The Eve (novel). V

The title of the novel “The Noble Nest” is local. Although this novel, like all Turgenev’s novels, is historically specific and, although in it the problems of the era are of paramount importance, the “local” coloring of its images and situations is no less significant. In the late 40s - early 50s, Turgenev made a peculiar update of the image of the “Hamletist”, giving his characterization not a “temporary” (“Hero of Our Time”), but a spatial and local definition (“Hamlet of Shchigrovsky District”). The novel “The Noble Nest” is imbued with the consciousness of the flow of historical time, which takes away the lives of people, the hopes and thoughts of generations and entire layers of national culture. The image of the “noble nest” is locally and socially separated from the larger, generalized image of Russia. In the “noble nest”, in the ancient house in which generations of nobles and peasants lived, the spirit of the motherland, Russia, lives, and the “smoke of the fatherland” emanates from it. The lyrical theme of Russia, reflections on the peculiarities of Russian historical conditions and characters in “The Noble Nest” anticipate the problems of the novel “Smoke”. In the “nests of the nobility,” in the houses of the Lavretskys and Kalitins, spiritual values ​​were born and matured, which will forever remain the property of Russian society, no matter how it changes. “The bright poetry spilled in every sound of this novel,” according to Saltykov-Shchedrin’s definition, should be seen not only in the writer’s love for the past and his humility before the supreme law of history, but also in his faith in the internal organic development of the country, in the fact that There is, despite historical and social changes and antagonisms, spiritual continuity. One cannot ignore the fact that at the end of the novel, a new life “plays” in the old house and the old garden, and does not leave this house, renouncing it, as for example in Chekhov’s play “The Cherry Orchard.”

In no other work of Turgenev, to such an extent as in “The Noble Nest,” is negation connected with affirmation; in no other work are the opposites woven into such a tight knot. The outgoing noble culture in this novel, like in no other, is perceived in unity with the folk culture. In the novel “On the Eve,” the hopes that seem to illuminate the melancholic narrative of “The Noble Nest” with reflections turn into clear predictions and decisions.

The clarity of the author's thought corresponds to his concept of a new ethical ideal - the ideal of active good - and his idea of ​​​​a character that the younger generation is ready to recognize as their hero - a solid, strong, heroic character. The main question for Turgenev about the relationship between thought and practical action, about the importance for society of a man of action and a theorist in this novel is resolved in favor of the hero who practically implements the idea. In “On the Eve,” the writer predicts the onset of a new period of historical activity and argues that the man of action is again becoming the main figure in public life.

The title of the novel “On the Eve” - “temporary”, in contrast to the “local” title “Noble Nest” - suggests that the novel depicts a moment in the life of society, and the content of the title defines this moment as “eve”, a kind of prologue to historical events . The patriarchal isolation of life depicted in “The Noble Nest” is becoming a thing of the past. A Russian noble house, with its centuries-old way of life, with hangers-on, neighbors, card losses, finds itself at a crossroads in the world. Already Rudin, from a provincial landowner's house, ended up on the Parisian barricade and tested Russian liberation ideas in the street battles of Europe. The figure of Rudin on the barricade looked quite exotic. The Russian revolutionary was still little known in Europe, and the French blouses, next to whom he died, mistook him for a Pole. Lavretsky did not see revolutionary workers in France. It was suppressed by the triumphant vulgarity of the bourgeoisie. France, like Russia, was affected by political timelessness.

In “On the Eve” the idea of ​​the global nature of political life is clearly expressed through the story of a leader of the Slavic liberation movement who found himself in Russia and met sympathy and understanding here. The Russian girl finds use for her strength and selfless aspirations by participating in the struggle for the independence of the Bulgarian people. Left alone in Italy after Insarov’s death, Elena Stakhova travels to Bulgaria to continue his work, and writes to her family: “Why return to Russia? What to do in Russia? We have already noticed that Elena is not the first heroine of Turgenev to ask this question, but for Elena “cause” means political struggle, active work in the name of freedom, social justice, national independence of the oppressed people. There is reason to assume that it is precisely this question of Elena, with which “On the Eve” ends, that the title of the novel “What is to be done?” is oriented. Chernyshevsky, who showed Russian youth the ways to join the revolutionary cause. Turgenev viewed the liberation movements emerging in the West not as random and isolated outbreaks, but as the beginning of a process that could cause “outbursts” of events in Russia that were unexpected at first glance. The title “On the Eve” not only reflects the plot of the novel (Insarov dies on the eve of the war for independence, in which he was ready to take part), but also emphasizes the crisis state of Russian society on the eve of the reform and hints at the pan-European significance of the liberation struggle in Bulgaria. In Italy, gripped by protest against Austrian domination and representing, along with the Balkans, a hotbed of revolutionary patriotic activity, Turgenev’s heroes sense a pre-threatening political situation.

Turgenev considered Don Quixote - the image in which he saw the embodiment and typifying model of revolutionary, effective human nature - no less tragic than the image of Hamlet - a nature doomed to the development of “pure thought”. Fate, which powerfully condemns the best representatives of the Hamletic tribe to loneliness and misunderstanding, also weighs heavily on Don Quixote.

Elena's last letter, which concludes the main action of the novel, is imbued with tragic moods. The heroine is obsessed with a thirst for self-sacrifice, which, as Turgenev’s historically keen eye noticed, was increasingly penetrating young minds. “They are preparing an uprising, they are going to war; I will become a sister of mercy; I will go after the sick, the wounded... I probably won't be able to bear all this - so much the better.. I am brought to the edge of the abyss and must fall. Fate brought us together for a reason; who knows, maybe I killed him; now it’s his turn to drag me along with him. I was looking for happiness - and I will find, perhaps, death. Apparently, it should have been so; apparently there was guilt... Forgive me for all the grief I caused you; it was not in my will" (VIII, 165; emphasis added - L. L.).

Elena's mentality is not so far from the ascetic self-denial of Liza Kalitina. For both, the desire for happiness is inseparable from guilt, and guilt is inseparable from retribution. Revolutionary democrats polemicized against the Hegelian theory of the inevitability of the tragic course of history and opposed the ethics of renunciation. Chernyshevsky, in his dissertation “Aesthetic Relations of Art to Reality” and in the article “The Sublime and the Comic,” attacks the concept of tragic guilt, seeing in it a transcendental justification for the persecution of outstanding, creatively most gifted revolutionary figures, on the one hand, and a theoretical justification for social inequality, on the other (II, 180-181). However, Chernyshevsky himself noted the ascetic sentiments of the revolutionary youth and recognized the historical conditionality of these sentiments, endowing his hero, the revolutionary Rakhmetov, with the traits of a rigorist who renounces love and happiness.

Dobrolyubov in the article “When will the real day come?” spoke out against the idea of ​​sacrifice, which, as it seemed to him, permeated the image of Bersenev. But in his other article - “A Ray of Light in a Dark Kingdom” - the critic saw precisely in the “self-destruction”, suicide of the heroine of Ostrovsky’s drama, who was ready to die rather than compromise and live in a house where, in her opinion, “it’s not good” , an expression of the spontaneous revolutionary sentiments of the masses. Dobrolyubov considered the image of Elena the focus of the novel - the embodiment of young Russia; it, according to the critic, expressed “the irresistible need for a new life, new people, which now covers the entire Russian society, and not even just the so-called educated one” (VI, 120).

Thus, like Ostrovsky’s heroine, Katerina, who embodies people’s Russia, Dobrolyubov considers Elena Stakhova, a representative of the country’s younger generation, to be a spontaneous nature, instinctively striving for justice and goodness. Elena “thirsts for learning,” wants to consciously comprehend her aspirations, to find an “idea” that would explain them and give them a general meaning. In Turgenev’s “Strange Story”, the story about the tragic fate of the young lady Sophie, who, striving for the feat of self-denial, takes as the ideal of such service the foolishness of a “god-pleasing man” - an insane tramp - ends with a brief summary: “She was looking for a mentor and leader and found him” ( X, 185).

Dobrolyubov sees in the “apprenticeship” of “Turgenev’s women,” especially clearly manifested in the heroine “On the Eve,” a typical feature of the modern younger generation in general. “The “desire for active good” is in us, and we have the strength; but fear, uncertainty and, finally, ignorance; what to do? “They constantly stop us... and we... wait for at least someone to explain to us what to do” (VI, 120-121), he asserts, as if responding to Elena’s question, “what to do in Russia? " The critic contrasts philanthropic activity, which does not require self-sacrifice from a person, and does not place him in a conflictual relationship with the carriers of evil, with an uncompromising fight against social injustice. It is the latter path, in his opinion, that can satisfy the moral needs of young enthusiasts and bring real, socially significant benefits. Dobrolyubov considers the search by the heroine of “On the Eve” for a “leader, teacher,” her attempts to find an ethical and theoretical solution to the question of which path to choose, what to strive for, what to take as an ideal, as a typological diagram of the quest through which Russian society has gone through in recent years. decades: Elena “felt a liking for Shubin, just as our society at one time was carried away by artistry; but there was no useful content in Shubin... For a moment I became carried away by serious science in the person of Bersenev; but serious science turned out to be modest, doubting, waiting for the first number to follow. And what Elena needed was for a person to appear... independently and irresistibly striving for his goal and attracting others to it” (VI, 121).

The idea of ​​the novel and its structural expression, so complex and polysemantic in “The Noble Nest,” are clear and unambiguous in “On the Eve.” Dobrolyubov defined the main theme of the novel as a depiction of the search for an ideal in the moral sphere and in a real person by a typical young girl, almost symbolically representing Russian society, and the embodiment of her dream of the unity of life with the ideal of “active good.” The heroine’s heartfelt choice turns into a choice of ethical concept, a spontaneous development of her attitude to the speculative and practical decisions reached by analysts and artists who comprehended the course of social events after 1848.

Elena chooses from four candidates for her hand, from four ideal options, for each of the heroes is the highest expression of their ethical and ideological type. Upon closer examination, we are convinced that these four options, in a certain sense, can be reduced to two pairs. Shubin and Bersenev represent the artistic-thinking type (the type of people of abstract-theoretical or figurative-artistic creativity), Insarov and Kurnatovsky belong to the “active” type, that is, people whose calling is practical “life-creativity.”

Each of the characters is compared with the other and contrasted with the other, however, this contrast of characters in pairs is given according to a general set of traits determined by the main trait: readiness to act, finality (simplicity) of decisions, lack of reflection - on the one hand; abstraction from the direct needs of modern society, interest in one’s activities beyond its utilitarian goals, introspection and criticism of one’s position, breadth of vision - on the other. Within each “pair” the comparison is more “varied” in nature; the main ideas of the characters, their ethical attitudes, their personal characters and their chosen life paths are contrasted. It is significant that Shubin and Bersenev are intimately close friends, while Insarov and Kurnatovsky are both Elena’s suitors, one official, the other “chosen by the heart.”

Considering Elena’s search and choice of a “hero” as a certain process, an evolution similar to the development of Russian society over the last decade, Dobrolyubov argued that Shubin, and then Bersenev, correspond in their characters and ideological attitudes to more archaic, distant stages of this process. At the same time, both of these heroes are not so archaic as to be “incompatible” with Kurnatovsky (a figure of the new era) and Insarov (to whom the emerging revolutionary situation attaches special importance). Bersenev and Shubin are people of the 50s. None of them are pure representatives of the Hamletic character. Thus, Turgenev in “On the Eve” seemed to say goodbye to his favorite type. Both Bersenev and Shubin are genetically related to “extra people,” but they do not have many of the main features of heroes of this kind. Both of them are not primarily immersed in pure thought; analysis of reality is not their main occupation. What “saves” them from reflection and withdrawal into abstract theory is professionalization, vocation, keen interest in a certain field of activity, and constant work. Behind the images of these heroes one can easily discern the range of moods and ideas characteristic of progressive people of the era of the “dark seven years”, in particular their belief that by working in the field of art and science, one can preserve one’s dignity, protect oneself from compromises and benefit society.

The image of the artist Shubin represents an aesthetic and psychological study in the form of a portrait. Turgenev sought in the person of this hero to synthesize those features that constituted the ideal idea of ​​\u200b\u200bart in the 50s.

Shubin in his appearance, carefully described at the beginning of the novel, is similar to Pechorin: short in stature, strong blond, he is at the same time pale and delicate, his small arms and legs indicate aristocracy. Having “gifted” his hero the name of the great Russian sculptor, Turgenev gave his portrait features reminiscent of the appearance of Karl Bryullov.

From the very first conversation of the heroes - friends and antipodes (Bersenev's appearance is depicted as the direct opposite of Shubin's appearance: he is thin, black, awkward) - it turns out that one of them is “clever, philosopher, third candidate at Moscow University,” an aspiring scientist, the other an artist , “artist”, sculptor. But the characteristics of the “artist” of the 50s differ greatly from the romantic idea of ​​the artist. Turgenev makes this clear in a special episode: Bersenev “indicates” to Shubin what an artist should be according to generally accepted concepts. The traditional stereotype “prescribes” to the artist the obligatory admiration of nature, an enthusiastic attitude towards music, etc. Resisting the “norms” of behavior and positions forcibly imposed on him by routine, Shubin defends his interest in the manifestations of real, sensory life, in its “material nature”: “ I'm a butcher, sir; my business is meat, sculpting meat, shoulders, legs, arms” (VIII, 9). Shubin's approach to the artist's profession, to the tasks of art and to his calling reveals his organic connection with the era. The possibilities of sculpture as an artistic form seem limited to him, and he wants to expand them, enriching sculpture with the artistic means of other arts. When creating sculptural portraits, he sets himself the task of conveying not so much the appearance as the spiritual essence of the original, not the “lines of the face,” but the look of the eyes. At the same time, he is characterized by a special, sharpened ability to evaluate people and the ability to elevate them into types. The accuracy of the characteristics that Shubin gives to other characters in the novel turns his expressions into catchphrases. These characteristics, in most cases, are the key to the types depicted in the novel.

Often, sharpening the characteristics leads to the emergence of a satirical image, sometimes to the likening of a person to his primitive analogue. Shubin's caricature and satirical likenings are remarkable in that they arise from a dual and sometimes ambiguous assessment of a phenomenon and represent a certain approach, perception, consciously focused on a sharp, unusual perspective of the object. The artist is able to see the same face in a series of sublime, graceful phenomena and in a satirical way. Anna Vasilyevna Stakhova is perceived by Shubin in one way as a woman worthy of respect, doing good deeds, in another - as a stupid and defenseless chicken. This breadth of Shubin’s view, his ability to see the same people from different points of view and convey their image differently in the episode with two sculptural images of Insarov - heroic (his facial features are given an expression of courage, strength, honesty and nobility) are much more significantly manifested ) and satirical (here the main thing in his physiognomy is “dull importance, enthusiasm, limitation”). Both images convey the essence of the object. Shubin’s assessment of his own personality is ambivalent. He knows that he is naturally endowed with talent, and says about himself: “Perhaps the name of Pavel Shubin will eventually become a glorious name?”; at the same time, he allows for another possibility - vulgarization, transformation into a submissive, weak-willed roommate of a lively and stupid woman, wallowing in the vulgar provincial life. He embodies this possibility in a caricature figurine. In the traits of his character, which make him similar to the “superfluous people” of the reduced, provincial type, he sees the origins of this danger (cf. the story “Petushkov” by Turgenev, “Notes of a Zamoskvoretsky Resident” by Ostrovsky; a similar episode is in “Oblomov” by Goncharov); in art, in one’s profession, in serious pursuit of it - salvation from the fate of the Russian Hamlet.

The very themes of Shubin’s work, his ideas (for example, a bas-relief: a boy with a goat) speak of him as an artist of the mid-century, they resemble the works of Ramazanov, “anticipate” the young Antokolsky.

Shubin thinks intensely about contemporary social and ethical problems. He owns all the sayings in the novel that express the author’s point of view, and his words were constantly referred to by critics (including Dobrolyubov), defining the fruitful, historically progressive ideas of the novel. Thus, the author of the novel conveyed all his originality and strength as a thinker and analyst to Shubin, and not to Insarov and not to a representative of science - Bersenev. This clearly expressed Turgenev’s view of the artist’s personality. Turgenev did not share the theory of unconscious creativity, which was widely prevalent among supporters of “pure art.” However, the talent of generalization, typification, and keen thought of the artist depicted by Turgenev is combined with the ability to unconsciously, with feeling, perceive the environment and appreciate in others the gift of spontaneous insight into the essence of life phenomena. Shubin conducts long conversations with the observant and silent Uvar Ivanovich, delving into the vague meaning of his irrational assessments and prophecies. He asks him the most important question in the novel: “When will our time come? When will we have people? “Give it time,” answered Uvar Ivanovich, “they will” (VIII, 142). Only Shubin understands the mysterious connection of the old nobleman, immersed in complete inaction and contemplation, with the “choral principle”, “black earth power”, his ability to penetrate the people's point of view and foresee the spontaneous processes occurring among the people. However, Shubin clarifies and develops the incoherent, vague speeches of Uvar Ivanovich. In their primordial formlessness and amorphousness, they are as unacceptable to him as Insarov’s “simple,” rationalistic answers to “damned questions.” As a person, Shubin was given traits that corresponded to Turgenev’s view of the ideal artist. He is graceful, simple-minded, insightful, kind and selfish, loves life in its real manifestations and forms, spontaneously and joyfully enjoys beauty, not romantic, ideal and abstract, but rough, alive, he longs for happiness and is able to indulge in it. This is a man with the sun in his blood. At the same time, more than anyone else in the novel, he is capable of introspection, an insightful and witty assessment of phenomena, an understanding of someone else's spiritual world and dissatisfaction with his own. Creative imagination reveals to him the charm of that inner animation that permeates Insarov, and he dreams that such spiritual uplifting will become possible for everyone. This breadth of Shubin’s views is characteristic of Turgenev, but does not correspond to the ideas about an ideal artistic nature common among writers in the 50s. It is through the lips of Shubin that the novel expresses the idea that art cannot give satisfaction to modern youth, thirsting for self-denial for the sake of universal happiness. Thus, having said goodbye in “The Noble Nest” to the ideal of the mysterious power of art, standing above ethics and ideological strife, in “On the Eve” Turgenev pronounces the final verdict on the illusions of artistic creativity as a sphere of higher activity, capable of resolving all conflicts and issues of time within itself.

If the author of the novel put into Shubin’s mouth the most important generalizations, definitions and assessments, up to the recognition of the legitimacy of “Elena’s choice,” he conveyed a number of ethical declarations to Bersenev. Bersenev is the bearer of the high ethical principle of selflessness and service to an idea (“the idea of ​​science”), just as Shubin is the embodiment of the ideal “high” egoism, the egoism of a healthy and integral creative nature. Turgenev emphasized that Bersenev was brought up in the traditions of noble culture. Bersenev's father - the owner of eighty-two souls - freed his peasants before his death. A Schellingian and a mystic, he studied abstract philosophical subjects, but he was a Republican and admired Washington. He followed world events with alarm, and the treatise he wrote was related to utopian theories of humanism, in any case, “the events of 1948 shook him to the core (the whole book had to be redone), and he died in the winter of 1953, not waiting for his son to leave the university, but in advance... blessing him to serve science” (VIII, 50).

The characteristics are specific and clear in historical and social terms. Bersenev's father - an abstract humanist and utopian - died a little before the first harbingers of a new social upsurge, deeply shocked by the impressions of the catastrophe of 1848; he pointed out to his son abstract science as a subject worthy of service (his faith in enlightenment remained unshaken). So Turgenev creates a biography-concept for his hero, which was then adopted by other writers. The main significance of Bersenev's biography was not in its specific content, but in the very method of constructing a story about the fate of one person in connection with the historical evolution of the social environment and with the assessment of philosophical and ethical concepts that replace each other in the course of the historical development of society. This method was then mastered by Pomyalovsky (who developed it and gave it an openly journalistic character), Chernyshevsky (for whom it became a rethought element of his unique artistic system), Pisemsky and many others.

Leaving into science as a sphere of pure and independent creativity was a common phenomenon among thinking people in Russia in the middle of the century. Chernyshevsky himself hesitated which path to choose—whether to become a scholar-philologist or a writer-publicist. Since the 60s, natural sciences have become especially attractive to independent-minded young people with the opportunity to combine the development of accurate knowledge with the freedom to express their philosophical, materialistic views.

Bersenev was given a moral trait that Turgenev assigned a particularly high place on the scale of spiritual virtues: kindness. In his opinion, Don Quixote’s kindness gives exceptional ethical significance to this hero in the spiritual life of humanity: “Everything will pass, everything will disappear, the highest rank, power, all-encompassing genius, everything will crumble to dust. But good deeds will not go up in smoke; they are more durable than the most radiant beauty” (VIII, 191). Bersenev’s kindness comes from the deep, traditionally inherited “Schillerian” humanism and from his inherent “justice”, the objectivity of a historian who is able to rise above personal, egoistic interests and determine the meaning of the phenomena of reality regardless of his personality. This is where the modesty interpreted by Dobrolyubov as a sign of the moral weakness of the “superfluous person” comes from, his understanding of the secondary importance of his interests in the spiritual life of modern society, his “number two” in the hierarchy of types of modern figures.

Bersenev’s mediation, his patronage of the love of Elena and Insarov, reflects an objective understanding of what Elena is striving for, the consciousness of the “centrality” of Insarov’s nature (“number one”) and their correspondence to each other, and most importantly, strict adherence to the ethical principle of the individual’s right to freedom of development and freedom of feeling, respect for someone else’s “I” has taken root and become “second nature.”

The similarities between Bersenev and Granovsky are significant (the text of the novel gives direct indications that he is a student of Granovsky and looks up to his teacher as a role model). Bersenev’s personality brings to the fore those features that Chernyshevsky noted (“Essays on the Gogol period”, positively assessed by Turgenev) in the best people of the 40s: camaraderie, high respect for someone else’s personality, the ability to “calm down” passions, stop quarrels among friends, which was distinguished by the “meek and loving” Stankevich (III, 218): Ogarev’s humanity and sensitivity, dedication to the cause of enlightenment, Granovsky’s simplicity and dedication - “he was a simple and modest man, who did not dream of himself, who did not know self-love” (III, 353 ), - all this is akin to Bersenev’s character.

Turgenev thus emphasizes the ideality of his scientist hero, endowing him with the character traits of people who became legends, habitually perceived by the democratic reader of the 60s as ideal images. At the same time, the type of scientist as an ideal turns out to be historically disavowed. Disdainfully naming the topics of Bersenev’s scientific works, which have exclusively historical significance, and citing words from the novel that experts praised the author, Dobrolyubov writes about the scientist’s work as a surrogate for “real activity”: “The structure of our life turned out to be such that Bersenev had only one means of salvation: “To dry up the mind with fruitless science”... And it is also good that at least in this I could find salvation...” (VI, 136-137).

Characterizing Bersenev’s activities with a quote from Lermontov’s “Duma,” Dobrolyubov thereby assessed it as the fruit of the “era of timelessness” and as a manifestation of noble culture, the occupation of “superfluous people.” Such an attitude towards the professional activity of a scientist-historian could only be born at a time when a revolutionary situation was taking shape in the country and the thirst for direct life-building and social creativity gripped the best people of the younger generation.

It is interesting to note that all the young people surrounding Elena renounce aristocracy and noble class limitations, everyone claims to be a worker and even a proletarian - also a sign of the era, representing a mystified reflection in the heads of people of the historical process of democratization. Labor, democracy, service to the cause became the ethical ideal of the generation, replacing the ideal of elitism and selectivity. Bersenev says about people of his type: “We... are not sybarites, not aristocrats, not darlings of fate and nature, we are not even martyrs - we are toilers, toilers and toilers. Put on your leather apron, worker, and stand at your work machine in your dark workshop!” (VIII, 126).

The hero’s dramatic monologue expresses a spontaneous premonition that the scientist, in the eyes of society, is steadily turning from a priest of science, possessing the gift of insight into the mysterious essence of things (such, for example, as the interpretation of the personality of the scientist in Goethe’s “Faust”), into a mental worker who brings lasting income to society and content with more or less modest pay for his work, without moral satisfaction, recognition, or glory (“First Class Passenger” by A.P. Chekhov).

The optimism and active practicality generated by social and political changes was not expressed in selfless service to the common good among all people of the 60s. The bearer of the traits of selfish business in the novel is the chief secretary of the Senate - the careerist Kurnatovsky. It was in a dispute with Kurnatovsky that Bersenev, ready to recognize the secondary importance of science in relation to the struggle for the immediate improvement of people's lives, defends the independence of scientific activity, opposing the doctrines of its subordination to bureaucratic "types » government.

The representative of art, Shubin, is more sensitive than Bersenev to the cooling of the progressive people of society towards his work. Shubin cannot agree with either the vulgarity or the intellectual rejection of art. He is burdened by both the imposition of a certain stereotype of behavior on him as an artist, and the traditional attitude towards the artist as an inspired and idle child-dreamer. Steady and hard work becomes Shubin's ethical ideal. In the name of his calling, he is ready to play the lot of an ordinary “worker”.

Insarov, the ideal embodiment of an active and consciously heroic nature, is characterized in the novel by a sum of traits in which democracy, hard work, and the simplicity of the proletarian occupy not the least place. They talk about him like that - as a commoner, “some kind of Montenegrin.” Its social characteristics turned out to be especially important for the reader of the 60s, since in it Turgenev showed the process of democratization of the advanced, thinking layer of Russian society, “the complete displacement of the nobles by commoners in our liberation movement,” and idealized a new social type. Of course, Insarov’s foreign origin is very significant, but Insarov’s “proletarianism”, otherwise the raznochinstvo, combined with radicalism of convictions and readiness to act boldly and decisively, not sparing his life, connected him with new ideals and new heroes of Russian society, turned his image into a “substitute ”, in the form of expressing thoughts about the inevitable appearance of such a Russian hero.

It is interesting to note that not only Bersenev, Insarov and, to some extent, Shubin feel like “thinking proletarians.” This “title” is also claimed by such a “figure” of the younger generation as the antipode of Bersenev and Insarov - Kurnatovsky.

The characterization of Kurnatovsky, “attributed” to Elena by the author, reveals the idea that Kurnatovsky, like Insarov, belongs to the “active type” and the mutually hostile positions they occupy within this very broad psychological type. At the same time, this characteristic also reveals how historical tasks, the need for solution of which is clear to the whole society, force people of very different political orientations to put on the mask of a progressive person and cultivate in themselves the traits that are attributed by society to such people. Elena tells Insarov about Kurnatovsky: “There is something iron in him... and stupid and empty at the same time - and honest; they say he is definitely very honest. I also have you made of iron, but not like that... he even called himself a proletarian once. We, he says, are laborers. I thought: if Dmitry had said this, I wouldn’t have liked it, but let him say it to himself! let him boast!.. He must be self-confident, hardworking, capable of self-sacrifice... that is, sacrificing his benefits, but he is a great despot. It’s a disaster to fall into his hands!”

In conclusion, Elena reports Shubin’s opinion that Insarov and Kurnatovsky “are both practical people, but look what a difference; there is a real, living, life-given ideal; and here it’s not even a sense of duty, but simply official honesty and efficiency without substance”; “But in my opinion,” Elena objects, “what do you have in common? You believe, but he doesn’t, because you can’t only believe in yourself” (VIII, 108).

It would seem that in Kurnatovsky’s characterization the clarity of characterization of types inherent in the novel “On the Eve” and the peremptory nature of the author’s verdict reaches its apogee. The writer doesn’t seem to want to waste fictional resources on depicting this type, which is too clear for him. Insarov acts as the main engine of action in the novel; his personality, the business to which he devoted himself entirely, determine the fate of the heroine. The “official” groom - Kurnatovsky - does not bother Elena at all. Young people decide their destiny boldly and independently. The characterization of Kurnatovsky is given concisely, in one place, almost in the style of the famous “registers of characters” that Turgenev compiled in the early stages of work on his works. However, putting the last point in this characteristic, the writer moves away from straightforwardness, and a dispute between Shubin and Elena arises on the most basic issue of assessing Kurnatovsky’s personality. Elena, in words that almost literally coincide with the key wording of the article “Hamlet and Don Quixote,” contrasts Kurnatovsky with Insarov as an egoist, without faith and ideal, i.e., “denies” him the main feature of the active type (“Don Quixote,” according to Turgenev's terminology); Shubin directly classifies him as a leader, although he stipulates that his ideal stems not from the living needs of society, but from formal devotion to official duty, a “principle” without content.

The dispute between Elena and Shubin is in the nature of a joint search for the truth. While disagreeing with Shubin and putting forward a seemingly opposite point of view, Elena still attaches serious importance to his words and takes them into account. Each of them turns out to be right, and in general their dispute clarifies not only Kurnatovsky’s characterization, but also the idea of ​​the active type. A person of active character, capable of selflessly serving an idea, turns out to be not only a revolutionary or a fighter of the national liberation movement, but also a bureaucrat, for whom faith in the state and government plans replaces any other ideal.

However, in accordance with the artistic structure of the novel “On the Eve,” Kurnatovsky is not only an image of a certain modern type, but also the embodiment of an ideal: he is an ideal administrator - a bureaucrat of a new type, characteristic of the 60s. Kurnatovsky is energetic, decisive, honest and adamant in following a certain principle (“iron”). Behind the external and purely psychological traits of Kurnatovsky as a person there is a certain worldview; it embodies the result of the evolution of some ideas of the 40s, a political, philosophical concept, a “solution” to the social problems of our time with thought that developed in a unique direction. Pronouncing the verdict on the “hero of the case” - Kurnatovsky, Turgenev evaluates not only the “case” itself, but also the concept, the ideological direction on which it is based. Herzen’s Past and Thoughts contains an episode of his acquaintance with the real bearer of this kind of ideas, a type that was new in 1857 and seemed ideal, not yet completely debunked in the early 60s. Herzen writes:

“In the autumn of 1857 Chicherin came to London. We were looking forward to him: once one of Granovsky’s favorite students, a friend of Korsh and Ketcher, he represented a close person to us. We heard about his cruelty, about the conservative veleities (aspirations. - L.L.), about immense pride and doctrinarism, but he was still young... A lot of angular things are sharpened by the passage of time.

“I thought for a long time whether I should go to you or not... As you know, while I fully respect you, I do not agree with you on everything.” This is where Chicherin started. He did not approach simply, not youthfully, he had stones in his bosom... The light of his eyes was cold, in the timbre of his voice there was a challenge and a terrible, repulsive self-confidence. From the first words I felt that it was not an adversary, but an enemy... The distances that divided our views and our temperaments soon became apparent... He saw the education of the people as an emperor and preached a strong state and the insignificance of a person before it. One can understand that these thoughts were applied to the Russian question. He was a governementalist, he considered the government much higher than society and its aspirations... All this teaching came from a whole dogmatic structure, from which he could always and immediately derive his philosophy of bureaucracy"(IX, 248-249; emphasis added - L.L.).

The similarity in the external manners, character and, most importantly, worldview of Kurnatovsky in Turgenev and Chicherin in the depiction of Herzen is striking. Moreover, Herzen’s analysis of the personality of one of the main ideologists of the “state school” clarifies the meaning of Elena and Shubin’s contradictory reviews of Kurnatovsky (on the one hand, he has no ideal, he is an egoist, on the other, he is capable of sacrificing his own benefit, he is honest; his activities and selfless and does not arise from the needs of society). Kurnatovsky’s “faith” is faith in the state “as applied to the Russian question” (Herzen’s expression), that is, devotion to the estate-bureaucratic, monarchical state. Realizing that reforms were inevitable, figures like Kurnatovsky associated all possible changes in the life of the country with the functioning of a strong state, and considered themselves carriers of the idea of ​​the state and executors of its historical mission, hence self-confidence, egocentrism, and hence the willingness to sacrifice personal benefits.

However, faith in the monarchical state and in the bureaucratic “strong” system is faith in a system that historically can be filled with very different content (carrying out reforms and carrying out counter-reforms).

Saltykov-Shchedrin, the most “political” writer in Russia in the mid-19th century, who saw the colossal historical significance of the state in the development of society, more than once, in his satirical artistic manner, touched upon the issue of “new”, modern “pure” bureaucrats who were preparing themselves to carry out government reforms that claimed the role of figures destined to turn the “wheel of history” and then became servants of reaction. In the satirical drama “Shadows,” for example, he depicts the situation of the early 60s, when the implementation of reforms was combined with an attack on all free thought and the suppression of the democratic forces of society. The heroes of the drama, young bureaucrats who believed in the doctrine of a “strong state” and convinced themselves that any system proposed from above is good, come to naked careerism, cynicism and the inner consciousness of the “monstrous corvée” that they bear while providing their “ obligatory assistance" to any nefarious plan of the government.

N. G. Pomyalovsky was the largest denouncer of bureaucracy among the sixties. Having learned a lot from Turgenev and Saltykov, he saw completely different socio-political aspects of the problem of bureaucracy and expressed his observations through a special, specific system of images. However, the episode of Kurnatovsky's matchmaking in "On the Eve" left a noticeable mark on his creative imagination. In Molotov, he repeated this situation, making the image of the groom-official a grotesque and satirical embodiment of the formalism of the bureaucratic apparatus.

More thoroughly than Turgenev in the novel “On the Eve,” he developed the conflict between fathers and children seeking the right to freedom of feeling and independence in choosing a life path. Turgenev did not complicate the transparent construction of the novel with an analysis of this conflict, which was not so important for him in this case. At the end of the 60s, he devoted the novel “Smoke” (1867) to the problem of bureaucracy, the fate of young bureaucrats, figures of the “new era,” as well as the question of the international significance of the Russian administrative system. Pomyalovsky, who “immersed” the conflict common in Russian stories since the 40s into the uniquely illuminated and understandable moral world of the bureaucratic-philistine environment, against its background he examined those real, new paths that young people are trying to pave in the old, established society.

The relationship between Elena and Insarov is “ideal” in many ways. The writer depicts heroes flying like moths to the light towards struggle, not seeing or recognizing “small” obstacles on their path, ignoring them. There is still no decisive rejection of the old society and its morality, that war against them, which was declared in “What is to be done?”, but there is a poetic, emotional affirmation of the self-worth and irresistible power of the ideal impulse, its fruitfulness.

We see that in “On the Eve” Turgenev consistently debunked three ideals, in the formation and strengthening of the influence of two of which he played an important role on society. Turgenev contributed to the establishment among Russian readers of the authority of the personality of an artist, a poet, whose activities can be contrasted with participation in the practical affairs of the upper classes of society. The ideal of learning was also not alien to Turgenev. After all, just shortly before “On the Eve” - in “The Noble Nest” - he internally contrasted Lavretsky, striving for “positive knowledge”, with his former heroes - “pure theorists”, abstract “dreamy” thinkers. Soon, in the novel “Fathers and Sons,” he will again write about learning and faith in science as the most important signs of a new type of people, the most modern, in a certain sense, ideal exponents of the aspirations of society.

Turgenev did not have a hand in establishing the ideal of bureaucratic “state” reformism. In Turgenev’s system of artistic images, the liberal bureaucrat-reformer is always a negative figure, although Turgenev understood that this type could have its ideal expression in the minds of his contemporaries. The peculiarity of Turgenev’s artistic debunking of ideals was that, by “reviving” them, giving them the structural form of a living human character, individuality endowed with a certain worldview and style of behavior, he reduced them to a type. The ethical ideal, the social solution, born of the seeking minds of the era, received real, life embodiment, implementation and thus revealed their social and temporal limitations. Turgenev showed that this ideal had already “materialized”, and often that humanity had already passed the stage of its embodiment in its journey.

The idea of ​​an ideal for him was inseparable from the thought of the most modern, most progressive human character, and ultimately from the thought of history and time. This trait, inherent in Turgenev to the highest degree, was also characteristic of other writers of the 60s, especially those of them who went through the school of the 40s with its historical philosophy. A. N. Ostrovsky in the 70s wrote about the ability to destroy old ideals as an obligatory feature of a true artist: “Every time has its own ideals, and the duty of every honest writer (in the name of eternal truth) is to destroy the ideals of the past when they have become outdated... "

It was already noted above that the liberation movement in Europe is considered in “On the Eve” as the beginning of the emergence of a revolutionary situation in a number of countries, as a possible prologue to a change in the political climate in Russia. Insarov utters words that immediately attracted the attention of readers and still make interpreters of the novel think: “Note: the last man, the last beggar in Bulgaria and I - we want the same thing. We all have the same goal. Understand how much confidence and strength this gives!” (VIII, 68). These words are considered as an expression of the thought “about the need to unite all the advanced forces of Russian society to fight for reforms” and as a political lesson to revolutionary democrats, preaching that “only the struggle for “national” interests gives birth to heroes.”

Without denying the possibility of some political and didactic meaning contained both in this phrase by Insarov and in the very depiction in the novel of the national liberation struggle that unites the nation, it should be noted, however, that for Turgenev no less, and perhaps more important, was the other side of the matter. In “On the Eve,” despite the fact that this novel by its very structure is perhaps the most “rational,” journalistic of the writer’s novels, the lyrical element is unusually strong. The form of expression of the new ideal and the new social revival that is replacing the recent depression is that general tone of vivacity, energy, inspiration that is felt in the moods of the main characters and, as if with a reflected light, illuminates other characters in the novel.

Characterizing the position of a person in different periods of the life of society and under different political conditions, Herzen wrote about the revolutionary situation: “There are eras when a person is free in a common cause. The activity to which every energetic nature strives then coincides with the desire of the society in which it lives. In such times - also quite rare - everything is thrown into the cycle of events, lives in it, suffers, enjoys, dies... Even those individuals who are at enmity against the general flow are also carried away and satisfied in the real struggle... At such times, no the need to talk about self-sacrifice and devotion - all this is done by itself and extremely easily. -Nobody backs down because everyone believes. There are, in fact, no victims; to the audience, those actions that constitute a simple execution of the will, a natural way of behavior, seem to be victims” (VI, 120-121).

Herzen, who wrote these lines under the direct impression of the revolutionary situation of the late 40s in Europe, speaks of the historical possibility of social unity - even if not unity in worldview and aspirations (cf. the words of Insarov, who argued that all Bulgarians want the same thing), but in activity, in a state of mind that expresses social upsurge. It is significant that Herzen writes about reactionary figures that they “are at enmity against the general flow.” The revolutionary situation, in his opinion, covers the entire society; the majority of citizens in one way or another participate in the struggle on the side of progressive forces, since revolutionary changes become a historical necessity. The revolutionary situation of the 60s in Russia made the main mood, the main tone of society, optimism, the desire for happiness, faith in the fruitfulness of political creativity, and the revolutionaries, aware of the inevitability of self-sacrifice in the struggle, angrily protested against the concept of “sacrifice.”

Interest in eras of popular upsurge, the activity of all members of society, in historical periods when the chorus of collective political action sounded powerfully and each individual (often aimed at achieving private and personal goals) will flowed into the mainstream of great historical achievements, swept Russian literature. Its highest expression was L. Tolstoy's novel War and Peace.

The life of the main character in “On the Eve” is tragic; and, of course, it is no coincidence that Insarov dies without entering into the fight that he dreams of, and Elena, preparing to participate in the war, anticipates her imminent end and is looking for it. Turgenev was characterized by a keen awareness of the tragic course of history. It was reflected in the images of his heroes - children of his time - and in their destinies. Elena, as noted above, is brought closer to Liza Kalitina by a sacrificial impulse. Moreover, the writer connects the dedication of both heroines, their inherent thirst for achievement with the traditions of folk asceticism (it is not for nothing that the beggar Katya “appears” to Elena in a dream, instilling in her a dream of wandering and leaving her family). However, unlike Liza Kalitina, Elena is free from ascetic morality. She is a modern, courageous girl, easily breaking with the oppression of tradition, striving for happiness.

Before connecting his life with her life, Insarov introduces his beloved woman into his plans, interests and concludes a kind of agreement with her, implying a conscious assessment on her part of their possible future. This is exactly how, according to Chernyshevsky, expressed in the article “A Russian man on a rendez-vous,” a “decent person” would behave when dating Asya; Chernyshevsky himself tried to “conclude” such an agreement with his bride. Elena's selfless love and her noble determination destroy Insarov's ascetic isolation and make him happy. Dobrolyubov especially appreciated the pages of the novel, which depicted the bright and happy love of young people. The novel contains a meaningful conversation between Shubin and Uvar Ivanovich: “...Insarov is coughing up blood; this is bad. I saw him the other day... his face is wonderful, but unhealthy, very unhealthy.

“It’s all the same to fight,” said Uvar Ivanovich.

“It’s all the same to fight, that’s for sure... but it’s all the same to live.” But she will want to live with him.

“It’s a young matter,” responded Uvar Ivanovich.

- Yes, a young, glorious, brave business. Death, life, struggle, fall, triumph, love, freedom, homeland... Good, good. God bless everyone! This is not like sitting up to your neck in a swamp and trying to pretend that you don’t care when you really really don’t care. And there the strings are stretched, ring throughout the whole world or break” (VIII, 141).

Shubin contrasts the idea of ​​Uvar Ivanovich, an old man, about struggle as synonymous with death (therefore, it doesn’t matter whether a healthy or sick person goes to fight) with the view of his generation, according to which life, happiness, and struggle are inseparable. Regardless of whether the struggle leads to triumph or death, it makes a person happy (“God grant to everyone”).

The aspirations and needs of the young “children of the time” were characterized by Turgenev in the novel, and this was its main novelty. In “On the Eve” a hero of the 60s was found, although still nominatively; in fact, it was synthesized from historical needs, emerging ideals, and individual observations of the trends in the development of the historical process. Not wanting to present this hero as a typical, real, rooted phenomenon of Russian life, Turgenev gave his idea the appearance of a life-like, historically specific hero - a fighter of the national liberation movement. Why exactly this type was chosen by the writer as a “substitute” for a Russian revolutionary figure, a “substitute” that expresses both the inevitability of the transformation of such a hero into the main figure of modernity and the incompleteness of the process of his formation, we had the opportunity to say above.

The fundamental feature on which Turgenev built the character of this hero is his effective, active nature, his significance as a social engine, a person who is assigned to implement tasks that are at once the simplest and most important for a person, a people, a time.

N. Shchedrin (M. E. Saltykov). Full collection op. T. XVIII. M., 1937, p. 144.

The clarity and some deliberate schematism of both the general structure of the novel and its individual images were noted by contemporary criticism of the writer. See: K. N. Leontiev. Letter from a provincial to Mr. Turgenev. - Domestic Notes, 1860, No. 5, dep. III, p. 21; N. K. Mikhailovsky. Literary critical articles. M., 1957, p. 272.

S. M. Petrov rightly writes: “The problem of the social role and significance of the various ranks of the democratic intelligentsia is posed by Turgenev for the first time not in “Fathers and Sons,” but in “On the Eve” (S. M. Petrov. I. S. Turgenev. M. , 1968, p. 167).

V. I. Lenin. Full collection soch., vol. 25, p. 94.

Chernyshevsky in “What is to be done?”, speaking about Lopukhov’s work at the plant, very closely reproduced the wording of Kurnatovsky’s confessions, who claimed that he almost changed his service in the Senate to the position of manager of a large plant in search of a living business. Needless to say, the meaning of Lopukhov’s activity at the plant is essentially the opposite of the administrative work that attracts Kurnatovsky, but the readiness of both heroes to give up office work (Lopukhov leaves science) for the sake of communicating with the direct producers of material goods and understanding them (each in accordance with with their own worldview) of the importance of industrial enterprises in society characterizes both of these heroes as figures of a new era. The possibility of direct polemics between Chernyshevsky (or his hero, Lopukhov) and the understanding of the importance of organizational work at the plant, which is stated in Kurnatovsky’s reasoning, is not excluded.

A. N. Ostrovsky. Full collection op. T. XV. M., 1953, p. 154.

M. K. Clement. Ivan Sergeevich Turgenev. L., 1936, p. 123; commentary by A. I. Batyuto to “On the Eve” (VIII, 533).

In this article we will look at the novel by Ivan Sergeevich, created in 1859, and outline its summary. Turgenev first published “On the Eve” in 1860, and this work remains in demand to this day. Not only the novel itself is interesting, but also the history of its creation. We will present it, as well as a brief analysis of the work, after we outline the summary of “On the Eve”. he is presented below) has created a very interesting novel, and you will probably like its plot.

Bersenev and Shubin

On the banks of the Moscow River in the summer of 1853, two young men lie under a linden tree. A brief summary of “The Eve” begins with an introduction to them. Turgenev introduces us to the first of them, Andrei Petrovich Bersenev. He is 23 years old and has just graduated from Moscow University. A scientific career awaits this young man. The second is Pavel Yakovlevich Shubin, a promising sculptor. They argue about nature and man's place in it. Her self-sufficiency and completeness amaze Bersenev. He believes that against the backdrop of nature, the incompleteness of man is seen more clearly. This gives rise to anxiety and sadness. Shubin believes that you need to live, not reflect. He advises his friend to find a girlfriend of his heart.

Then the young people move on to talking about everyday things. Recently Bersenev saw Insarov. It is necessary to introduce Shubin to him, as well as to the Stakhov family. It's time to return to the dacha; you shouldn't be late for lunch. Stakhova Anna Vasilievna, Pavel Yakovlevich’s second cousin, will be dissatisfied. And to this woman he owes the opportunity to practice sculpting.

The story of Nikolai Artemyevich Stakhov

The story of Nikolai Artemyevich Stakhov continues in Turgenev’s novel “On the Eve” (summary). This is the head of the family, who from a young age dreamed of marrying profitably. He realized his dream at 25 years old. His wife was Anna Vasilievna Shubina. However, Stakhov soon became friends with Augustina Christianovna. Both of these women bored him. His wife tolerates infidelity, but it still hurts her, because he deceitfully gave his mistress a pair of gray horses from a factory owned by Anna Vasilyevna.

Shubin's life in the Stakhov family

Shubin has been living in this family for about 5 years, after his mother, a kind and smart Frenchwoman, died (Shubin’s father died several years before her). He works hard, but in fits and starts, and does not want to hear anything about professors and the academy. In Moscow, Shubin is considered promising, but he has not yet done anything outstanding. He really likes the Stakhovs’ daughter. However, the hero does not miss the opportunity to flirt with plump 17-year-old Zoya, Elena’s companion. Alas, Elena does not understand these contradictions in Shubin’s personality. She was always outraged by a person's lack of character, she was angry at stupidity, and she does not forgive lies. If someone loses her respect, he immediately ceases to exist for her.

Personality of Elena Nikolaevna

It must be said that Elena Nikolaevna is an extraordinary person. She is 20 years old, very attractive and statuesque. She has a dark brown braid and gray eyes. However, there is something nervous and impetuous in the appearance of this girl that not everyone will like.

Nothing can satisfy Elena Nikolaevna, whose soul strives for active good. Since childhood, this girl has been occupied and disturbed by hungry, poor, sick people and animals. At the age of 10, she met a beggar girl, Katya, and began to take care of her. This girl even became a kind of object of her worship. Elena's parents did not approve of this hobby. True, Katya soon died. However, in Elena’s soul there remained a trace from the meeting with her.

The girl had been living her own life since she was 16 years old, but she was lonely. Nobody embarrassed Elena, but she languished, saying that there was no one to love. She did not want to see Shubin as her husband, since he is fickle. But Bersenev attracts Elena as an educated, intelligent and deep person. But why does he talk so persistently about Insarov, who is obsessed with the idea of ​​liberating his homeland? Bersenev's stories awaken in Elena a keen interest in the personality of this Bulgarian.

The story of Dmitry Insarov

The story of Insarov is as follows. His mother was kidnapped and then killed by a certain Turkish aga when the Bulgarian was still a child. The father attempted to take revenge on him, but was shot. Left orphaned at the age of eight, Dmitry came to his aunt in Russia. After 12 years, he returned to Bulgaria, which he studied inside and out for 2 years. Insarov was repeatedly exposed to danger on his travels and was persecuted. Bersenev personally saw the scar that remained at the site of the wound. Dmitry does not intend to take revenge on the Agha; he is pursuing a broader goal.

Insarov is poor, like all students, but he is scrupulous, proud and undemanding. He is distinguished by his enormous efficiency. This hero studies political economy, law, Russian history, translates Bulgarian chronicles and songs, compiles Bulgarian grammar for Russians and Russian for Bulgarians.

How Elena fell in love with Insarov

During his first visit, Dmitry Insarov did not make as great an impression on Elena as she expected after Bersenev’s enthusiastic stories. However, one incident soon confirmed that he was not mistaken about the Bulgarian.

One day Anna Vasilievna was going to show the beauty of Tsaritsyn to her daughter and Zoya. A large company went there. The park, the ruins of the palace, the ponds - all this made an impression on Elena. Zoya sang well while sailing on the boat. She was even shouted an encore by a group of Germans who had been having fun. At first they didn’t pay much attention, but after the picnic, already on the shore, we met them again. Suddenly, one man of impressive stature separated from the company. He began to demand a kiss as compensation for the fact that Zoya did not respond to the applause of the Germans. Shubin began to exhort this drunken impudent man with a pretense of irony, but this only provoked him. And so Insarov stepped forward. He simply demanded that the impudent man leave. The man leaned forward, but Insarov lifted him into the air and threw him into the pond.

Are you curious to know what the summary of "The Eve" continues with? Sergeevich has prepared a lot of interesting things for us. After the incident that happened at the picnic, Elena admitted to herself that she fell in love with Dmitry. Therefore, the news that he was moving out of the dacha was a big blow for her. Only Bersenev still understands why this departure was necessary. His friend once admitted that he would definitely leave if he fell in love, since he could not betray his duty for the sake of personal feelings. Insarov said that he did not need Russian love. Having learned about this, Elena decides to personally go to Dmitry.

Declaration of love

So we come to the scene of declaration of love, describing the brief content of the work “On the Eve”. Surely readers are interested in how it happened. Let's briefly describe this scene. Insarov confirmed to Elena, who came to him, that he was leaving. The girl decided that she needed to be the first to admit her feelings, which she did. Insarov asked if she was ready to follow him everywhere. The girl answered in the affirmative. Then the Bulgarian said that he would take her as his wife.

Difficulties faced by lovers

Meanwhile, Kurnatovsky, who worked in the Senate as chief secretary, began to appear at the Stakhovs. Stakhov sees this man as the future husband of his daughter. And this is just one of the dangers that await lovers. Letters from Bulgaria are becoming more and more alarming. It is necessary to go while you can, and Dmitry is preparing to leave. However, he suddenly caught a cold and fell ill. For 8 days Dmitry was dying.

All these days Bersenev looked after him and also told Elena about his condition. Finally the threat was over. But full recovery is still far away, and Insarov is forced to remain in his home. Ivan Sergeevich talks about all this in detail, but we will omit the details when compiling a summary of I. S. Turgenev’s novel “On the Eve”.

One day Elena visits Dmitry. They talk for a long time about the need to hurry up with leaving, about Bersenev’s golden heart, about their problems. On this day they become husband and wife no longer in words. Parents find out about their date.

Elena's father calls his daughter to account. She confirms that Insarov is her husband, and that in a week they will go to Bulgaria. Anna Vasilievna faints. The father grabs Elena by the hand, but at this moment Shubin shouts that Augustina Khristianovna has arrived and is calling Nikolai Artemyevich.

Journey of Elena and Dmitry

The newlyweds have already arrived in Venice. The difficult journey was left behind, as well as 2 months of illness in Vienna. After Venice they will go first to Serbia and then to Bulgaria. They just need to wait for Rendich, the old wolf, who must transport them across the sea.

Elena and Dmitry really liked Venice. However, while listening to La Traviata in the theater, they are embarrassed by the scene in which Alfred says goodbye to Violetta, who is dying of consumption. Elena leaves a feeling of happiness. The next day Insarov gets worse. He has a fever again and is in a state of oblivion. Elena, exhausted, falls asleep.

Further, Turgenev describes her dream (“On the Eve”). Reading a summary, of course, is not as interesting as the original work. We hope that after reading the plot of the novel you will have a desire to get to know it better.

Elena's dream and Dmitry's death

She dreams of a boat, first on the Tsaritsyn pond, and then in the restless sea. Suddenly a snowstorm begins, and now the girl is no longer in a boat, but in a cart. Next to her is Katya. Suddenly the cart rushes into the snowy abyss, and its companion laughs and calls Elena from the abyss. Raising her head, Elena sees Insarov, who says that he is dying.

The further fate of Elena

The summary of “On the Eve” is already approaching the end. Turgenev I.S. further tells us about the fate of the main character after the death of her husband. 3 weeks after his death a letter arrives from Venice. Elena tells her parents that she is going to Bulgaria. She writes that from now on there is no other homeland for her. The further fate of Elena remains reliably unclear. There were rumors that someone had seen her in Herzegovina. Elena allegedly was a sister of mercy under the Bulgarian army, she always wore black clothes. Then the trace of this girl is lost.

This concludes the summary of "The Eve". Turgenev took as the basis for this work a plot from a story by his friend. You will learn more about this by getting acquainted with the history of the creation of “On the Eve”.

History of creation

Vasily Katareev, an acquaintance of Turgenev and his neighbor on the estate, went to Crimea in 1854. He had a presentiment of his death, so he gave Ivan Sergeevich a story he had written. The work was called "Moscow Family". The story presented the story of Vasily Katareev's unhappy love. While studying at Moscow University, Katareev fell in love with a girl. She left him and went with a young Bulgarian to his homeland. Soon this Bulgarian died, but the girl never returned to Katareev.

The author of the work suggested that Ivan Sergeevich edit it. After 5 years, Turgenev began writing his novel "On the Eve". Katareev's story served as the basis for this work. By that time Vasily had already died. In 1859 Turgenev completed "On the Eve".

Brief Analysis

After creating the images of Lavretsky and Rudin, Ivan Sergeevich wondered where the “new people” would come from, from what layers would they appear? He wanted to portray an active, energetic hero who is ready for a stubborn struggle. These were the kind of people the stormy 1860s required. They were supposed to replace the likes of Rudin, who could not move from words to deeds. And Turgenev created a new hero, whom you have already met by reading the summary of the novel. Of course, this is Insarov. This hero is an “iron man” who has determination, perseverance, willpower, and self-control. All this characterizes him as a practical figure, in contrast to contemplative natures like the sculptor Shubin and the philosopher Bersenev.

Elena Stakhova finds it difficult to make a choice. She can marry Alexei Bersenev, Pavel Shubin, Yegor Kurnatovsky or Dmitry Insarov. The chapter-by-chapter presentation of the work “On the Eve” (Turgenev) allowed you to get acquainted with each of them. Elena personifies young Russia “on the eve” of change. Ivan Sergeevich thus solves the important question of who the country needs most now. People of art or scientists, statesmen or naturalists who devoted their lives to serving a patriotic goal? With her choice, Elena answers a question that was very important for Russia in the 1860s. You know who she chose if you read the summary of the novel.

The famous and talented writer Ivan Sergeevich Turgenev is a classic of Russian literature. He is known not only as a writer, but also as a poet, publicist, translator, and playwright. His realistic works are still a great asset of Russian literature. Ivan Sergeevich made a huge contribution to ensuring that Russian literature could develop in the nineteenth century.

It is known that this wonderful writer succeeded not only in his writing, but also became a corresponding member of the famous and prestigious Academy of Sciences, where he received a degree in Russian language and literature. In addition, he was awarded an honorary doctorate from the University of Oxford, as well as an honorary fellow of the Metropolitan University. But his main achievements are his works, among which six novels stand out. They brought him fame and popularity. One of them is "On the Eve", which was published in 1860.

The history of the creation of Turgenev's novel

Ivan Turgenev, according to the memoirs of his contemporaries, already in the second half of the 1850s began to think about creating in one of his works a completely new hero, who had not yet appeared in Russian literature before him. This decision did not come to the writer easily, but because the author of wonderful landscape works was influenced by liberal democrats.

According to Ivan Turgenev's plan, his hero was supposed to reflect the views of the author himself, but be more moderate. This understanding of creating a new hero came to the writer much earlier, when he was just starting work on his first novel. And even the female images in his work have become new for modern literature. For example, Elena, about whom the author himself said:

“I could give in to a strong desire for freedom.”

What is known for sure about the history of the creation of this novel is that the manuscript of his autobiography was left to the writer himself by a neighbor who at that time lived in the neighboring Mtsensk district. This event happened to the author around 1855. And that landowner-neighbor turned out to be a certain Vasily Karataev. This officer, serving in the noble militia, decided not only to leave his manuscript to the writer, but also gave his consent to Ivan Sergeevich to dispose of it as he pleased.

Of course, Ivan Turgenev read it, and he was interested in the love story that was told in this handwritten notebook. This is how the plot of his novel was born: a young man loves a beautiful and charming girl who chooses another - a Bulgarian. He is currently in Moscow, studying at the university.

The main characters of the novel:

✔ Anna Vasilievna Stakhova.
✔ Nikolai Artemyevich Stakhov.

✔ Dmitry Insarov.
✔ Andrey Bersenev.
✔ Pavel Shubin.

As you know, the prototype of this Bulgarian was a certain Nikolai Katranov, who lived in the capital, and then, together with his Russian wife, tries to return to his homeland, since the Russian-Turkish war began. But soon he dies of consumption, never reaching his hometown.

It is known that the neighbor who gave his manuscript to the writer never returned from the war, as he died of typhus. Ivan Turgenev tried to publish this manuscript, but, from the point of view of literature, it was too weak, so many years later he re-read this notebook again and realized that he had found a new hero, whom he was thinking about at that time.

In 1858, he took up the artistic reworking of the plot, which was suggested to him by a neighbor. But, as the writer himself explained, only one scene remained the same, everything else was reworked and changed. Ivan Turgenev also had an assistant - the famous writer, Turgenev's friend and traveler E. Kovalevsky. The author of the novel needed him, as he was well versed in all the details of the liberation movement that was taking place in Bulgaria.

It is known that the writer wrote his novel not only on the family estate, but also abroad, for example, in London and other cities. And as soon as he returned to Moscow, he himself delivered the manuscript to the publication of the then famous magazine “Russian Messenger”.

The plot of the new novel

The plot of Turgenev's novel begins with an argument. Scientist Andrei Bersenev and sculptor Pavel Shubin take part in it. The topic of their dispute is the nature and place of man in the world around him. Gradually, the author introduces the reader to the entire family of the sculptor. For example, with a distant relative, Aunt Anna Vasilievna, who does not love her husband at all, just like he does not love her. Anna Vasilyevna's husband met a German widow by chance and therefore spends most of his time with her. And this is easy to explain: after all, he once married Anna Vasilievna for money, and the only thing that unites them is their adult daughter Elena.

Everyone knows that Nikolai Artemyevich’s new acquaintance robs her quite well. And the sculptor has been living in this family for five years, since this is the only place where he can do art, but most of the time he is lazy. He takes care of the companion of the owner's daughter, Zoya, but he is still in love with Elena. But who is she, Elena? This is a young girl, twenty years old, dreamy and kind. She helps those who need help: hungry, sick people and animals. But at the same time she herself is very lonely. She lives alone and does not have a boyfriend yet. She is not at all interested in Shubin, and she is only interested in his friend for conversation.

One day Bersenev introduces Elena to his acquaintance, Dmitry Insarov, who lives in Russia, but dreams of liberating his homeland. The Bulgarian interested Elena, but not at the first meeting. He begins to like him when he protects her from a drunkard who accosted the girl right on the street. And when the girl falls deeply in love, she finds out that Dmitry is leaving. Andrei tells the girl that he is afraid that his personal ardent feelings for Elena will deprive him of the will to fight for his country. Then the girl herself goes to the young man, confesses her feelings and is now ready to help him in everything and follow him everywhere.

Elena and Dmitry communicate modestly for some time, but Insarova, receiving alarming and sad letters from her relatives and friends, begins to prepare to leave. And then Elena comes to his house to talk seriously about their future together. After a heated explanation, it was decided to get married. Her parents were shocked by her announcement of her marriage. For them, the news that she was going to foreign lands with her husband was a big blow.

In Venice they have to linger a little, as they are waiting for a ship going to Serbia, and only then they can get to Bulgaria. But then Dmitry falls ill: he has a fever and fever. One day Elena has a terrible and terrible dream, and when she wakes up, she sees that her husband has died. Therefore, only his body is delivered to his homeland. After this, there was another letter to her parents, where Elena wrote that she was going to Bulgaria and wanted to consider this country her new homeland. After that, she disappears, and only rumors reach her that she is performing the role of a sister of mercy.

Motives of Turgenev's plot

All motives, as well as Turgenev’s ideas in the novel, were analyzed by critic Nikolai Dobrolyubov, who approached the plot from a progressive position. The critic notes the author's special literary sensitivity. This is perfectly manifested in the way Ivan Sergeevich portrays the main character. The critic saw in Elena Stakhova the image of Russia, which is still young and beautiful.

Elena in Turgenev’s view is addressed to the people, from them she takes a dream, seeks the truth. She is also willing to sacrifice herself for someone. Elena is a wonderful heroine, men like her. The army of her fans is large: they are an artist, an official, a scientist and even a revolutionary. The girl chooses the revolutionary Insarov, also trying to accomplish a civic feat. Her chosen one has a high goal to which he subordinates his entire life. He dreams of happiness for his homeland.

There is another theme in Turgenev’s work - this is the conflict of personal interests and sincerity. For example, Barsenev and Shubin argue about what happiness is, what love is, and what can be higher. The more the reader observes the main characters, the more obvious it becomes that they must sacrifice their love. The author seems to be trying to emphasize that any life on Earth ends tragically. And according to the plot of the novel, it is known that Insarov unexpectedly dies of illness. And Elena disappears into the crowd of people and no one knows anything about her anymore.

Criticism and reviews of Ivan Turgenev’s novel “On the Eve”

The writer did not accept the position of critic Nikolai Dobrolyubov on his novel, his interpretation of the general plot and his view of the main characters. At the time when the critical article was about to be published, Turgenev turned to Nekrasov with a request to stop the review. It's not that the author was afraid of publication. Ivan Sergeevich was upset by the very fact that the novel was misunderstood. Therefore, as soon as Nekrasov’s magazine Sovremennik was published, the writer decided to break with him forever, since his requests were not heeded. But the criticism of the novel “On the Eve” did not stop there. Soon, another article appeared on the pages of the same Nekrasov magazine, which contained a negative review of the novel, but already written by Chernyshevsky. There was an equally negative reaction to the content of the novel and its characters from conservative writers and nobles.

What contemporaries wrote about the published novel. Most of all they scolded the heroine, believing that she had no feminine qualities at all, that she was immoral and empty. The main character also got it, most often he was called dry and sketchy.

This greatly upset the author. But time put everything in its place. The predictions made by the first readers that “On the Eve” will never have a tomorrow did not come true. The novel, written more than 150 years ago, is one of the brightest creations of Russian classics and is known to any contemporary as a bright and profound work.

The name of the Russian prose writer Ivan Sergeevich Turgenev in the minds of the Russian reader is associated not only with the “Turgenev girl”, but also with the “noble nest”. It was this metaphor, after the publication of a novel with that name, that became synonymous with all the estates of Russian landowners. In addition, the heroes of Turgenev’s novels joined the ranks of “superfluous” people in literature.

After Rudin and Lavretsky, Turgenev asked the question: “From what layers will “new people” emerge? The writer lacked a hero who would be energetic, active, and ready for a stubborn struggle. The “stormy” 60s of the 19th century demanded just such people - they had to replace heroes of the Rudin type, who were unable to move from words to deeds. At this time, Turgenev's neighbor, going to Crimea, gave the writer the manuscript of an autobiographical story, one of the heroes of which was a young revolutionary from Bulgaria.

So prototype of the main character novel "The day before" became Nikolai Dimitrov Katranov, born in 1829 in the Bulgarian city of Svishtov. In 1848, with a group of young Bulgarians, he came to enter the Faculty of History and Philology at Moscow University. The war between Turkey and Russia, which began in 1853, awakened revolutionary sentiments among the Balkan Slavs, who had long fought to get rid of the Turkish yoke. Together with his Russian wife Larisa, Nikolai Katranov went home, but an outbreak of tuberculosis forced them to go to Venice for treatment, where he caught a cold and died.

Until 1859, the manuscript lay idle, although after reading it, Turgenev said: “Here is the hero I was looking for! This has never happened among Russians before!” Why did the writer turn to the manuscript in 1859, when heroes of this type had already begun to appear in Russia? Why does Turgenev make the Bulgarian Dmitry Insarov a model for Russian consciously heroic natures?

According to one of the heroes of the novel “On the Eve”, Insarov- “iron man”, possessing remarkable qualities: willpower, perseverance, determination, self-control. All this characterizes Insarov as a practical figure, as opposed to contemplative natures, similar to other heroes of the novel: the philosopher Bersenev and the sculptor Shubin.

main character novel, twenty-year-old girl Elena Stakhova, cannot make a choice: her chosen one could be the young scientist Alexei Bersenev, an aspiring sculptor, a distant relative of her mother, Pavel Shubin, the official Yegor Kurnatovsky, who is successfully starting a career in the public service, and also a man of civic duty, the Bulgarian revolutionary Dmitry Insarov. At the same time, the social and everyday plot takes on symbolic subtext: Elena Stakhova, as it were, personifies young Russia, which is “on the eve” of upcoming changes. The author thus solves the most important question: who does Russia need most now? Scientists or people of art, statesmen or heroic natures who dedicated their lives to serving a great patriotic goal? With her choice, Elena gives a definite answer to a question that was most important for Russia in the 60s.

The Russian critic N. Dobrolyubov, in his article “When will the real day come?”, dedicated to the novel “On the Eve”, rightly noted that Elena Stakhova showed a vague longing for something and this almost unconscious need for a new life, new people, now covers all Russian society. What distinguishes Insarov from the Russian people, what makes him a fundamentally “new” hero?

First of all, the integrity of his nature, the absence of contradictions between beautiful words and real deeds. If Shubin, with the money given to him by his aunt for studying in Italy, went to the Ukrainians “to eat dumplings”, if Bersenev, preparing himself for the scientific field, instead of poetry talks to a girl about Schelling and philosophy, then Insarov is not busy with himself, all his aspirations come down to towards one goal - the liberation of their homeland, Bulgaria.

Along with the social plot appears philosophical implications. The novel begins with a dispute between Shubin and Bersenev about the understanding of happiness and duty. Young people agree on one thing: everyone wants personal happiness for themselves; a person is truly happy when the concepts of “homeland”, “justice” and “love” are combined, but not “love-pleasure”, but “love-sacrifice”.

It seems to Elena and Dmitry that their love unites the personal and the public, that it is inspired by a higher purpose. However, throughout the action of the novel, the characters are haunted by the feeling of the unforgivableness of their happiness; they cannot get rid of the feeling of guilt before their relatives, of the fear of impending retribution for their love. Why does this feeling arise?

Elena cannot resolve the fatal question for herself: is it possible to combine a great cause with the grief of her own mother, left alone after the departure of her only daughter? She cannot find the answer to this question, especially since her love for Insarov also leads to a break with her homeland - with Russia. And Insarov is tormented by the question: maybe his illness was sent to him as punishment? Thus, common cause and love become incompatible. And Insarov, being initially a whole person, experiences a painful split, the source of which is his love for the Russian girl Elena.

This is why the outcome of the novel is so tragic. According to Turgenev, a person experiences drama not only in his internal state, but in his relationships with the outside world, with nature. At the same time, nature absolutely does not take into account the uniqueness of each person: with indifferent calm, she takes away both a mere mortal and an outstanding hero of our time - before her, Mother Nature, everyone is equal.

This motive universal life tragedy is woven into the fabric of the novel by the sudden death of Insarov and the disappearance of Elena on this earth. The thought of the tragedy of human existence in the world sets off Elena’s feeling of love for Insarov, which is why Turgenev’s novel takes on the features of a work about the eternal quest of man, about man’s constant striving for social perfection, about his age-old challenge to “indifferent nature.”

However, reality made its own adjustments. Nikolai Dobrolyubov, in an article about the “present day,” contrasted the tasks of the “Russian Insarovs” with the program that Turgenev described in his novel. According to the critic, our domestic Insarovs had to fight the “internal Turks,” that is, both conservatives and representatives of liberal parties. The article went against all Turgenev's beliefs. Although he asked Nekrasov, editor-in-chief of Sovremennik magazine, not to publish this article, it was nevertheless published. Then Turgenev left the editorial office of Sovremennik forever.

Vladimir Goldin

Heroes in Turgenev's novels. Article 3.

"ON THE EVE"

The very title of the novel contains intrigue. The day before - What? Each reader who thoughtfully begins to read this novel can answer this question in his own way, and he will be right. So after all, on the eve of what?..

On a hot summer day, two young men are resting on the river bank under a linden tree. Their thoughts and words are ordinary, dream standards for young people starting their life's journey. Let's introduce them, following Turgenev: Bersenev, Andrei Petrovich - a university graduate and Shubin, Pavel Yakovlevich - a sculptor. Young people talk about love, about women, about nature, which seems to be the connecting principle in all life endeavors.

Shubin lived with Stakhova’s relative, Anna Vasilyevna, a rich but empty woman, carried away by various trifles and quickly tired of them. The birth of her daughter upset her health, and after that she did nothing but “be sad and quietly worry,” a homebody, she forgave her husband for his manly pranks. Stakhov, Nikolai Artemyevich, a retired warrant officer, “picked up” Anna Vasilievna at one of the social balls, was a frondeur.

After lunch, young people Bersenev, Shubin and Elena Nikolaevna, the Stakhovs’ daughter, go for a walk in the park. Here young people who have reached the age when they need to think about starting a family, when they need to determine the profession of their future adult life, share their desires and dreams. Here, in my opinion, is the first clue to the title of the novel “On the Eve”, a moment in life that determines the meaning of all subsequent years of a person’s existence. Bersenev dreams of becoming a professor of history or philosophy. Shubin is still hovering in the space of thoughts between the profession of a sculptor and a womanizer, he likes Elena, he flirts with Zoya, a hanger-on Russified German in the Stakhovs’ house, and is carried away by peasant “girls.” Elena, a maximalist, speaking in a modern style, did not forgive anyone for lying “forever and ever”; as soon as a person lost her respect, he ceased to exist for her. At the same time, she read a lot and thirsted for active good, gave alms and picked up crippled birds and animals, thought about love, and was surprised that there was no one to love.

Bersenev goes to the city, where he meets a student acquaintance and invites him to visit his village dacha. Bersenev's friend - student, Bulgarian Insarov, Dmitry Nikanorych is limited in funds, accepts the invitation, but with the condition that he will pay for the rented room himself.

Elena and Shubin's first acquaintance with Insarov did not make the impression that Bersenev described to them. But if Shubin could be understood immediately - jealousy spoke in him, then Elena’s consciousness did not accept Insarov as a hero. Elena and Insarov’s trust in each other developed slowly, but after their meeting in private, this relationship began to develop quickly. Who is Insarov, and how does Turgenev present him to the reader?
Insarov is a man of ideas, the idea of ​​liberating Bulgaria from the Turkish yoke. For this, Insarov lives, studies, suffers, suffers hardships, helps his compatriots, renounces love for a woman - all for the sake of an idea. But the character of young Elena captivates Insarov. Elena finally falls in love with Insarov after a walk organized by Stakhova, where Insarov showed himself as a hero, protecting the company from the harassment of drunken Germans. Elena admits to herself in her diary that she is in love. Insarov, unable to control his feelings, leaves the dacha and goes to Moscow.

But the feeling wins. Elena and Insarov meet at an abandoned chapel in bad weather. Young people declare their love. For the sake of love, Elena refuses the profitable marriage offered to her by her father, leaves her home, full of prosperity and bliss, and goes to Insarov. Elena accepts Insarov’s illness as her own, takes care of the patient, then, with the unrecovered Insarov, travels to Europe with the goal of illegally entering Bulgaria, where the liberation movement broke out with renewed vigor. Insarov dies. Elena, faithful to him and his idea, travels with people she does not know to Bulgaria. Elena's further fate is unknown.

The fate of the other main characters of the novel “On the Eve” is interesting. Bersenev, as he dreamed, successfully began to pursue a career as a university professor; he is abroad and has already published two articles that attracted the attention of specialists. Shubin’s dream also came true, he was in Rome “... completely devoted to his art and is considered one of the most remarkable and promising young sculptors.” Elena found someone she could love, and fell in love not only with a person with a purposeful character, but also with his idea... The heroes’ dreams, which were formed on the eve of entering an independent adult life, came true.
The novel “On the Eve” is multifaceted. The author's deep thoughts and reflections are contained here. After reading the novel, a thoughtful researcher is provided with material for numerous articles: male and female characters in the novel, the landscape and its connection with the thoughts and actions of the characters, the relationship between the older and emerging generations, and others. Let’s not wander around in our thoughts here. This is not the purpose of our article.

I would like to dwell once again on the title of the novel “On the Eve”. Dobrolyubov in the article “When will the real day come?” ran far ahead of real events, seeing in the novel signs of an impending revolution. This speaks of inexperience, intolerance and inability to deeply analyze the historical situation developing in Europe, and most importantly in Russia. Therefore, it is no coincidence that Turgenev insisted that Dobrolyubov’s article should not be published in the open press, and when the article was published, Turgenev decisively broke off relations with Nekrasov and Dobrolyubov. The strategists of “advanced thought” turned out to be blind. Nekrasov and Dobrolyubov were simple propagandists of the “revolution” who did not understand the purpose of the revolution, nor its driving forces, nor the program for subsequent actions. For them, the revolution had to take place for the sake of the revolution - and that’s all, their thoughts did not go further than that. Imagine master Nekrasov moving with a whole convoy to hunt in 1919!!! How many of these revolutionaries abandoned the revolution and condemned it?

Turgenev in this case is more of an analyst and strategist than his compatriots.

Dear reader, pay attention to the dynamics of the actions of the main characters in Turgenev’s novels. Rudin is a loner, a man who grew up and formed in the conditions of the nobility, at the expense of the labor of serfs. He is a poor nobleman who picked up ideas while traveling around Europe. Remember: “His eloquence is not Russian”!!! He is a talker, lives on credit, and dies senselessly. In “The Noble Nest” Lavretsky strives to find himself in the active management of his farm. Mikhalevich is all about finding something to do for himself, to be useful, if not to society, then to himself.

Insarov is a completely different person. Insarov is already acting with a group of like-minded people, he has connections in Russia and abroad, he is a member of a secret society. A man of an idea for which he gives his life. Insarov is a Bulgarian, on the territory of Russia the leader of some group of obsessed people seeking to free their homeland from the Turkish yoke. There were no such groups of like-minded people in Russia when Turgenev wrote the novel. There were scattered loners like Rudin and Mikhalevich.

Let's turn to female images. In “Rudin”, Natalya understood the character and actions of her hero and found her “woman's happiness” in marriage. In “The Noble Nest,” Elizaveta Mikhailovna was unable to understand the moral aspects of her fans and went to a monastery.

In “On the Eve,” Elena, on the contrary, chooses Insarov, a man of ideas, from the circle of admirers. Elena's act is symbolic in that she chooses a foreigner and his ideology. Here Elena - a woman chooses someone else's ideology, is comparable to the concept of Elena - Russia, which is increasingly moving towards imitation of the West. Elena chose Western ideology, and she dies unknown how. This is where, in my opinion, the key to the title of the novel “On the Eve” lies.

And Elena is also a symbol of the Russian noble intelligentsia, in whose ranks a spontaneous protest against the established foundations arises and begins to develop.

It was the noble intelligentsia that began to excite the minds of the almost completely illiterate peasantry, and the emerging illiterate working class.

However, “smart people. Damn them! They didn’t understand that single people won’t make a revolution; for this they need to train personnel. It’s easy to build a factory or a ship, but it will not provide the expected economic and other returns if they are managed by untrained people; this takes time.

The novel “On the Eve,” in my opinion, is a novel calling on all sectors of society to think about the future development of Russia.