heard the details of his death, he realized that half of the campaign was lost, understood the difficulty of the position of the Russian troops and vividly imagined what awaited the army, and the role that he would have to play in it.
Involuntarily, he experienced an exciting, joyful feeling at the thought of disgracing arrogant Austria and the fact that in a week he might have to see and take part in a clash between the Russians and the French, for the first time since Suvorov.
But he was afraid of the genius of Bonaparte, who could be stronger than all the courage of the Russian troops, and at the same time could not allow shame for his hero.
Excited and irritated by these thoughts, Prince Andrei went to his room to write to his father, to whom he wrote every day. He met in the corridor with his roommate Nesvitsky and the joker Zherkov; They, as always, laughed at something.
-Why are you so gloomy? – Nesvitsky asked, noticing the pale face of Prince Andrei with sparkling eyes.
“There’s no point in having fun,” Bolkonsky answered.
While Prince Andrei met with Nesvitsky and Zherkov, on the other side of the corridor, Strauch, an Austrian general who was at Kutuzov’s headquarters to monitor the food supply of the Russian army, and a member of the Gofkriegsrat, who had arrived the day before, walked towards them. There was enough space along the wide corridor for the generals to freely disperse with three officers; but Zherkov, pushing Nesvitsky away with his hand, said in a breathless voice:
- They're coming!... they're coming!... move aside! please the way!
The generals passed by with an air of desire to get rid of bothersome honors. The face of the joker Zherkov suddenly expressed a stupid smile of joy, which he seemed unable to contain.
“Your Excellency,” he said in German, moving forward and addressing the Austrian general. – I have the honor to congratulate you.
He bowed his head and awkwardly, like children learning to dance, began to shuffle first with one foot and then with the other.
The general, a member of the Gofkriegsrat, looked sternly at him; without noticing the seriousness of the stupid smile, he could not refuse a moment’s attention. He narrowed his eyes to show that he was listening.
“I have the honor to congratulate you, General Mack has arrived, he’s completely healthy, he just got a little hurt here,” he added, beaming with a smile and pointing to his head.
The general frowned, turned away and walked on.
– Gott, wie naiv! [My God, how simple it is!] - he said angrily, walking away a few steps.
Nesvitsky hugged Prince Andrei with laughter, but Bolkonsky, turning even paler, with an angry expression on his face, pushed him away and turned to Zherkov. The nervous irritation into which the sight of Mack, the news of his defeat and the thought of what awaited the Russian army led him, found its outcome in anger at Zherkov’s inappropriate joke.
“If you, dear sir,” he spoke shrilly with a slight trembling of his lower jaw, “want to be a jester, then I cannot prevent you from doing so; but I declare to you that if you dare to act up in my presence next time, I will teach you how to behave.
Nesvitsky and Zherkov were so surprised by this outburst that they silently looked at Bolkonsky with their eyes open.
“Well, I just congratulated,” said Zherkov.
– I’m not joking with you, please remain silent! - Bolkonsky shouted and, taking Nesvitsky by the hand, walked away from Zherkov, who could not find what to answer.
“Well, what are you talking about, brother,” Nesvitsky said calmingly.
- Like what? - Prince Andrei spoke, stopping from excitement. - Yes, you must understand that we are either officers who serve our tsar and fatherland and rejoice in the common success and are sad about the common failure, or we are lackeys who do not care about the master’s business. “Quarante milles hommes massacres et l"ario mee de nos allies detruite, et vous trouvez la le mot pour rire,” he said, as if reinforcing his opinion with this French phrase. “C”est bien pour un garcon de rien, comme cet individu , dont vous avez fait un ami, mais pas pour vous, pas pour vous. [Forty thousand people died and the army allied to us was destroyed, and you can joke about it. This is forgivable for an insignificant boy like this gentleman whom you made your friend, but not for you, not for you.] Boys can only have fun like this,” said Prince Andrei in Russian, pronouncing this word with a French accent, noting that Zherkov could still hear him.
He waited to see if the cornet would answer. But the cornet turned and left the corridor.

The Pavlograd Hussar Regiment was stationed two miles from Braunau. The squadron, in which Nikolai Rostov served as a cadet, was located in the German village of Salzeneck. The squadron commander, captain Denisov, known throughout the cavalry division under the name Vaska Denisov, was allocated the best apartment in the village. Junker Rostov, ever since he caught up with the regiment in Poland, lived with the squadron commander.
On October 11, the very day when everything in the main apartment was raised to its feet by the news of Mack's defeat, at the squadron headquarters, camp life calmly went on as before. Denisov, who had lost all night at cards, had not yet come home when Rostov returned from foraging early in the morning on horseback. Rostov, in a cadet's uniform, rode up to the porch, pushed his horse, threw off his leg with a flexible, youthful gesture, stood on the stirrup, as if not wanting to part with the horse, finally jumped off and shouted to the messenger.
“Ah, Bondarenko, dear friend,” he said to the hussar who rushed headlong towards his horse. “Lead me out, my friend,” he said with that brotherly, cheerful tenderness with which good young people treat everyone when they are happy.
“I’m listening, your Excellency,” answered the Little Russian, shaking his head cheerfully.
- Look, take it out well!
Another hussar also rushed to the horse, but Bondarenko had already thrown over the reins of the bit. It was obvious that the cadet spent a lot of money on vodka, and that it was profitable to serve him. Rostov stroked the horse’s neck, then its rump, and stopped on the porch.
“Nice! This will be the horse!” he said to himself and, smiling and holding his saber, ran up onto the porch, rattling his spurs. The German owner, in a sweatshirt and cap, with a pitchfork with which he was clearing out manure, looked out of the barn. The German's face suddenly brightened as soon as he saw Rostov. He smiled cheerfully and winked: “Schon, gut Morgen!” Schon, gut Morgen! [Wonderful, good morning!] he repeated, apparently finding pleasure in greeting the young man.
- Schon fleissig! [Already at work!] - said Rostov with the same joyful, brotherly smile that never left his animated face. - Hoch Oestreicher! Hoch Russen! Kaiser Alexander hoch! [Hurray Austrians! Hurray Russians! Emperor Alexander, hurray!] - he turned to the German, repeating the words often spoken by the German owner.
The German laughed, walked completely out of the barn door, pulled
cap and, waving it over his head, shouted:
– Und die ganze Welt hoch! [And the whole world cheers!]
Rostov himself, just like a German, waved his cap over his head and, laughing, shouted: “Und Vivat die ganze Welt”! Although there was no reason for special joy either for the German, who was cleaning out his barn, or for Rostov, who was riding with his platoon for hay, both these people looked at each other with happy delight and brotherly love, shook their heads as a sign of mutual love and parted smiling - the German to the cowshed, and Rostov to the hut he occupied with Denisov.
- What is it, master? - he asked Lavrushka, Denisov’s lackey, a rogue known to the entire regiment.
- Haven't been since last night. That’s right, we lost,” Lavrushka answered. “I already know that if they win, they’ll come early to brag, but if they don’t win until morning, that means they’ve lost their minds, and they’ll come angry.” Would you like some coffee?
- Come on, come on.
After 10 minutes, Lavrushka brought coffee. They're coming! - he said, - now there’s trouble. - Rostov looked out the window and saw Denisov returning home. Denisov was a small man with a red face, shiny black eyes, and black tousled mustache and hair. He had an unbuttoned mantle, wide chikchirs lowered in folds, and a crumpled hussar cap on the back of his head. He gloomily, with his head down, approached the porch.
“Lavg’ushka,” he shouted loudly and angrily. “Well, take it off, you idiot!”
“Yes, I’m filming anyway,” Lavrushka’s voice answered.
- A! “You’re already up,” Denisov said, entering the room.
“A long time ago,” said Rostov, “I already went for hay and saw the maid of honor Matilda.”
- That's how it is! And I puffed up, bg"at, why"a, like a son of a bitch! - Denisov shouted, without pronouncing the word. - Such a misfortune! Such a misfortune! As you left, so it went. Hey, some tea!
Denisov, wrinkling his face, as if smiling and showing his short, strong teeth, began to ruffle his fluffy black thick hair with both hands with short fingers, like a dog.
“Why didn’t I have the money to go to this kg”ysa (the officer’s nickname),” he said, rubbing his forehead and face with both hands. “Can you imagine, not a single one, not a single one?” "You didn't give it.
Denisov took the lit pipe that was handed to him, clenched it into a fist, and, scattering fire, hit it on the floor, continuing to scream.
- Sempel will give, pag"ol will beat; Sempel will give, pag"ol will beat.
He scattered fire, broke the pipe and threw it away. Denisov paused and suddenly looked cheerfully at Rostov with his sparkling black eyes.
- If only there were women. Otherwise, there’s nothing to do here, just like drinking. If only I could drink and drink.
- Hey, who's there? - he turned to the door, hearing the stopped steps of thick boots with the clanking of spurs and a respectful cough.
- Sergeant! - said Lavrushka.
Denisov wrinkled his face even more.
“Skveg,” he said, throwing away a wallet with several gold pieces. “G’ostov, count, my dear, how much is left there, and put the wallet under the pillow,” he said and went out to the sergeant.
Rostov took the money and, mechanically, putting aside and arranging old and new gold pieces in piles, began to count them.
- A! Telyanin! Zdog "ovo! They blew me away!" – Denisov’s voice was heard from another room.
- Who? At Bykov’s, at the rat’s?... I knew,” said another thin voice, and after that Lieutenant Telyanin, a small officer of the same squadron, entered the room.
Rostov threw his wallet under the pillow and shook the small, damp hand extended to him. Telyanin was transferred from the guard for something before the campaign. He behaved very well in the regiment; but they did not like him, and in particular Rostov could neither overcome nor hide his causeless disgust for this officer.
- Well, young cavalryman, how is my Grachik serving you? - he asked. (Grachik was a riding horse, a carriage, sold by Telyanin to Rostov.)
The lieutenant never looked into the eyes of the person he was talking to; his eyes constantly darted from one object to another.
- I saw you passed by today...
“It’s okay, he’s a good horse,” Rostov answered, despite the fact that this horse, which he bought for 700 rubles, was not worth even half of that price. “She started falling on the left front...,” he added. - The hoof is cracked! It's nothing. I will teach you and show you which rivet to use.
“Yes, please show me,” said Rostov.
“I’ll show you, I’ll show you, it’s not a secret.” And you will be grateful for the horse.
“So I’ll order the horse to be brought,” said Rostov, wanting to get rid of Telyanin, and went out to order the horse to be brought.
In the entryway, Denisov, holding a pipe, huddled on the threshold, sat in front of the sergeant, who was reporting something. Seeing Rostov, Denisov winced and, pointing over his shoulder with his thumb into the room in which Telyanin was sitting, winced and shook with disgust.
“Oh, I don’t like the fellow,” he said, not embarrassed by the sergeant’s presence.
Rostov shrugged his shoulders, as if saying: “Me too, but what can I do!” and, having given orders, returned to Telyanin.
Telyanin was still sitting in the same lazy position in which Rostov had left him, rubbing his small white hands.
“There are such nasty faces,” Rostov thought as he entered the room.
- Well, did they tell you to bring the horse? - Telyanin said, getting up and looking around casually.
- I ordered it.
- Let's go on our own. I just came in to ask Denisov about yesterday’s order. Got it, Denisov?
- Not yet. Where are you going?
“I want to teach a young man how to shoe a horse,” said Telyanin.
They went out onto the porch and into the stables. The lieutenant showed how to make a rivet and went home.
When Rostov returned, there was a bottle of vodka and sausage on the table. Denisov sat in front of the table and cracked his pen on paper. He looked gloomily into Rostov's face.
“I’m writing to her,” he said.
He leaned his elbows on the table with a pen in his hand, and, obviously delighted at the opportunity to quickly say in words everything he wanted to write, expressed his letter to Rostov.
“You see, dg,” he said. “We sleep until we love. We are children of pg’axa... and I fell in love - and you are God, you are pure, as on the pieties day of creation... Who else is this? Drive him to Chog’tu. There’s no time!” he shouted at Lavrushka, who, without any timidity, approached him.
- Who should be? They ordered it themselves. The sergeant came for the money.
Denisov frowned, wanted to shout something and fell silent.
“Skveg,” but that’s the point,” he said to himself. “How much money is left in the wallet?” he asked Rostov.
– Seven new and three old.
“Oh, skveg” but! Well, why are you standing there, stuffed animals, let’s go to the sergeant,” Denisov shouted at Lavrushka.
“Please, Denisov, take the money from me, because I have it,” Rostov said, blushing.
“I don’t like to borrow from my own people, I don’t like it,” Denisov grumbled.
“And if you don’t take the money from me in a friendly manner, you’ll offend me.” “Really, I have it,” Rostov repeated.
- No.
And Denisov went to the bed to take out his wallet from under the pillow.
- Where did you put it, Rostov?
- Under the bottom pillow.
- No, no.
Denisov threw both pillows onto the floor. There was no wallet.
- What a miracle!
- Wait, didn’t you drop it? - said Rostov, lifting the pillows one by one and shaking them out.
He threw off and shook off the blanket. There was no wallet.
- Have I forgotten? No, I also thought that you were definitely putting a treasure under your head,” said Rostov. - I put my wallet here. Where is he? – he turned to Lavrushka.
- I didn’t go in. Where they put it is where it should be.
- Not really…
– You’re just like that, throw it somewhere, and you’ll forget. Look in your pockets.
“No, if only I hadn’t thought about the treasure,” said Rostov, “otherwise I remember what I put in.”
Lavrushka rummaged through the entire bed, looked under it, under the table, rummaged through the entire room and stopped in the middle of the room. Denisov silently followed Lavrushka’s movements and, when Lavrushka threw up his hands in surprise, saying that he was nowhere, he looked back at Rostov.
- G "ostov, you are not a schoolboy...
Rostov felt Denisov’s gaze on him, raised his eyes and at the same moment lowered them. All his blood, which was trapped somewhere below his throat, poured into his face and eyes. He couldn't catch his breath.
“And there was no one in the room except the lieutenant and yourself.” Here somewhere,” said Lavrushka.
“Well, you little doll, get around, look,” Denisov suddenly shouted, turning purple and throwing himself at the footman with a threatening gesture. “You better have your wallet, otherwise you’ll burn.” Got everyone!
Rostov, looking around Denisov, began to button up his jacket, strapped on his saber and put on his cap.
“I tell you to have a wallet,” Denisov shouted, shaking the orderly by the shoulders and pushing him against the wall.
- Denisov, leave him alone; “I know who took it,” Rostov said, approaching the door and not raising his eyes.
Denisov stopped, thought and, apparently understanding what Rostov was hinting at, grabbed his hand.
“Sigh!” he shouted so that the veins, like ropes, swelled on his neck and forehead. “I’m telling you, you’re crazy, I won’t allow it.” The wallet is here; I'll take the shit out of this mega-dealer, and it will be here.
“I know who took it,” Rostov repeated in a trembling voice and went to the door.
“And I’m telling you, don’t you dare do this,” Denisov shouted, rushing to the cadet to hold him back.
But Rostov snatched his hand away and with such malice, as if Denisov were his greatest enemy, directly and firmly fixed his eyes on him.
- Do you understand what you are saying? - he said in a trembling voice, - there was no one in the room except me. Therefore, if not this, then...
He couldn't finish his sentence and ran out of the room.
“Oh, what’s wrong with you and with everyone,” were the last words that Rostov heard.
Rostov came to Telyanin’s apartment.
“The master is not at home, they have left for headquarters,” Telyanin’s orderly told him. - Or what happened? - added the orderly, surprised at the upset face of the cadet.
- There is nothing.
“We missed it a little,” said the orderly.
The headquarters was located three miles from Salzenek. Rostov, without going home, took a horse and rode to headquarters. In the village occupied by the headquarters there was a tavern frequented by officers. Rostov arrived at the tavern; at the porch he saw Telyanin's horse.
In the second room of the tavern the lieutenant was sitting with a plate of sausages and a bottle of wine.
“Oh, and you’ve stopped by, young man,” he said, smiling and raising his eyebrows high.
“Yes,” said Rostov, as if it took a lot of effort to pronounce this word, and sat down at the next table.
Both were silent; There were two Germans and one Russian officer sitting in the room. Everyone was silent, and the sounds of knives on plates and the lieutenant’s slurping could be heard. When Telyanin finished breakfast, he took a double wallet out of his pocket, pulled apart the rings with his small white fingers curved upward, took out a gold one and, raising his eyebrows, gave the money to the servant.
“Please hurry,” he said.
The gold one was new. Rostov stood up and approached Telyanin.
“Let me see your wallet,” he said in a quiet, barely audible voice.
With darting eyes, but still raised eyebrows, Telyanin handed over the wallet.
“Yes, a nice wallet... Yes... yes...” he said and suddenly turned pale. “Look, young man,” he added.
Rostov took the wallet in his hands and looked at it, and at the money that was in it, and at Telyanin. The lieutenant looked around, as was his habit, and suddenly seemed to become very cheerful.
“If we’re in Vienna, I’ll leave everything there, but now there’s nowhere to put it in these crappy little towns,” he said. - Well, come on, young man, I’ll go.
Rostov was silent.
- What about you? Should I have breakfast too? “They feed me decently,” Telyanin continued. - Come on.
He reached out and grabbed the wallet. Rostov released him. Telyanin took the wallet and began to put it in the pocket of his leggings, and his eyebrows rose casually, and his mouth opened slightly, as if he was saying: “yes, yes, I’m putting my wallet in my pocket, and it’s very simple, and no one cares about it.” .
- Well, what, young man? - he said, sighing and looking into Rostov’s eyes from under raised eyebrows. Some kind of light from the eyes, with the speed of an electric spark, ran from Telyanin’s eyes to Rostov’s eyes and back, back and back, all in an instant.
“Come here,” Rostov said, grabbing Telyanin by the hand. He almost dragged him to the window. “This is Denisov’s money, you took it...” he whispered in his ear.
– What?... What?... How dare you? What?...” said Telyanin.
But these words sounded like a plaintive, desperate cry and a plea for forgiveness. As soon as Rostov heard this sound of the voice, a huge stone of doubt fell from his soul. He felt joy and at the same moment he felt sorry for the unfortunate man standing in front of him; but it was necessary to complete the work begun.
“People here, God knows what they might think,” Telyanin muttered, grabbing his cap and heading into a small empty room, “we need to explain ourselves...
“I know this, and I will prove it,” said Rostov.
- I…
Telyanin's frightened, pale face began to tremble with all its muscles; the eyes were still running, but somewhere below, not rising to Rostov’s face, sobs were heard.
“Count!... don’t ruin the young man... this poor money, take it...” He threw it on the table. – My father is an old man, my mother!...
Rostov took the money, avoiding Telyanin’s gaze, and, without saying a word, left the room. But he stopped at the door and turned back. “My God,” he said with tears in his eyes, “how could you do this?”
“Count,” said Telyanin, approaching the cadet.
“Don’t touch me,” Rostov said, pulling away. - If you need it, take this money. “He threw his wallet at him and ran out of the tavern.