What does the heroine of Turgenev's novels mean? Turgenev's heroes
Turgenev is an artist whose fame has long passed into worldwide fame, and skill has long been recognized by many writers in Russia and abroad. His reputation as a “man expert” and “heart expert” is generally recognized and confirmed by Turgenev scholars different generations. He was interested primarily in “the structure of the soul of the human person, the relationship of character with the influences of the surrounding world” (1). His addiction to " to the inner man", the author of "The Noble Nest" did not hide the secrets of the soul: "I am mainly a realist and most of all I am interested living truth human physiognomy" (P., XI, 31). In modern literary criticism and in Turgen studies in particular, problems artistic character were developed a long time ago and quite fruitfully (2). But a detailed study of the characterology of Turgenev’s heroes essentially begins in last decades XX century. Although whole line well-known scientists have touched on this issue in one way or another, we will limit ourselves to only listing the main provisions of scientific research that served as the theoretical and methodological basis for the dissertation research. The idea expressed by M. B. Khrapchenko, who saw in Turgenev an artist of “social and psychological dynamism,” was developed in the works of G. B. Kurlyandskaya and O. N. Osmolovsky (3). They were attracted by the internal dynamism of the characters and the ability to evolve. S. E. Shatalov and G. A. Byaly drew attention to the use of “secret” psychologism as a means of revealing the character and principles of Turgenev’s typification (4). V. M. Markovich, the author of the famous monograph “Man in the Novels of I. S. Turgenev,” proposed a typology of Turgenev’s heroes, on the basis of which a hierarchy of characterological types with their subsequent social psychological characteristics. The works of V. M. Golovko are interesting and informative, especially his interpretation of the concept of personality (5). In addition there are a number master's theses completed by graduate students and applicants Chinese origin. One can name the works of Zhang Jianrong “Problematics and poetics of the story “Faust” by Turgenev.” M., 1991; Van Lie "The originality of psychologism in ISturgenev's stories about first love: "Asya", "First Love" and " Spring waters". M., 1996; Lee Hee Soo "Typology of female characters in the novels and stories of I. S. Turgenev." M., 1999. It is also necessary to mention the dissertation of I. P. Shaikina "Emotional and rational in the characterology of I. S. Turgenev ", defended in Volgograd, although based on the material of the novels "Smoke" and "Nov". Big interest caused and still causes typology female images. Turgenev's women are not a new topic in literary criticism. Already D.I. Pisarev noted the diversity of female characters in the writer’s works. And this is connected with one feature of Turgenev’s work: the author of “Rudin” himself was convinced that “every writer tries, first of all, to faithfully and vividly reproduce the impressions he has taken from his own and others’ lives” (C: IX, 395). The writer believes that starting point in creativity it is not an idea, but a living person. And these principles underlie the creation of female images. The main task is to reveal moral strength and spiritual beauty, the source of which is the fusion of truth, goodness and beauty, as well as the sacrificial feat of love. Truly "Turgenev women" know how to love...
At times, the general aesthetic primordial matter of characters, rooted in the author’s idea of human nature, is, as it were, covered by a dense shell of historically specific manifestations of characters, nourished by social psychology. Turgenev’s heroes, at first glance, look like only faithful “imprints” of the spiritual aspirations of the time. And Turgenev himself was inclined to explain their diversity by the variability of the social preferences of the Russian people. half of the 19th century century, giving himself special credit for his ability to capture and capture “the rapidly changing physiognomy of Russian people of the cultural stratum.”
In fact: there was no other artist in Russia of the last century who was endowed with such sensitivity to the dynamic beginning of personality, conditioned by the kinks of Russian history. It is enough to arrange Turgenev’s characters in a chronological series, and we will see a string of characters in which each one records some new stage in the mentality of Russian society. And all of them together represent, as it were, a cross-section of Russian spiritual history for almost half a century, a cross-section in which the change of spiritual generations is clearly visible.
Doesn’t it follow from this with seemingly immutable obviousness that it is diversity, and not similarity, that soars in the circle of Turgenev’s characters and that Turgenev is interested in “historical man” and not “eternal man”? Diversity is indeed the first thing that catches the eye in Turgenev’s heroes, but only because this feature appears on the surface of the material being examined. The similarity is often not noticed because it is located in its depth. In contact with history more closely and organically than any of the heroes of the Russian classics of the 19th century, man in Turgenev’s novels is not exhausted by history, not exhausted despite the fact that history has an almost fatal power over him. Sooner or later in Turgenev's stories there comes a moment when the hero falls out of the historical stream, from the whirlpool of his passions. Stopped, as it were, by an imperious gesture of fate, he finds himself in the face of another fatal force, with which he is tested all the way to the hidden depths of his soul. This force is love, comprehended in its universally spiritual essence and perceived by Turgenev precisely as a fatal element, equal in importance in the destinies of his heroes only to history.
So, at the intersection of these two fatal forces. and the fates of Turgenev's characters are formed. That is why, from the depths of these destinies, a certain tart sensation of bitterness comes from the depths of these destinies in Turgenev’s novels. Turgenev's man, who often represents the new and vigorous forces of the time, absorbing their historical "pressure", does not at all master history. Progressive love of life is not characteristic of him; the goals he pursues elude him; his future is uncertain and foggy. All Turgenev’s “new people,” each in his own way, complete their life path tragedy or drama.
But Turgenev’s hero also has no power over the fatal forces of love: often he does not withstand their test and is ultimately destined to “separation with a strange smile.” It’s as if an obsessive ghost of loneliness, vague in outline, appearing from God knows where, from supra-historical existence, accompanies the heroes of Turgenev’s novel, despite the “abundant, passionate speeches” that sound in them, despite the easy communication between characters who do not know the torments that accompany the communication of souls in F. M. Dostoevsky.
Thus, Turgenev’s eternal elements of life invade the diversity and dissonance of historical existence, and the historical layer in the consciousness of Turgenev’s man, which lays claim to strength, creating even the illusion of a full volume of consciousness, turns out to be unsteady and susceptible to rupture. The Eternal enters the world of Turgenev's heroes as formidable principles of existence, over which man has no control. Turgenev's hero knows only the historical "topic of the day." However, here too his power is relative: he is as much a ruler as he is her toy. But big story as a product of an infinite number of supra-personal forces is no longer in his power. The power of love is undivided over him, subordinate only to the elements. And this is an inescapable torment for Turgenev: no matter how “conscious” of love the heroes of Turgenev’s novels are (as opposed to the characters of Turgenev’s stories), yet they listen to the voice of the elements. Finally, sooner or later Turgenev’s heroes are overtaken by the cold of loneliness: way of the cross Rudin goes through it, the lonely Bazarov, who has not found understanding either among the “fathers” or among the “children”, the inescapably lonely Nezhdanov, this Russian Hamlet among the little Don Quixotes of populism.
Claiming to depict social psychology, its new and new modifications generated by the “pressure of time,” Turgenev embodies it not so much in typical, but in individual and personal refractions. Moreover, in such refractions, in which the power and scope of the personality appear. The democratic “herd” not only did not arouse his sympathy, but irritated him with loud vulgarity, petty arrogance, and poverty of thought. Here he imagined an eternal swamp, in which any, even quite sound, idea growing out of reality inevitably perishes. This is confirmed by Bazarov’s cartoonishly wretched satellites and the radical talkers and monsters from the “Heidelberg Arabesques” in “Smoke.”
Turgenev’s novel “Fathers and Sons” reveals several problems at once. One reflects the conflict of generations and clearly demonstrates a way to get out of it while preserving the main thing - the value of family. The second demonstrates the processes taking place in the society of that time. Through dialogues and skillfully developed images of the characters, a type that has barely begun to emerge is presented. public figure, denying all the foundations of the existing statehood and ridiculing such moral and ethical values as love feelings and sincere affection.
Ivan Sergeevich himself does not take either side in the work. As an author, he condemns both the nobility and representatives of new socio-political movements, clearly showing that the value of life and sincere affections is much higher than rebellion and political passions.
History of creation
Of all Turgenev’s works, the novel “Fathers and Sons” was the only one written in short terms. Only two years passed from the inception of the idea to the first publication of the manuscript.
The writer’s first thoughts regarding the new story came in August 1860 during his stay in England on the Isle of Wight. This was facilitated by Turgenev’s acquaintance with a young provincial doctor. Fate pushed them into bad weather on an iron road and, under the pressure of circumstances, they communicated with Ivan Sergeevich all night. New acquaintances were shown those ideas that the reader could later observe in Bazarov’s speeches. The doctor became the prototype of the main character.
(The Kirsanov estate from the film "Fathers and Sons", filming location Fryanovo estate, 1983)
In the autumn of the same year, upon returning to Paris, Turgenev worked out the plot of the novel and began writing chapters. Within six months, half of the manuscript was ready, and he finished it after arriving in Russia, in the middle of the summer of 1861.
Until the spring of 1862, reading his novel to friends and giving the manuscript to the editor of the Russian Messenger to read, Turgenev made corrections to the work. In March of the same year, the novel was published. This version was slightly different from the edition that was released six months later. In it, Bazarov was presented in a more unsightly light and the image of the main character was a little repulsive.
Analysis of the work
Main plot
Main character In the novel, the nihilist Bazarov, together with the young nobleman Arkady Kirsanov, arrives at the Kirsanov estate, where the main character meets his comrade’s father and uncle.
Pavel Petrovich is a sophisticated aristocrat who does not like Bazarov at all or the ideas and values he displays. Bazarov also does not remain in debt, and no less actively and passionately, he speaks out against the values and morality of the old people.
After this, the young people meet the recently widowed Anna Odintsova. They both fall in love with her, but temporarily hide it not only from the object of their adoration, but also from each other. The main character is ashamed to admit that he, who vehemently opposed romanticism and love affection, now himself suffers from these feelings.
The young nobleman begins to be jealous of the lady of his heart for Bazarov, omissions occur between friends and, as a result, Bazarov tells Anna about his feelings. Odintsova prefers him a quiet life and a marriage of convenience.
Gradually, the relationship between Bazarov and Arkady deteriorates, and Arkady himself gets carried away younger sister Anna Ekaterina.
Relations between the older generation of the Kirsanovs and Bazarovs are heating up, it comes to a duel, in which Pavel Petrovich is wounded. This puts bold point between Arkady and Bazarov, and the main character has to return to his father’s house. There he becomes infected with a fatal disease and dies in the arms of his own parents.
In the finale of the novel, Anna Sergeevna Odintsova gets married by convenience, Arkady and Ekaterina, as well as Fenechka and Nikolai Petrovich get married. They have their weddings on the same day. Uncle Arkady leaves the estate and goes to live abroad.
Heroes of Turgenev's novel
Evgeny Vasilievich Bazarov
Bazarov - medical student, social status, a simple man, the son of a military doctor. He is seriously interested in natural sciences, shares the beliefs of nihilists and denies romantic attachments. He is self-confident, proud, ironic and mocking. Bazarov doesn’t like to talk a lot.
In addition to love, the main character does not share admiration for art, and has little faith in medicine, despite the education he receives. Without considering myself romantic natures, Bazarov loves beautiful women and, at the same time, despises them.
Most interesting point in a novel, this is when the hero himself begins to experience those feelings whose existence he denied and ridiculed. Turgenev clearly demonstrates intrapersonal conflict, at a moment when a person’s feelings and beliefs diverge.
Arkady Nikolaevich Kirsanov
One of central characters Turgenev's novel is a young and educated nobleman. He is only 23 years old and barely graduated from university. Due to his youth and character, he is naive and easily falls under the influence of Bazarov. Outwardly, he shares the beliefs of the nihilists, but in his soul, and this is evident later in the plot, he appears as a generous, gentle and very sentimental young man. Over time, the hero himself understands this.
Unlike Bazarov, Arkady loves to talk a lot and beautifully, he is emotional, cheerful and values affection. He believes in marriage. Despite the conflict between fathers and children demonstrated at the beginning of the novel, Arkady loves both his uncle and his father.
Anna Sergeevna Odintsova is an early widowed rich person who at one time married not out of love, but out of calculation, in order to protect herself from poverty. One of the main heroines of the novel loves peace and her own independence. She never loved anyone or became attached to anyone.
For the main characters, she looks beautiful and inaccessible, since she does not reciprocate anyone. Even after the death of the hero, she marries again, and again for convenience.
The widow Odintsova's younger sister, Katya, is very young. She is only 20 years old. Catherine is one of the sweetest and most pleasant characters in the novel. She is kind, sociable, observant and at the same time demonstrates independence and stubbornness, which only beauty the young lady. She comes from a family of poor nobles. Her parents died when she was only 12 years old. Since then, she was raised by her older sister Anna. Ekaterina is afraid of her and feels awkward under Odintsova’s gaze.
The girl loves nature, thinks a lot, she is direct and not flirtatious.
Father of Arkady (brother of Pavel Petrovich Kirsanov). Widower. He is 44 years old, he is completely harmless person and an undemanding owner. He is soft, kind, attached to his son. He is a romantic by nature, he likes music, nature, poetry. Nikolai Petrovich loves a quiet, calm, measured life in the wilderness of the village.
At one time, he married for love and lived happily in marriage until his wife died. During for long years I couldn’t come to my senses after the death of my beloved, but over the years I found love again and it became Fenechka, a simple and poor girl.
A sophisticated aristocrat, 45 years old, Arkady's uncle. At one time he served as a guard officer, but because of Princess R. his life changed. A former socialite, a heartthrob who easily won the love of women. All his life he built in english style, read newspapers on foreign language, managed business and everyday life.
Kirsanov is a clear supporter of liberal views and a man of principles. He is self-confident, proud and mocking. Love at one time crippled him, and from a lover of noisy companies, he became an ardent misanthrope who avoided the company of people in every possible way. At heart the hero is unhappy and at the end of the novel he finds himself far from his loved ones.
Analysis of the novel's plot
The main plot of Turgenev's novel, which has become a classic, is Bazarov's conflict with the society in which he found himself by the will of fate. A society that does not support his views and ideals.
The conventional plot of the plot is the appearance of the main character in the Kirsanovs' house. In the course of communication with other characters, conflicts and clashes of views are demonstrated that test Evgeniy’s beliefs for stability. This also happens within the main love line- in the relationship between Bazarov and Odintsova.
The opposition is main reception, which the author used when writing the novel. It is reflected not only in its title and demonstrated in the conflict, but is also reflected in the repetition of the protagonist’s route. Bazarov twice ends up at the Kirsanovs’ estate, twice visits Odintsova, and also returns twice to his parents’ house.
The denouement of the plot is the death of the main character, with which the writer wanted to demonstrate the collapse of the thoughts expressed by the hero throughout the novel.
In his work, Turgenev clearly showed that in the cycle of all ideologies and political disputes there is a large, complex and diverse life, where traditional values, nature, art, love and sincere, deep affections always win.
There is no doubt that Turgenev knew to the subtleties the psychology of an intellectual brought up in an atmosphere of romantic and philosophical sentiment. Even before “Rudin,” he depicted the funny sides of this type in the story “Andrei Kolosov,” in the stories “Tatyana Borisovna and Her Nephew” and “Hamlet of the Shchigrovsky District” (“Notes of a Hunter”). But if ordinary personalities are depicted there, in “Rudin” - on a wider canvas - the same type of life is given in its most vivid manifestation. Rudin is presented in the novel as a certain historical phenomenon, ultimately progressive in relation to the fate of culture and civilization.
Turgenev knew how to create portraits of an entire generation in their most characteristic manifestations. At the same time, he admitted many times that “I could never create from my head. In order to bring out some fictitious person, I need to choose a living person who would serve as my guiding thread.” But the prototype served Turgenev only Starting point. The further, the more the original image absorbed the features of the life type that developed in certain socio-historical conditions, and became holistic artistic creation, which is equally far from both a copy and a caricature.
In the images of "Rudin" Turgenev's contemporaries and researchers of his work found features of many real persons. Turgenev did not deny that the image of the main character of the novel was associated with the personality of Mikhail Aleksandrovich Bakunin. It also reflected certain features of another contemporary of Turgenev, famous historian T. N. Granovsky.
Rudin contains a lot of deeply personal and authorial things. Turgenev wrote to S.T. Aksakov in response to his review of the novel: “I am also pleased that you are not looking for copies from some famous person... If you copy from anyone, then start with yourself." And Herzen directly declared that Rudin is “Turgenev the 2nd, who had heard enough of the philosophical jargon of the young Bakunin.” This is further evidence that the images of Turgenev’s novel were portraits of an entire generation For example, in the images of the participants in Pokorsky’s philosophical circle, personality traits many of Turgenev's contemporaries.
Turgenev acutely felt the gap between high level the thoughts of the advanced intelligentsia of their generation and the backwardness of Russia, which required both radical transformations and tireless work. The awareness of the need for useful activity permeates the judgment that, first of all, it is necessary to “plow the land... and try to plow it as best as possible” (Lavretsky’s words from “The Noble Nest”). Later, already at the time of the development of capitalism in Russia, Turgenev has a hero who founds a plant on fair, cooperative principles (Solomin in the novel “Nov”). But the heroes of Turgenev's novels never overcome the contradiction between thought and deed. The bearer of lofty ideas does not at the same time become a practical figure.
In Turgenev's novels we will not find resolutions to all questions and contradictions. He believed that the main task of an artist is not to teach, but to understand life and express it in artistic creativity. But lessons can be learned not only from ready-made answers; the complexity of life revealed to us and its contradictions encourage us to think and search for our own solutions.
The very modernity, topicality of Turgenev's novels, the vitality of their types have always contributed to controversy around them, sharp polemics, right up to the present time.
However, something is absolutely certain: Turgenev never sinned against the logic of the character he created, remaining faithful to artistic truth.
Turgenev Ivan Sergeevich 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. What attracts him? modern reader? Let's try to understand this issue.
History of creation
In the 1850s, Turgenev, who supported the views of liberal democrats, began to think about the possibility of creating a hero whose positions would be quite revolutionary, but at the same time would not conflict with his own. The implementation 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 heard in the epilogue to “ Noble nest"and was reflected in the work "Rudin".
In 1856, landowner Vasily Karateev, a neighbor of the great writer Mtsensk district, notes were left to Turgenev, which served as the manuscript of an autobiographical story. It was a story telling about the author's unhappy love for a girl who left him for a Bulgarian student from Moscow University.
Somewhat later, scientists from several countries conducted research, as a result of which the identity of this character was established. The Bulgarian turned out to be Nikolai Katranov. He came to Russia in 1848, entering Moscow University here. The girl fell in love with the Bulgarian, and together they went to his homeland in the city of Svishtov. However, all the plans of the lovers were dashed 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 Crimea to serve as an officer of the noble militia. He left his work to Turgenev and offered to edit it. Already 5 years later, the writer began to create his novel “On the Eve”. The basis for this work was the manuscript left by Karateev, who had already died by this time.
Shubin and Bersenev
The plot of Turgenev's novel “On the Eve” begins with an argument. It is led by two young men - the sculptor Pavel Shubin and the scientist Andrei Bersenev. The topic of the dispute concerns nature and the place of man in it.
I. S. Turgenev introduces his heroes to the reader. One of them is Andrey Pavlovich Bersenev. This young man is 23 years old. He has just received a diploma from Moscow University and dreams 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 nature and man’s place in it did not arise by chance. Bersenev is struck by her completeness and self-sufficiency. He is sure that nature outshines people. And these thoughts make him sad and anxious. According to Shubin, it is necessary to live life to the fullest and not reflect on this matter. He recommends that his friend take his mind off sad thoughts by finding a girlfriend.
After this, the conversation between the young people goes back to normal. Bersenev reports that he recently saw Insarov and wishes him to meet Shubin and the Stakhov family. They are in a hurry to return to the dacha. After all, you can't be late for lunch. Pavel's aunt, Anna Vasilyevna 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 Artemyevich
What does the summary of “On the Eve” given in the article tell us? Turgenev introduces his reader to a new character. Nikolai Artemyevich Stakhov is the head of the family, with youth dreamed of profitable marriage. At 25, his plans came true. He took Anna Vasilievna Shubina as his wife. But soon Stakhov took a mistress - Augustina Christianovna. Nikolai Artemyevich was already bored with both women. But he does not break his vicious circle. His wife tolerates his infidelity, despite the mental pain.
Shubin and Stakhovs
What else do we know from summary"The day before"? Turgenev tells his reader that Shubin has been living in the Stakhov family for almost five years. He moved here after the death of his mother, a kind and intelligent French woman. Pavel's father died before her.
Shubin does his job with great diligence, but in fits and starts. At the same time, he doesn’t even want to hear about the academy and professors. And despite the fact that in Moscow they believe that the young man gives big hopes, he still couldn’t do anything outstanding.
Here I. S. Turgenev introduces us to the main character of her novel - Elena Nikolaevna. This is Stakhov's daughter. Shubin really likes her, but the young man does not miss the opportunity to flirt with 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 lies. Anyone who has lost respect simply ceases to exist for her.
Image of Elena Nikolaevna
A review of the novel “On the Eve” by Turgenev speaks of this girl as an extraordinary person. She is only twenty years old. She is statuesque and attractive. At the girl's grey eyes and a dark brown braid. However, there is something impetuous and nervous in her appearance, which not everyone likes.
Elena Nikolaevna's soul strives for virtue, but nothing can satisfy it. Since childhood, the girl was interested in animals, as well as sick, poor and hungry people. Their situation troubled 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 worship. Parents did not approve of such a 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, unconstrained by anyone, while believing that she had no one to love. She could not even imagine Shubin in the role of her husband. After all, this young man was distinguished by his inconstancy.
Bersenyev attracted Elena. She saw him as smart, educated and deep man. 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 Bulgarian’s personality.
Dmitry Insarov
We can also learn the story of this hero from the summary of “On the Eve”. Turgenev told his reader that the young man’s mother was 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 was taken in by his aunt, who lived in Russia.
At the age of 20, he returned to his homeland and in two years traveled the length and breadth of the country, having studied it well. Dmitry was in danger more than once. During his travels he was pursued. Bersenev talked about how he himself saw a scar on his friend’s body that remained at the site of the wound. However, the author of the novel points out that Dmitry does not at all want to take revenge on the Agha. 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 translating Bulgarian chronicles and songs, compiling a grammar native language for Russians, and Russian - for its people.
Elena's love for Insarov
Dmitry, already during his first visit to the Stakhovs, impressed the girl strong impression. 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”.
One day Anna Vasilievna came up with the idea of showing her daughter and Zoya the beauty of Tsaritsyn. They went there big company. The ponds, the park, the ruins of the palace - all this made a great impression on Elena. While walking, a man of impressive stature approached them. He began to demand a kiss from Zoya, 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 this in a florid manner, trying to admonish the drunken impudent man. His words only angered the man. And here Insarov stepped forward. In a demanding manner, he asked the drunk to leave. The man did not listen and leaned forward. Then Insarov lifted him and threw him into the pond.
Further, Turgenev’s novel tells us about the feeling that arose in Elena. The girl admitted to herself that she loved Insarov. That is why the news that Dmitry was leaving the Stakhovs was a blow to her. Only Bersenev understands the reason for such a sudden departure. After all, one day his friend admitted that he would leave if he fell in love. Personal feeling should not become 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 Turgenev’s main characters “On the Eve” was not cloudless. Nikolai Artemyevich chose the chief secretary of the Senate Kurnatovsky as a husband for his daughter. But this obstacle was not the only one for the happiness of the lovers. Alarming letters began to arrive from Bulgaria. Dmitry was getting ready to go home. However, he suddenly caught a cold and was on the verge of death for eight days.
Bersenev looked after 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 and leave. 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.
Journey of the Young
Further in Turgenev's novel the reader is told that Elena and Dmitry arrived in Venice. Behind them was not only the difficult journey, but also the two months of illness that Insarov spent in Vienna. After Venice, the young couple went to Serbia and then moved to Bulgaria. To do this, you need to wait for Rendic.
This old " sea wolf» will transport them to Dmitry’s homeland. However young man Consumption suddenly sets in. Elena takes care of him.
Dream
Elena, exhausted from caring for the sick, fell asleep. She had a dream in which she was in a boat, first on a pond in Tsaritsyno, and then at sea. Afterwards, a snow whirlwind covers her, 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 that moment Insarov says that he is dying. Rendich, who arrived to take the young people to Bulgaria, no longer finds Dmitry alive. Elena asks him to take the coffin with the body of her lover and goes with him.
The further fate of the heroine
After the death of her husband, Elena sent a letter to her parents saying that she was going to Bulgaria. She wrote to them that there was no other homeland for her except this country. What happened to her then, no one knows. They said that someone accidentally met a girl in Herzegovina. Elena got a job as a nurse 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 artistic comprehension question of the active principle in man. 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 something that readers have long expected. After all, he shows us a strong-willed woman who has chosen an active and decisive man for herself. Critics of Turgenev’s novel “On the Eve” also noted this. Feedback from literary critics confirmed that the completely Russian, lively and complete image of Elena became a real pearl of the work. So strong feminine character none showed before Turgenev domestic 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, towers over all the characters in the novel. The only exception is Elena, who is on the same level with him. Turgenev's main character lives with the thought of heroism. And the most attractive feature of this image is love for the homeland. The young man's soul is filled with compassion for his people, who are in Turkish bondage.
The entire work of the Russian writer is imbued with the thought of the greatness and holiness of the idea of liberation of the fatherland. At the same time, Insarov is a real ideal of self-denial.
According to critics, Turgenev's genius was most clearly reflected in this novel. The writer was able to consider actual problems of its time and reflect them in such a way that the work remains relevant for the modern reader. After all, purposeful, courageous and strong personalities Russia always needs them.
