About the early romantic lyrics and poems of Turgenev. ““Pure gold” of Turgenev’s prose. How does the lyricism of Turgenev’s early prose manifest itself?

Introduction

The personality of the writer, his perception of the world and attitude to reality, emotional and life experience give rise to the uniqueness of creativity. Creative individuality is expressed through the nature of his figurative vision, creative goals, artistic method and style. The originality of a writer can be revealed by comparing his works with the creations of his contemporaries and predecessors, through the poetics of his works and the features of his artistic method. This study is an attempt to comprehend artistic skill I.S. Turgenev, penetrate into the unique world of his images, the individuality of his style.

I.S. Turgenev is a major artist who managed to discover so many extraordinary things in the ordinary, everyday world. This is one of those writers who are distinguished by an unusually subtle and organic fusion of realistically concrete epic images with lyricism.

The contrast in the works of the great artist of words is a psychological detail: contrasting are such motifs and images that are not indifferent to all or many people: youth and old age, love and hate, faith and hopelessness, struggle and humility, tragic and joyful, light and dark, life and death , moment and eternity. This work is characterized by aesthetic and philosophical aspect studying the problem indicated in the title.

As object research served “Poems in prose” by I.S. Turgenev. An appeal to the writer’s work is not only personally significant for the author of the work, but also relevant for several reasons. Poems from this cycle are little studied at school, although they attract readers with the depth of their content and their philosophical fullness. Works are perceived differently by readers and have different effects on them: emotional, aesthetic, psychological, moral. In the last years of the writer’s life, the writer was worried about the fundamental questions of existence, the “eternal” questions of life, which he poses and tries to comprehend in his prose poems. They reflect almost all the themes and motives of I.S.’s work. Turgenev, again comprehended and felt by the writer in his declining years. There is a lot of sadness in them, but a light sadness; the most vivid and artistically perfect miniatures are permeated with life-affirming notes, full of faith in man. From here target of this study: to establish that the cross-cutting motive of the Turgenev cycle is contrast, manifested both at the level of the entire cycle and at the level of one work. The real goal determined the formulation next tasks:

1. analyze theoretical material related to the study of “Prose Poems” by I.S. Turgenev;
2. identify the specifics and features of the “prose poem” genre;
3. analyze individual works and identify in them the main contrasting motifs and images inherent in this cycle;
4. consider the influence of philosophical understanding of life facts on a person’s spiritual life.

When solving the above problems, the following were used methods and techniques:

1. contextual;
2. descriptive method;
3. component analysis;
4. method of internal interpretation (method of taxonomy and classification).

1. Topic of “Prose Poems” by I.S. Turgenev

The themes of the poems are extremely diverse. The researchers carefully read 77 prose poems by I.S. Turgenev and systematized them according to the principle of contrast, namely: it was noticed that among the main contrasting motifs of the works the following can be distinguished:

1. Love and friendship– “Rose”, “Azure Kingdom”, “Two Brothers”, “How beautiful, how fresh the roses were”, “The Path to Love”, “Love”, “Sparrow”.
2. Compassion, sacrifice- “In Memory of Yu. Vrevskaya”, “Threshold”, “Two Rich Men”, “You Cried”.
3. Transience of life, life and death, the meaning of life, loneliness– “Conversation”, “Masha”, “In Memory of Yu. Vrevskaya”, “Insect”, “Shchi”, “Nymphs”, “Tomorrow! Tomorrow!”, “What will I think?”, “N.N.”, “Stop!”, “Meeting”, “When I’m not there”, “When I’m alone”, “Phrase”, “Monk”, “ We will fight again”, “Drozd 1”, “Drozd 2”, “Hourglass”, “U – A...U – A!” – “Dog”, “Pigeons”, “Without a nest”, “U – A...U - Ah!”, “Old Woman”, “Two Quatrains”, “Necessity, Strength, Freedom”, “Double”.
4. All living beings are the same before mother nature– “Dog”, “Rival”, “Drozd 1”, “Sea swimming”.
5. Morality, ethics; human dignity of the Russian peasant- “A Contented Man”, “Everyday Rule”, “Fool”, “Eastern Legend”, “Gad”, “Writer and Critic”, “Beggar”, “Last Date”, “Shchi”, “Hang Him”.
6. Contradictions of the world: truth and lies; With part and tears past life, love; love and death; youth, beauty; old age- “Alms”, “Selfish”, “Feast at the Supreme Being”, “Enemy and friend”, “Prayer”, “I’m sorry”, “Curse”, “Life’s rule”, “Who to argue with”, “Brahmin”, “Truth and Truth”, “Partridges”, “My Trees”, “Rival”, “Skulls”, “Prayer”, “Cup”, “Rose”, “Alms”, “Visit”, “Thrush”, “I Arose” at night”, “Sparrow”, “Visit”, “Azure Kingdom”, “Whose fault?”, “Oh my youth”, “Stone”, “Tomorrow! Tomorrow!”, “Whose fault?”, “Oh my youth”, “When I’m gone”, “I got up at night”, “When I’m alone”, “Caught under a wheel”, “Old man”.
7. Admiration for the Russian language –"Russian language".

Researchers have noticed the frequent use of I.S. Turgenev in miniatures contrasting descriptions of nature: sky, dawn, sea, sun, clouds, clouds; The author pays close attention to description of eyes(in 12 poems); a person's appearance;in three poems the artist, using antithesis, describes dreams; image sounds. N Plants also help convey the mood in a particular work: smells, appearance, the reader’s ideas of where these flowers and trees grow: wormwood, lily of the valley, rose, mignonette, linden, poplar, rye.

2. 1. Contrast as the main motive of lyrical miniatures

All works by I.S. Turgenev is united by consideration of eternal problems that have always worried, are worried and will continue to worry society. According to L.A. Ozerova, “The collection contains many so-called eternal themes and motifs that stand before all generations and unite people of different times...” (Ozerov L.A. “Turgenev I.S. Poems in prose”, M., 1967, p. .11) Let's look at some themes and poems.

I.S. Turgenev always admired the beauty and “endless harmony” of nature. He was convinced that a person is only strong when he “leans” on it. Throughout his life, the writer was concerned with questions about man’s place in nature. He was frightened by its power and authority, the need to obey its cruel laws, before which everyone is equally equal, he was horrified by the “law” according to which, upon being born, a person was already sentenced to death. In a poem "Nature" We read that nature “knows neither good nor evil.” In response to a person’s babbling about justice, she replies: “Reason is not my law - what is justice? I gave you life - I’ll take it away and give it to others, worms and people... I don’t care... In the meantime, defend yourself - and don’t bother me!” She doesn’t care whether a person or a worm is the same creature. Everyone has one life - the greatest value.

2.1.1. All living beings are the same before mother nature

In poems "Dog", “Drozd 1”, “Sea swimming" is being considered a matter of life and death, the fleeting nature of human life, the insignificance of each individual life in the face of death. The author compares life to a flickering flame that will go out at the first “raid” of a storm. This is a timid, separate being who feels the approach of death, and “One life fearfully presses against another.” These poems again show the idea of ​​the equality and insignificance of all living beings before the “law” of nature: “two pairs of identical eyes”, “I took her hand - she stopped squeaking and rushing about.” The author puts a human and an animal side by side to emphasize the difference, but at the same time the relatedness of the hero and animals. It is for this purpose that he introduces pleonasms: “there is no difference” and “we are identical”, “We are all children of the same mother” are close in meaning and emphasize the equivalence of man and animal in the face of death and life’s trials. For the same purpose, the text uses repetition of the same phrases: the same feeling, the same light, the same life, the same unconscious thought. With the help of tropes, Turgenev revives death, gives it “life”: “a terrible, furious storm howls,” “sounds of eternity” are heard.

And the main thing in life, what you need to take care of, catch and not let go of, is youth and love. After all human life is so beautiful and so small, so instantaneous in comparison with the life of nature. This contradiction, the conflict between human life and the life of nature remains insoluble for Turgenev. “Don’t let life slip between your fingers.” This is the main philosophical thought and instruction of the writer, expressed in many “Poems...”.

2.1.2. Contradictions of the world: truth and lies; happiness and tears past life, love; love and death; youth, beauty; old age

In the language of “Prose Poems” by I.S. Turgenev strove for harmony of life and words, for naturalness, for the truth of feelings embodied in language. In this thematic group, the author widely used anaphora: “Honesty was his capital”, “Honesty gave him the right”; rhetorical questions: “What does it mean to forgive?”; rhetorical exclamations: “Yes, I am worthy, I am a moral person!”; parallelism: “I’m sorry...I’m sorry...”.

The poem “I'm Sorry”, striking in content, is built on the author's use of parallelism and antithesis (“ugliness and beauty”, “children and old people”). The contrasting tones in the poems of this thematic group very subtly replace one another, prompt the reader to think, and force him to re-read the works again and again in order to understand them more deeply. It feels as if the author knows and doubts at the same time what he is telling us about.

In poems “Visit”, “Azure Kingdom”, "Whose guilt?", “Oh my youth”“youth, feminine, virgin beauty”, “the kingdom of azure, light, youth and happiness”, “oh my youth!, my freshness” is contrasted with losses gnawing with a “silent gnawing”, “I am old age”, “the azure kingdom I saw you in a dream”, “you can only shine in front of me for a moment - in the early morning of early spring.” A large number of epithets: “the gentle scarlet of a blooming rose”, “the boundless azure sky”, “the gentle sun”, “severe rudeness”; personifications: “the fog did not rise, the breeze did not wander,” metaphors: “small ripples of golden scales”, “diving on soft waves”, “a pure soul does not understand” - in the utmost brevity of each poem, they help the writer to establish a deeply intimate contact with the reader, demonstrate sensitivity and humanity when solving various issues posed in this or that poem.

Lyrical miniatures : "Stone", "Tomorrow! Tomorrow!", "Whose guilt?", “Oh my youth”, “When I'm gone”, “I got up at night”, “When I'm alone”, “Caught under wheel", "Old man"- full of gloomy, dark colors. Turgenev contrasts these poems with bright, rosy poems imbued with optimistic moods (“Azure Kingdom”, “Village”). Usually they are all about the same love, beauty, its power. In these poems one feels that the author still believes in the power of beauty, in a happy life, which he, unfortunately, did not have (“Sparrow”). Memories of a past life (“young female souls recently poured into my old heart from all sides... it glowed with traces of an old fire”, “almost every day I lived was empty and languid - he (the person) values ​​life, hopes for it”, “you - youth, I am old”), bright, rich colors allow you to momentarily feel a surge of vitality, to experience the feelings of happiness that once excited the hero.

2.1.3. Morality, ethics; human dignity of the Russian peasant

Turgenev captured the best features of the Russian people, their cordiality, responsiveness to the suffering of their neighbors in poems “Two Rich Men”, “Masha”, “Soup soup”, “Hang him!”. Here, as in “Notes of a Hunter,” the moral superiority of the simple Russian peasant over representatives of the ruling classes is shown.

Satirical pathos pervades that part of the prose poems in which money-grubbing, slander, and self-interest are debunked. Such human vices as selfishness, greed, anger are sharply exposed in the poems: “A Contented Man”, “Writer and Critic”, “Fool”, “Egoist”, “Enemy and Friend”, “Verget”, “Correspondent”, “ Everyday rule." Some of these poems are based on facts of life. For example, the poem “Gad” depicts the corrupt reactionary journalist B.M. Markevich. A number of prose poems are imbued with sad thoughts and pessimistic moods inspired by the writer’s long illness.

However, no matter how sad and painful the impressions of the writer’s personal life were, they did not obscure the world before him.

2.1.4. Love and friendship

Often, in order to show the fleeting nature of life, I.S. Turgenev compares the present and the past. After all, it is at such moments, remembering his past, that a person begins to value his life...( "Double"). Indeed, how masterfully Turgenev creates the image of jubilant youth - “the kingdom of azure, light, youth and happiness” - in the poem “Azure Kingdom” he contrasts this bright kingdom with “dark, difficult days, the cold and darkness of old age”... And everywhere, everywhere this philosophical idea, which was already mentioned a little earlier: to show all the contradictions and overcome them. And this was fully reflected in “Prayer”:“Great God, make sure that two and two are not four!” “Oh the ugliness...of cheaply acquired virtue.”

In this thematic group there are contrasts: rose and tears, the azure kingdom and sleep, love and hatred, love can kill the human “I”.

The use of participial phrases, used mainly in written speech, seemed interesting; they fill the works with nobility and tenderness: “returning to the living room, suddenly stopping.”

Poem "Sparrow"- the most vivid and wonderful “study from life” - life-affirming and cheerful, glorifying an ever-living life and self-sacrifice. Despite its small volume, Turgenev’s work contains a huge philosophical generalization. A small scene makes the author think about the perpetual motion machine of the world - Love. The loving, selfless impulse of a little bird, accidentally seen by a Russian writer, allows you to think about wisdom and love.

Love occupied an exceptional place in the writer’s work. For Turgenev, love is always a strong passion, a powerful force. She is able to withstand everything, even death: “Only by her, only by love does life hold and move.” It can make a person strong and strong-willed, capable of heroic deeds. For Turgenev, there is only love - sacrifice. He is sure that only such love can bring true happiness. In all his works, I.S. Turgenev presents love as a great test of life, as a test of human strength. Every person, every living creature is obliged to make this sacrifice. Even a bird that has lost its nest, for which death seemed inevitable, can be saved by love, which is stronger than will. Only she, love, can give strength to fight and sacrifice herself.

In this poem you can see an allegory. The dog here is “fate”, an evil fate weighing down on each of us, that powerful and seemingly invincible force. She was approaching the chick just as slowly, like that spot from the poem “The Old Woman”, and simply put, death is slowly creeping up, “creeping” right towards us. And here the old woman’s phrase “You won’t leave!” is refuted. You will leave, even as you leave, love is stronger than you, it will “close” the “toothed open mouth” and even fate, even this huge monster can be pacified. Even it can stop, back away...recognize the power, the power of love...

Using the example of this poem, we can confirm the words written earlier: “Poems in prose” is a cycle of oppositions. In this case, the power of love opposes the power of evil, death.

2.1.5. Compassion, sacrifice

One of the best political prose poems is rightfully considered "Threshold". “The Threshold” was published for the first time in September 1883. It was written under the impression of the trial of Vera Zasulich, an honest and selfless Russian girl who shot the St. Petersburg mayor F.F. Trepov. She is on the threshold of a new life. The writer creates a noble image of a revolutionary woman, ready to endure any suffering and hardship in the name of the happiness and freedom of the people. And she steps over this symbolic threshold.

“... and the heavy curtain fell behind her.

Stupid! – someone rasped from behind.

Holy! - flashed back from somewhere.”

With what contrast is conveyed the attitude to the same fact, phenomenon, event on the part of two completely different people!

“Threshold” makes every reader think about his life, comprehend and, if necessary, rethink it.

2.1.6. Transience of life, life and death, the meaning of life, loneliness, fate

“Poems in Prose” is a cycle - a contrast, a contrast between life and death, youth and old age, good and evil, past and present. These motives “come into conflict” with each other. I.S. Turgenev often collides them, intertwines them, and in the end the author strives to merge everything contradictory (“Double”).

ON THE. Dobrolyubov wrote about Turgenev’s prose: “...this feeling is both sad and joyful: there are bright memories of childhood, irrevocably flashed, there are the proud and joyful hopes of youth. Everything has passed and will not happen again; but the person who, even in memory, can return to these bright dreams has not yet disappeared... And it is good for him who knows how to awaken such memories, to evoke such a mood of the soul.” (Dobrolyubov N.A. Collected works in three volumes, vol. 3, M., 1952, p. 48.) Indeed, it can be noted that many prose poems, which at first glance are pessimistic and gloomy, actually awaken in a person “a state of spiritual height and enlightenment.” The so-called Turgenev lyricism gives the writer’s works an extraordinary sincerity. We write all this to the fact that it is in such poems, where the past and present collide, that this lyricism is fully manifested.

The poems of this group are so rich in content that researchers have placed them in different groups.

2.1.7. Admiration for the Russian language

Among prose poems, patriotic miniatures occupy a prominent place "Russian language". The great artist of words treated the Russian language with extraordinary subtlety and tenderness. I.S. Turgenev has a wonderful formula: language = people. Having spent most of his life abroad, an expert in many foreign languages, I.S. Turgenev never ceased to admire the Russian language, calling it “great and powerful,” pinning hopes on it for a bright future for Russia: “but one cannot believe that such a language was not given to a great people.” The writer called to protect our beautiful language. He believed that the future belongs to the Russian language, that with the help of such a language one can create great works.

2. 2. Contrast as a means of penetration into the images of the heroes of “Poems in Prose”

In the history of Russian literature, there was, perhaps, no other such major writer as Ivan Sergeevich Turgenev, who would have loved the nature of his native land so sincerely and tenderly and reflected it so fully and variably in his work. Having spent many years abroad, separated from Russia, the writer suffered not only because of illness, but also because he could not visit his Spassky-Lutovinovo. With enormous artistic power reflected I.S. Turgenev depicts the dim and inconspicuous beauty of the nature of the middle zone in “Poems in Prose.”

Description of eyes:

“Alms” - “the eyes are not radiant, but light; the gaze is piercing, but not evil.”

“Visit” - “huge, black, light eyes laughed.”

“Shchi” - “the eyes are red and swollen.”

“Two brothers” - “brown eyes, glazed, with thick eyelashes; insinuating look”; huge, round, pale gray eyes.”

“Sphinx” - “your eyes – these colorless, but deep eyes also speak... And their speeches are just as silent and mysterious.”

“How beautiful, how fresh the roses were...” - “how simple-hearted and inspired the thoughtful eyes are,” “they look briskly at me with their bright eyes.”

“Stop!” - “your gaze is deep.”

“Thrush” - “iridescent sounds... breathed eternity.”

“I got up at night” - “a plaintive sound arose in the distance.”

“When I’m alone” - “not a sound...”.

“Caught under a wheel” - “this splashing and moaning of yours are the same sounds, and nothing more.”

“U-ah... U-ah!” - “strange, not immediately understood by me, but alive... human sound...”

“Nature” - “the earth around me groaned dully and trembled.”

“There is no greater sorrow” - “sweet sounds of a young voice.”

“Village” - “the whole sky is filled with an even blue.”

“Conversation” - “a pale green, light, silent sky above the mountains.”

“The end of the world” - “the gray, monochromatic sky hangs over her like a canopy.”

“Visit” - “the milky white sky quietly turned red.”

“Azure Kingdom” - “above your head there is a boundless, same azure sky.”

“Nymphs” - “the southern sky was transparently blue above him.”

“Pigeons” - “red, low, clouds rushing, like clouds torn to shreds.”

Description of the person's appearance:

“Village” - “fair-haired guys, in clean, low-belted shirts...”, “curly children’s heads.”

“Masha” - “tall, stately, well done.”

“Beggar” - “poor, decrepit old man.”

“Last date” - “yellow, dried out...”

“Visitation” - “winged little woman; a wreath of lilies of the valley covered the scattered curls of the round head.”

Harmony and tenderness of tones, a skillful and subtle combination of light and shadow characterize Turgenev’s style both in depicting people and paintings of nature. He connects his landscapes with a person’s mood, with his spiritual appearance. In miniatures, the landscape either highlights the hero’s state of mind, or the landscape sketch is permeated with philosophical reflections. There are more bright, joyful, hopeful colors than sad, melancholy ones.

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KALINYCH is the hero of I.S. Turgenev’s story “Khor and Kalinich” (1847) from the series “Notes of a Hunter.” In contrast to Khoryu, the hero of the same story, K. symbolizes the poetic side of the Russian national character. The everyday life of the hero, who does not have business acumen, is poorly organized: he has no family, he has to spend all his time with his landowner Polutykin, go hunting with him, etc. At the same time, there is no servility in K.’s behavior; he loves and respects Polutykin, completely trusts him and watches him like a child. The best character traits of K. are manifested in his touching friendship with Khorem. So, the narrator first meets him when K brings his friend a bunch of wild strawberries, and admits that he did not expect such “tenderness” from the man. The image of K. reveals in “Notes of a Hunter” a whole series of “free people” from the people: they cannot constantly live in the same place, doing the same thing. Among such heroes are Kasyan from “The Beautiful Sword”, Yer-molai - the companion of the narrator-hunter, appearing in the stories “Yermolai and the Miller’s Wife”, “My Neighbor Radilov”, “Lgov”, etc. This type with his poetry, spiritual gentleness, a sensitive attitude to nature is no less important for Turgenev than a reasonable and practical hero: they both represent different, but complementary sides of the nature of Russian people. Following the tradition of Turgenev, two opposite characters, similar to Khor and K., are created by A.I. Kuprin in the story “Wilderness of the Forest” (originally “In the Wilderness of the Forest”, 1898). This is the sotsky Kirill and the forest worker Talimon, but a type like K. turns out to be more attractive to Kuprin, therefore his impractical, kind and modest Talimon is taller in his spiritual appearance than the narcissistic and talkative Kirill.
PETORE is the hero of I.S. Turgenev’s story “Polecat and Kalinich” (1847) from the series “Notes of a Hunter.” This is one of the most interesting peasant types of Russian literature. He personifies a healthy practical principle: being a quit-rent peasant, X. lives independently of his landowner, Polutykin, his farm is well-established, he has many children. The author especially notes the active mind of his hero as an integral part of his nature. This is manifested in conversations with another hero of “Notes” - the narrator: “from our conversations I took away one conviction that Peter the Great was primarily a Russian man, Russian precisely in his transformations. What’s good is what he likes, what’s reasonable is what you give him, and where it comes from is all the same to him.” This comparison, as well as the comparison of X’s appearance with the appearance of Socrates, gives special significance to the image of X. The most important means of characterizing this hero is a parallel with another character, Ka-linich. On the one hand, they are clearly opposed as a rationalist and an idealist, on the other hand, friendship with Kalinich reveals in the image of X. such features as an understanding of music and nature. The character of the hero is also reflected in a unique way in his relationship with Polutykin: there is no dependence in X’s behavior, and he is not redeemed from the serfs for some practical reasons. X. is not the only such type among Turgenev’s heroes. In “Notes of a Hunter” a certain image of the Russian national character is formed, testifying to the viability of this solid, businesslike principle. Along with X., he includes such heroes as the one-palace Ovsyannikov, Pavlusha, Tchertop-hanov, and the district Hamlet. Traits of this literary type are found later in Turgenev in the image of Bazarov.

1) How in “notes of a hunter” the “poetry” and “prose” of Russian life are presented to the diversity of types of people from the people.
2) Highlight Turgenev’s verbal techniques in the stories “Khor and Kalinich” and “Singers”.
3) How is the lyricism of Turgenev’s early prose manifested?

KALINYCH is the hero of I.S. Turgenev’s story “Khor and Kalinich” (1847) from the series “Notes of a Hunter.” In contrast to Khoryu, the hero of the same story, K. symbolizes the poetic side of the Russian national character. The everyday life of the hero, who does not have business acumen, is poorly organized: he has no family, he has to spend all his time with his landowner Polutykin, go hunting with him, etc. At the same time, there is no servility in K.’s behavior; he loves and respects Polutykin, completely trusts him and watches him like a child. The best character traits of K. are manifested in his touching friendship with Khorem. So, the narrator first meets him when K brings his friend a bunch of wild strawberries, and admits that he did not expect such “tenderness” from the man. The image of K. reveals in “Notes of a Hunter” a whole series of “free people” from the people: they cannot constantly live in the same place, doing the same thing. Among such heroes are Kasyan from “The Beautiful Sword”, Yer-molai - the companion of the narrator-hunter, appearing in the stories “Yermolai and the Miller’s Wife”, “My Neighbor Radilov”, “Lgov”, etc. This type with his poetry, spiritual gentleness, a sensitive attitude to nature is no less important for Turgenev than a reasonable and practical hero: they both represent different, but complementary sides of the nature of Russian people. Following the tradition of Turgenev, two opposite characters, similar to Khor and K., are created by A.I. Kuprin in the story “Wilderness of the Forest” (originally “In the Wilderness of the Forest”, 1898). This is the sotsky Kirill and the forest worker Talimon, but a type like K. turns out to be more attractive to Kuprin, therefore his impractical, kind and modest Talimon is taller in his spiritual appearance than the narcissistic and talkative Kirill.
PETORE is the hero of I.S. Turgenev’s story “Polecat and Kalinich” (1847) from the series “Notes of a Hunter.” This is one of the most interesting peasant types of Russian literature. He personifies a healthy practical principle: being a quit-rent peasant, X. lives independently of his landowner, Polutykin, his farm is well-established, he has many children. The author especially notes the active mind of his hero as an integral part of his nature. This is manifested in conversations with another hero of “Notes” - the narrator: “from our conversations I took away one conviction< ...>that Peter the Great was primarily a Russian man, Russian precisely in his transformations< ...>. What’s good is what he likes, what’s reasonable is what you give him, and where it comes from is all the same to him.” This comparison, as well as the comparison of X’s appearance with the appearance of Socrates, gives special significance to the image of X. The most important means of characterizing this hero is a parallel with another character, Ka-linich. On the one hand, they are clearly opposed as a rationalist and an idealist, on the other hand, friendship with Kalinich reveals in the image of X. such features as an understanding of music and nature. The character of the hero is also reflected in a unique way in his relationship with Polutykin: there is no dependence in X’s behavior, and he is not redeemed from the serfs for some practical reasons. X. is not the only such type among Turgenev’s heroes. In “Notes of a Hunter” a certain image of the Russian national character is formed, testifying to the viability of this solid, businesslike principle. Along with X., he includes such heroes as the one-palace Ovsyannikov, Pavlusha, Tchertop-hanov, and the district Hamlet. Traits of this literary type are found later in Turgenev in the image of Bazarov.

1. Prose of Turgenev

Ivan Sergeevich Turgenev (1818 – 1883). Noble family, from the Oryol province. Studied at the Faculty of Philosophy in Pitersk. and Berlinsk. un-tah, after meeting the singer Polina Viardot, mainly. lived abroad.

Evolution. Turgenev the writer very interesting. He started out as a poet, but as a poet who knew how. write lyric. poems, but also poems with a plot, in the spirit of “sensible” literature (stories in verse “Parasha”, “Conversation”, “Andrey”; story in verse “Landowner”). In the 40s the literati itself. situation put forward forward prose, the reader's interest in poetry noticeably decreases. It cannot be said that it was this process that caused Turg. switched to prose, but also did not pay attention to this trend. it is forbidden. Be that as it may, from Wednesday. 40s Turg. writes prose.

"Notes of a Hunter" (1847-1852, “Contemporary”).. It was as a prose writer that Turgenev became famous because of his series of stories “Notes of a Hunter.” The first works of the cycle (especially “Khor and Kalinich”, “Ermolai and the Miller’s Wife”) have features common to the physiological genre. essay. But in difference. from essays by Dahl, Grigorovich and others will be presented. nature schools, which are usually absent. the plot, and the hero was introduced. generalization of workshops. signs (organ grinder, janitor, etc.), for the essay Turg. character typification of the hero (i.e. the expression of characteristic traits in a specific image), creation of a situation that contributes. identifying and revealing character. In the 70s Turg. additional “Z. O." 3 more stories: “The End of Tchertopkhanov”, “Living Relics”, “Knocking!”. Analysis of production "Khor and Kalinich." In "Z. O." narrator, accompanied by cross-hunter Ermolai or alone, wandering with a gun through the forests of Orlovsk. and Kaluzhsk. province and indulges in observations in the spirit of physiological. essays. Turgenev’s “physiologism” manifested itself quite clearly in the first story of the cycle (it was written first) “Khor and Kalinich.” The story begins. with compare descriptions of Orlovsk men. and Kaluzhsk. provinces. This description is quite in the spirit of nature. schools, because the author draws a generalized image of an Orlovsky peasant and a Kaluga peasant (Orlovsky is gloomy, short in stature, lives in a bad aspen hut, wears bast shoes; Kaluga is cheerful, tall, lives in a good aspen hut, wears boots on holidays) and a generalized image of the area , in which this guy lives, i.e. The subtext is this: the environment influences the character and living conditions (Oryol village - no trees, huts are crowded, etc.; Kaluga - vice versa). It seems that it is not two neighboring ones that are being described. regions, and different climates. belts But this sketchy beginning is not given for the sake of description; the author needs it in order to move on to the story about how the landowner Pyotr Petrovich sent. for hunting from the premises. Polutykin and as a result. met 2 of his peasants. In physical In the essay we feel the presence of the author-observer, but there is no hero as such. In "Z. O." the author-observer is personified in the image of the hunter Pyotr Petrovich, which removes the sketchy detachment and the almost complete absence of plot. The images of Khor and Kalinich are individual images, not generalized, but represent different types of personality: Khor is a rationalist (Turg. Compare him with Socrates), Kalinich is an idealist. Descriptions some. moments in the life of peasants (selling scythes and sickles, buying rags) are given not as an observation by the author, but as information gleaned from a conversation with the crosses. After talking. with Horem, the author concludes that Peter the Great was a Russian person. in their transformations (controversy with the Slavophiles, who considered Peter’s transformations harmful), because Russian people is not averse to adopting from Europe what is useful to him. "Two landowners." The influence of nat is much brighter. school appeared in the story “Two Landowners”. The hero's goal is a sign. reader with 2 landowners with whom he often hunted. The story can be divided. into 2 parts - an essay about landowners and everyday scenes in the house of the 2nd landowner, Mardarius Apollonych. 1st part of the presentation is a detailed, detailed description of habits, manners, portrait characteristics of characters, which in themselves are types. The landowners have telling names. – Khvalynsky and Stegunov. This entire part is an introduction to the everyday scenes that are demonstrated. landlord lawlessness in relation to to everyone around. (ordering the priest to drink vodka, scene with chickens: peasant chickens wandered into the manor’s yard, Mardariy first ordered them to be driven away, and when he found out whose chickens he took away; treating the peasants like cattle: “Fruits, damned !”, etc.), and also peasant. humility and joy that the master is “not like that... you won’t find such a master in the whole province.” The plot is minimally expressed, the main thing is to come to the conclusion: “Here it is, old Rus'.” "Living Relics". The story was written later, in 1874, and is quite different. from early stories. The sketchiness has been eliminated, the complete ending has been completed. The plot, the main narrator, is quite long. cession time place of Lukerye, who hanged. about your existence. Although the narrator remains an observer, this is expressed less clearly (in the portrait character of Lukerya, when he was surprised at the form in which the story of Joan of Arc reached Lukerya, when he asked the salesman in the village about Lukerya). An interesting detail is Lukerya’s dreams, they are very vivid and appear as an expression. redemptive ideas suffering, and very true psychological. character (an immobilized person lives and rests only in his dreams, dreams compensate for the lack of events in real life). This story – one of the most insightful.

In general, Turgenev faces one important problem: to stop being a poet and become a prose writer. It's harder than it might seem. In search of a new manner, Turgenev writes a story "The Diary of an Extra Man" (1850). The self-name of the hero of this work - “an extra person” - is picked up by criticism, and all the heroes like Onegin, Pechorin, and then Turgenev’s Rudin, appeared. later, are now called superfluous people.

In 1852 – 1853, being in position. exile in his native estate Spassky-Lutovinovo, Turg. cont. work on developing new creativity. manners. The novel “Two Generations”, which he worked on. at this time, remained unfinished. 1st completed and published novel - "Rudin" (1855), then - “The Noble Nest” (1858), “On the Eve” (1860), “Fathers and Sons” (1862). During the same period he wrote stories "Mumu" (1852) And "Asya" (1857), a story in letters "Correspondence" (1854).

Prose Turg. – not “predicting” the appearance of new people in Russian. society (Dobrolyubov believed that Turg. somehow guesses the emergence of new social types in society), it is not limited to social motives alone. Each of his stories and novels is tragic. love, and often a situation of a love triangle or its likeness arises (“Fathers and Sons”: Pavel Kirsanov - Countess R. - her husband; Bazarov - Anna Odintsova - death; “The Noble Nest”: Lavretsky - his wife Varvara Pavlovna - Liza; “ The day before": Elena - Insarov - death again).

Another layer of Turgenev’s prose is the solution to the eternal vital Russian. the question “what to do?” They are trying to resolve it in their socio-political disputes. issues of Rudin and Pigasov, Bazarov and Pavel Kirsanov, Lavretsky and Panshin, in the late novel “Smoke” - Sozont Potugin and Grigory Litvinov (and others).

The philosophical component is also important, and it is especially vivid in “Fathers and Sons.” Researchers have proven that reminiscence. from Pascal's works was actively used in Bazarov's dying monologue.

The image of a “new” person. Turgenev's novels "Rudin" and "On the Eve".

Turgenev. 2 types of “new” person – Rudin and Insarov (“On the Eve”). The first one never did anything, cr. death on the barricades in Fr (later inserted final episode. Rudin wants to achieve at least something, to accomplish at least some great deed). The second does not make it in time and dies of consumption. Insarov in the novel is called. "hero". Rudin is a typical coward, he grabs onto everything, doesn’t follow through on anything, doesn’t love anyone, incl. homeland, which, according to Lezhnev, leads to his collapse. Rudin was not created. his own, only feeds on other people's ideas. Ins. Turgenev loves, the image is close to him. fighter, hero, but Ins. – Bulgarian, not Russian. => fuss Question: when will heroes appear in Rus'? Ins. First of all, he loves his country, but is also capable of feelings for a woman. However, this sample Turgenev has not been fully worked out. Women: Critics considered Elena (Nak., Insarov’s wife) to be an emancipe, they considered expression. the will of women. New a person, including a woman, is a thinking, doubting, possessing person. freedom of choice and conscience, but Turg. believes (in these novels) that he has not yet appeared, there are only preparations.

"Fathers and Sons" by Turgenev. The image of a nihilist. Controversy surrounding the image of the main character.

The controversy surrounding the mod. Ch. hero began immediately after the novel was published. In "Let's make it up." for March 1862 – Antonovich's article - A. claims that the nihilist Bazarov is based on Dobrolyubov. Chernyshevsky- considers the images of all nihilists in the novel to be caricatures, including, naturally, Bazarov. Pisarev publishes an article “Bazarov” in “Russian Word”. He notes that T does not like Bazarov, that despite all T’s attempts to denigrate him, B is likable, his extraordinary mind is visible, “thought and deed merge into one whole.” By Pisarev's definition, T loves neither fathers nor children. Without having a possibility. show B's life, T shows his dignified death. Pis. concludes: B is not bad, the conditions are bad. Herzen believes that T, out of dislike for B, makes him absurd from the very beginning, makes him say absurdities, etc. Strakhov(Time magazine) Bazarov is a titan who rebelled against mother earth, he is shown by T with all his poetic force. art. Everyone agrees that only the result is shown, the synthesis, the work of thought, is not visible. led Bazarov to this way of life and understanding of the environment. peace.

Turgenev's last novels were “Smoke” (started in 1862, published in 1867), “New” (1876).

Last Turg novels. “Smoke” (published in 1867) and “Nov” (1876) stand somewhat apart from his novels. They are testimonies. about noticeable changes in worldview. The action of the novel "Smoke" origin in 1862 The date is given on the first line, reference to time: it seems that the reforms have passed, nothing has changed, there is abyss under our feet, freedom above our heads ( Salenko), people are in limbo. The novel is democratic. direction. Criticism defined it as “a short story + 2 pamphlets + political. allusion." The action took place. abroad, in Baden, two local Russian-speaking clubs. societies parody politics. Russian circles (liberals-conservatives). Ch. the hero is Litvinov, a young man, a poor landowner, images. and pleasant. The hero is not reasoning, the hero-ideologist of Turgenev is over, L speaks to the point, often falls under the influence (of the bride, the bride's aunt, Irina). Former and newfound love L - Irina. They wanted to run away together, but she refused. Now I seems to agree to this, although L has a fiancée - Tatyana. Irina plays according to the laws of the Baden community, L does not want to play these games. Litvinov is a wingman, he obeys Irina, like the other hero - Potugin (almost an ideologist, a supporter of reforms, with I is connected by a terrible secret: she begged him to take the child of her deceased friend, but the girl died), like her rich husband (version - I sacrificed herself in order to extend the family, married the old general, but nothing is completely clear). It’s not clear whether I’m passionate or cold. and calculated that there is a mystical quality in her image, she is beautiful. Bride L sincerely admires her. In the end, when it became clear that I was only playing, and T seemed to have forgiven Lithuania, he decides to return to his homeland, and goes to Russia by train. In the landscape there is an image of smoke. Its direction depends on the wind. Smoke without fire... Russia is smoke, love is smoke. Baden - smoke.

Poems in prose (Senilia. 50 prose poems). In the drafts of the sketches from 1877, the first name is Posthuma (posthumous, lat.), so it is assumed that Turg. did not intend to print at first. them during their lifetime. But in 1883 50 verses in prose are published in Vestnik Evropy. At the end of the 20s. XX century in the Turg manuscripts. 31 more prose poems were found. Now they are published in 2 parts: in the 1st - 50 verses, in the 2nd - 31 verses. Genres. especially"Poem. in the ave." introduced new prosaic genre of small form in Russian. literary There were many imitations and productions, developments. this genre (Garshin, Balmont, Bunin). The genre of verse in prose itself arose in France. (the term arose after the publication of Charles Baudelaire’s collection “Little Poems in Prose”). The term “poem” chosen by Baudelaire was most likely a compromise, defining something new. genre as intermediate. between prose and poetry. Baudelaire was attracted to the genre. convenience of the form, he wrote in one of his letters that this form is very suitable for describing the interior. we will modernize the world. people, and besides, this genre was the embodiment of the dream of creating “poetic prose, musical without rhyme and without rhythm.” Turg. not mentioned anywhere. that he was familiar with these works by Baudelaire, but it is assumed that he knew them well. And although the theme of the poems is Baudelaire and Turg. different, in relation to genre can be observed known. similarity. Nekot. researchers also put forward the idea that prose verse is “Turgenev’s last poem.” Disputes regarding genres. especially “Poem in Prose” continues. Subject. In “Poems in Prose” a number of motifs can be distinguished. Dedicated to some topics. groups of verses, others - one or two. Main motives. 1) Village: Village, Shchi. The image of a village arose. and in other prose poems, but it does not become a motive - only a background. 2) Man and nature: Conversation, Dog, Sparrow, Nymphs, Pigeons, Nature, Sea swimming. The person is delighted. a contemplator of nature, then of the senses. his unity with her, then she appears before him in the form of a terrible thing. ruthless. a figure for which the main thing is balance, and does not care about insignificant things. human ideas like good, etc. 3) Death: Old Woman, Rival, Skulls, Last Date, Insect, Tomorrow! Tomorrow!, What will I think?, How beautiful, how fresh the roses were. Death is often personified (either an old woman, or a beautiful woman, reconciling enemies, or a terrible insect). Often a person does not think about death, but it is very close. 4) Christian. motives: Beggar, In memory of Yu.P. Vrevskaya, Threshold, Alms, Two rich men, Christ, “Hang him!” The images of sufferers, all-forgiving, and compassionate people are subtly and vividly presented. 5) Russia / Russian. actions and morals: “You will hear the judgment of a fool”, Contented man, Everyday rule, Fool, Two quatrains, Laborer and white-handed woman, Correspondent, Sphinx, Enemy and friend, Russian language. Perhaps this motive is the most common, but not itself. important. These poems are often ironic and even sarcastic. character 6) The end of the world: The end of the world. 7) Love: Masha, Rose, Stone, Stop! 8) Old age and youth: Visit, Azure Kingdom, Old Man. It is often difficult to identify one central element in a poem. motive, since nature and death, nature and love, death and love, etc. are intertwined together.

Self-sufficient. line in Turgenev's work is represented by. yourself "strange stories"(mystical fiction; “Faust”, 1856; “Ghosts”, 1864; “Dog”, 1870; “Klara Milich”, 1883, etc.). Many times attempts have been made to prove that this direction is something uncharacteristic for Turgenev (but since he wrote this, then why is it uncharacteristic?). In short, his need apparently was this: from realism to mysticism. And philosophical interests play an important role here.

Another line - cultural-historical stories in Turgenev’s prose (“Brigadier”, 1866; “The History of Lieutenant Ergunov”, 1868; “Old Portraits”, 1881, etc.). The writer's interest in the fatherland. history, especially of the 18th century, also makes itself felt in the novel “Nov” (the figures of the old men Fomushka and Fimushka - Foma Lavrentievich and Evfemia Pavlovna, pictures of their noble life organized in the old fashioned way). Turgenev is masterfully recreated. the era depicted, in “The Brigadier” he even introduces poems and stylization written by the hero. to poetry of the late 18th century

IntroductionS. 4

Chapter 1. The problem of interaction between literary genres... P. 17

Lyrical, epic and dramatic methods of artistic expression as the basis of the “generic content” of an artistic text P. 17

“Lyrical” as a “generic idea” P.25

The main features of lyric-epic works. Ballad. Poem S.32

1.4. Conclusions to Chapter C.42

Chapter 2. I. Turgenev's lyrics as a system P.45

Lyrics by I.S. Turgenev in the perceptions of his contemporaries. Research method P.45

“Natural images” as the basis of the lyrical plot of I.S. Turgenev S.50

Opposition Day - Night (Evening) in the lyrical system of I.S. Turgenev S.51

The relationship between the change of seasons and the inner world of man in the lyrical system of I.S. Turgenev P.62

2.2.3. Artistic space in lyrical
system of I.S. Turgenev S.65

2.3. Theme: “man and society”. Techniques of “epicization” in lyrics
I.S. Turgeneva S.72

2.4. Cyclization in the poetry of I.S. Turgenev as a manifestation
“episation” of lyrical creativity P.83

2.5. Conclusions to Chapter C.95

Chapter 3. Lyric-epic genres in creativity
I.S. Turgeneva P.99

3.1. Genre features of I.S. Turgenev’s poems,
having a narrative plot P.99

3.2.Synthesis of romantic and realistic, lyrical
and epic principles in the poems of I.S. Turgenev S. 110

3.3. Conclusions to the chapter.... P. 145

Chapter 4. Lyrical beginning in dramaturgy
I.S. Turgeneva P.148

4.1. Dramaturgy of I.S. Turgenev: theatrical and literary

fate S.148

4.2. Subtext as a manifestation of the lyrical in plays
I.S. Turgeneva S. 153

4.3. Dramatic poem by I.S. Turgenev “Wall” P. 156

4.4. The lyrical beginning in Kuzovkin’s monologues
(“Freeloader”) and Moshkin (“Bachelor”) as a way
revealing the inner world of characters and
psychological motivation of their characters P. 164

The function of the lyrical principle in I. S. Turgenev’s comedy “Where it is thin, there it breaks” P. 176

Synthesis of generic principles in I.S. Turgenev’s play “A Month in the Village” P. 185

4.7. Conclusions to Chapter P.200

Conclusion P.203

Bibliography P.206

Introduction to the work

I.S. Turgenev is known in the history of Russian literature in three forms:

as playwright (1843-1850)

and, of course, to a greater extent, “as the creator of epic works (starting from 1847, when the story “Khor and Kalinich” was published - Turgenev’s first prose work from the series “Notes of a Hunter” - Turgenev wrote mainly in prose).

Accordingly, he can be considered a “bilingual” author, 1 that is, an author whose creative arsenal includes both poetry and prose. Turgenev, like some other writers of the 19th century (Pushkin, Lermontov, Gogol), mastered both prose and poetic languages ​​in the process of his literary activity. It is traditionally believed that the writer’s poetry was a laboratory in which his creative method matured and strengthened.

Turgenev began as a lyricist, and later followed the path of prose. This transition is quite natural - it was determined by the general course of the literary process of the 19th century. This is what Yu.F. wrote, for example. Basikhin: “The nineteenth century in the history of Russian literature is a turning point. Romanticism is replaced by realism, poetry by prose, the classic novel emerges and develops, gaining worldwide significance.” 3 R.A. Papayan also pointed out the “fact of the general inclination of trends towards greater poetry or greater prosaicism,” who noted that in Russia “classicism and romanticism are

It should be noted: youthful poetry is usually considered a school of literary language, which is almost a prerequisite for achieving a certain mastery. Suffice it to recall the statement of I.V. Kireevsky: “...do you want to be a good prose writer? - write poetry." See: Works by I.V.Kireevsky. - M., 1861. - C.I. - P.15. 3 Basikhin Yu.F. Poems of Turgenev (The Path to the Novel). - Saransk, 1973. - P. 9.

mainly the era of the heyday of poetry, meanwhile, the era of the heyday of Russian prose coincided with the development of Karamzinism and realism.”

Turgenev lived and worked at a time when the dominant role shifted from poetry to prose, as romanticism gave way to a new literary movement - realism. Turgenev's work is transitional. In other words, “Turgenev’s art is, as it were, bridge(hereinafter it is emphasized by me - N.Z.) between the two halves of the century, between the two main stages in the historical and literary process of this century.” 5 However, having become a prose writer, having created a number of first-class stories and novels, Turgenev continued to be perceived as master of the poetic word.

F.M. Dostoevsky, in a letter to his brother Mikhail dated November 16, 1845, wrote, in particular: “The other day I returned from Paris poet Turgenev." 7 Turgenev’s contemporary poet and critic S.A. Andreevsky stated: “Turgenev

has always been and remains poet." IN review of Turgenev’s “Faust” N.A. Nekrasov stated: “The whole sea poetry he poured powerful, fragrant and charming power into this story from his soul.” 9 Turgenev's contemporaries actually knew him primarily as an author of poems.

The perception of Turgenev as a lyricist is also characteristic of the 20th century, however, in such an assessment of Turgenev’s creative manner, as a rule, we are talking about the active presence of the lyrical principle in his works. I. Bunin, who to a certain extent denied the division of literature into poetry and prose and believed that these artistic elements are called upon, interpenetrating,

4 Papayan R.A. The structure of verse and literary movement (Towards the formulation of the problem) // Problems
poetry.

Yerevan, 1976. - P.76.

5 Basikhin Yu.F. Turgenev's poems... - P.9.

Identifying the lyrical basis of the writer’s entire work became the main criterion for selecting material. The literature review is presented not in chronological order, but as required by the logic of presentation of the material. Scientific-critical works affecting other aspects of Turgenev’s creative activity are not the subject of consideration. Of primary interest are studies that in one way or another reveal the relationship between poetry and prose, as well as various generic elements (epic, lyric, drama), characteristic of Turgenev’s work as a whole.

7 Basikhin Yu.F. Turgenev's poems... - P. 10.

8 Andreevsky S.A. Turgenev // Andreevsky S.A. Literary essays. - St. Petersburg, 1913. - P.231.

6
enrich each other, 10 admitted: “I was probably born after all
poet<...>Turgenev was there too a poet first and foremost."
B. Eikhenbaum argued that “Turgenev, in general, has one style - the one
which developed and matured in Russian literature (more V poetry, than in
prose)". 12 Yu. Basikhin, although he spoke about the clear priority of the novel’s beginning
in the works of Turgenev, still noted "the interpenetration of poetry and
prose" 13 in him. He considers this author's prose to be a kind of borderland
between verse and prose and does not distinguish between the style of Turgenev the novelist and
Turgenev-lyrics. For him, Turgenev is, first of all, the founder

poetic prose of Russia, since this artist managed to find the “poetic key to prose.” 14

ABOUT lyricism K. Matiev wrote about how an important property of Turgenev’s prose.

Lyricism in Turgenev’s work, in his opinion, “plays a decisive role in

illumination of phenomena, in conveying the tone and color of nature.” In a certain

sch simplifying the function of the lyrical principle to a degree, although recognizing it

the ability to convey everything as “living, breathing, full of color”

true existence,” Matiev considered lyrical as an aesthetic category. 15

Of particular interest for this dissertation research is the work of V. Zhirmunsky “Tasks of Poetics” (1919-1923). 16 Talking about features "poetic style"(Zhirmunsky’s term) Turgenev, using the example of a passage of artistic prose taken from the story “Three Meetings,” the scientist identified a number of techniques that create “emotional

+ In particular, Bunin wrote: “Poetic language should approach simplicity and naturalness

colloquial speech, and prosaic syllables must be given the musicality and flexibility of verse.” See: Bunin I.A. Collection cit.: In 6 volumes - M., 1987. - T.1. - P.36.

11 Ibid.-S. 431.

12 Eikhenbaum B.M. Turgenev's artistry // Eikhenbaum B.M. My temporary one. - L., 1929. - P.94.

13 Basikhin Yu.F. Turgenev's poems... -SP.

14 Ibid.-S. 15.

15 See about this in more detail: Matiev K. Lyrical in art as an aesthetic phenomenon. - Frunze, 1971. - P. 104-
105. It should be clarified that in the work of K. Matiev there is no distinction between the concepts of “lyricism” and “lyrical”.

16 Zhirmunsky V. Tasks of poetics // Zhirmunsky V. Poetics of Russian poetry. - St. Petersburg, 2001. - P. 25-79.

stylization of the landscape, those transparent and delicate lyrical tones that are so characteristic of Turgenev.” "Poetic the animation of natural phenomena, their consonance with the mood of the human soul,” according to Zhirmunsky, express “emotional epithets”, “lyrical ellipses”, “lyrical hyperbole” and some other techniques that are characteristic of Turgenev’s prose and ultimately form the individual style of this writer.

In literary criticism, it is absolutely recognized that Turgenev’s novel belongs to a special type of novel. The writer not only used the experience of his predecessors - Karamzin and Gogol, but also created a unique genre in his own way: a realistic novel, distinguished "lyrical concentration" narratives. V. Markovich, while studying the typological characteristics of Turgenev's novel of 1856-1862, came to the conclusion that the epic structure of Turgenev's texts of this period is heterogeneous: it is colored by tragic and lyrical elements. Their function seems to the researcher to be very significant, for the tragic, being an “eternal condition of human existence,” serves

“the support of the epic,” and “lyrical revelation,” in turn, allows you to escape from the momentary, temporary and ultimately “see being in everyday life.” Thus, we are talking about "epic, tragic And lyrical elements of Turgenev’s novel, which exist and “develop

only in mutual connection.” V. Markovich in his works speaks about Turgenev’s unique poetics, which is based on the penetration of other generic principles into the novel structure, and, accordingly, about Turgenev’s innovation in the field of genre form and its content.

17 Markovich V.M. I.S. Turgenev and the Russian realistic novel of the 19th century. - L., 1982. - P.203.

18 Ibid. -WITH. 144.

19 Ibid.-S. 134.

20 Ibid.-S. 133.

21 Markovich V.M. Man in the novels of I.S. Turgenev. - L., 1975. - P. 5.

22 Markovich V.M. I.S. Turgenev and the Russian realistic novel... - P. 165.

Turgenev's innovative searches interested Yu.B. Orlitsky, who was studying the theory of interaction between verse and prose. In his dissertation research, he argued that Turgenev continued to write poetry, essentially, throughout his life. Indeed, throughout his literary career, Turgenev periodically turned to the poetic form, even inserting poetic passages into works written in prose. It is precisely this circumstance that, according to Orlitsky, does not fit into the “classical scheme”, since poetry for Turgenev was not just a period of apprenticeship and organically entered into the artistic practice of this author. Turgenev’s prose interests Orlitsky from the point of view of its “measurement” and "lyricization". 26 The dissertation author also appreciated the fact that Turgenev, continuing to experiment in the field of verse and prose, at the end of his career created a cycle of miniatures called “Poems in Prose” (1877-1882), where synthesis of lyrical and epic, poetic and prosaic principles. Turgenev, according to Orlitsky, “seems to be exploring the “permeability” of the verse structure simultaneously “from the inside” - as an experienced poet - and “from the outside” - as a prose writer, a master of harmonic, lyrically colored prose." 2 This is the artistic phenomenon of this author, since "permeability" of verse structure" he proved it in practice: having become a prose writer, Turgenev remained faithful to the poetic worldview until the end of his days.

The historical dynamics of verse and prose would be incomplete without Turgenev's experiments in this area. The assessment of the creative heritage would also be inaccurate

.# See: Orlitsky Yu.B. Interaction of verse and prose: typology of transitional forms. Abstract of diss... d.

Philol. N.-M., 1992.-S. 10.

24 Turgenev’s later poem “Croquet in Windsor” (1876), his poetic texts for Pauline Viardot’s romances (for example, “Tit” (1863), “At Dawn” (1868), “Forest Silence” (1871), etc. are widely known. ).

As an epigraph to the story “Forest and Steppe” (the “Notes of a Hunter” cycle), Turgenev placed the lyrical passage “From a poem committed to burning”, and in the novel “The Noble Nest” he included the quatrain “I gave myself up to new feelings with all my heart...”. Turgenev’s poem “Dream” from the novel “Nov” deserves special attention. It is worth noting that if the theme of the lyrical cycle “Village” was reflected in the prose “Notes of a Hunter,” then the content of the poem “Dream” was influenced by the writer’s novelistic work.

26 Orlitsky Yu.B. Interaction of verse and prose: typology of transitional forms... - pp. 11-12.

27 Ibid. - P. 11.

Turgenev without recognizing that the “lyrical beginning” is a kind of “calling card” of this author, regardless of what formal - verse or prose - features Turgenev's text has.

D.P. Svyatopolk-Mirsky wrote about the uniqueness of Turgenev’s creative style, who believed that “only Turgenev, of all his contemporaries, had a living connection with the age of poetry." 28 This connection, according to the researcher, was determined by the fact that Turgenev studied at the university with Professor Pletnev, a friend of Pushkin, that Turgenev published his first poems in 1838 in Pushkin’s Sovremennik, of which Pletnev was the editor at that time. Noting that by 1847 Turgenev “left poetry For prose", 29 Mirsky pointed to a certain synthesis, which is a distinctive feature of Turgenev’s texts: “In his works everything was true, and at the same time they were filled with poetry and beauty.” 30 Obviously, by “truth” Mirsky meant a realistic way of mastering reality. He repeatedly emphasized that, despite loyalty to realism, "poetry" continues to live in Turgenev’s texts, which are purely prosaic in the way they organize speech. Assessing Turgenev’s narrative style, Mirsky, in particular, noted that “Notes of a Hunter” contains many lyrical pages", "A Trip to Polesie" is "strict and simple prose, reaching the level poetry", 31 and the story “Three Meetings” is filled "poetic" passages." 3 To some extent, Mirsky, in his assessment of Turgenev’s prose creativity, insisted that “Turgenev always had poetic<...>or a romantic streak (as you can see, Mirsky associated “poetry” with a romantic worldview - N.Z.),

Svyatopolk-Mirsky D.P. History of Russian literature from ancient times to 1925. - London, 1992. - P. 290. 29 Ibid.-S. 291.

30 Ibid. - P. 292.

31 Ibid. - P.307.

32 Ibid. - P. 296.

JL ~ 33

opposing the realistic atmosphere of his main works." It is the “subtle and poetic narrative mastery" distinguishes this author from his contemporaries. The basis "poetic narrative mastery" of Turgenev is, according to Mirsky, "lyrical element" 35 As you can see, the researcher, rightfully recognizing the properties of Turgenev’s prose that distinguish it from traditional narrative, did not give an explanation of what he understands by “lyrical element” and “lyrical atmosphere”. In his work, in contrast to the studies of V. Zhirmunsky and V. Markovich, there was no place for the issue of the functional use of the lyrical principle in Turgenev’s prose.

M.K. Clement wrote about the experimental nature of I.S. Turgenev’s dramatic creativity, arguing that “Turgenev was looking for ways to renew the Russian theater.” 36 Turgenev's dramatic work is also of interest from the point of view of discovering in it the interaction of different generic elements. According to S.N. Patapenko, Turgenev is interested in working at the intersection of drama and epic, so he, “without going into theoretical explanations, found dramatic equivalent to the content considered destiny epic forms of literature. Explaining his invasion of “foreign territory” to the readers of the play, he emphasized in the preface to the first magazine publication of “A Month in the Country”: “Actually not a comedy, but story in dramatic form." 37

Other researchers have discovered the activity of the lyrical principle in Turgenev's plays. Thus, L.S. Zhuravleva believes that “in Turgenev’s comedy

33 Ibid. - P. 306.

34 Ibid. - P. 304.

35 Mirsky, completing his study of Turgenev’s heritage, summed up: "Lyrical element he has
Turgenev - N.Z.) is always close. He not only began his literary journey as a lyric poet And finished
his poems in prose, but even in his most realistic ones, in civil things and designs^..,?
the atmosphere is basically lyrical."- P. 307.

36 Clement M.K. Turgenev I.S. // Classics of Russian drama. Popular science essays. - L.; M., 1940. - P. 161.

37 Patapenko S.N. Dramaturgy of I.S. Turgenev as a predecessor of the “new drama” // Dramaturgical
quests of the Silver Age: Interuniversity. Sat. scientific works. - Vologda, 1997. - P. 56.

11 surprisingly organically combined lyrics with caustic satire." V. Frolov takes a different point of view, arguing that “in Turgenev’s plays there is a noticeable fusion of three motives generated by the author’s “attitude”: subtle

lyricism With dramatic and with a sad, almost Gogolian comedy.” ABOUT

Turgenev's innovation in the field of psychologism, interest in revealing experiences, deep lyricism and the rejection of theatrical effects is mentioned by N.V. Klimova. 40 E.M. Aksenova also emphasizes the innovative nature of Turgenev’s dramaturgy and reveals the connection between Turgenev’s work and the drama of the turn of the 19th-20th centuries: “By creating his socio-psychological plays, Turgenev paved the way for brilliant lyrical Chekhov's dramas. 4 “No matter how the opinions of researchers differ in details, they are all unanimous on one thing: the generic nature of Turgenev’s plays is not as clear as it seems at first glance.

Already at the very beginning of Turgenev’s creative activity, he found himself searching for new genre forms. In 1834, Turgenev’s very first work, “The Wall,” was published. The author himself, in the subtitle, declared the genre of this work as a “dramatic poem,” that is, according to Turgenev himself, “The Wall” “could have been a poem instead of a drama.” 42 And the poem “Parasha” was defined by the author as “a story in verse.” It is obvious that from the very first steps on his creative path, Turgenev was interested in the “dramatic form of poetry.” By the way, later it was the dramatic experience that helped Turgenev the novelist. It is no coincidence that the picture of noble life, recreated by Turgenev in the play “A Month in the Country,” later became so widespread in his prose, so that the theme of “noble nests”

38 Zhuravleva L.S. Drama by I.S. Turgenev. Diss... Ph.D. - Saratov, 1952. - P. 299.

39 Frolov V. The fate of drama genres. Analysis of dramatic genres in Russia of the 20th century. - M., 1979. - P. 64.

40 See for more details: Klimova N.V. The skill of I.S. Turgenev the playwright. Diss... k. philoln. - M., 1960.

41 Aksenova E.M. Dramaturgy of I. S. Turgenev // Creativity of I. S. Turgenev: Collection. articles. - M., 1959. - P. 186.

42 Turgenev I.S. Works//Complete works and letters. -M. - L., 1960. -T. 1. -S. 552.

See about this in more detail: Putintsev A. Turgenevo-Lutovinovsky serf theater. (On the dramatic activity of I.S. Turgenev.) // Rising. - Voronezh, 1997. - No. 10-11. - pp. 227-239. The impetus for the awakening of creativity in Turgenev in dramatic forms, according to the author of the article, was the production of the serf theater in the village. Spassky-Lutovinovo.

firmly entered the history of Russian literature of the 19th century. Turgenev’s refusal of drama in favor of the story and novel was, as they say, “in the spirit of the times”: “dramatic experiments began to be constrained formally, they seemed narrow,” so they began to take on an epic form. Without a doubt, Turgenev continued his search for new artistic forms throughout his entire creative life. “Poems in Prose” by Turgenev, his last work, is another evidence of this.

Summarizing the above, it should be said that in the work of Turgenev, various scientists noted the synthesis of generic principles. It is characteristic that there was a period when the still young Turgenev could not decide what to become - a poet, prose writer or playwright. “During the 40s, Turgenev developed as an artist with many talents.” 46 From 1838 to 1844 he was a poet, but a more mature work - the lyrical cycle “Village” - dates from 1847, at the same time the prose cycle “Notes of a Hunter” began to be published. In the period from 1843 to 1846, Turgenev's poems appeared (“Parasha”, “Conversation”, “Landowner”, “Andrey”), in which Turgenev’s “narrative style” developed. 7 But “the end of the forties in the work of I.S. Turgenev was primarily a dramatic time.” 48 From 1843 to 1850, one after another, Turgenev’s plays “Indiscretion”, “Freeloader”, “Lack of Money”, “Where it is thin, there it breaks”, “Bachelor”, “Breakfast at the Leader”, “A Month in the Country”, Provincial Girl were born " So, as you can see, from approximately 1843 to 1850, Turgenev tried himself in all literary genres. And only after 1850 he made a certain creative choice and definitely settled on

44 “The setting of Chekhov’s plays is reminiscent of the estate in Turgenev’s novels and dramas” - this is how it begins
Chapter “Turgenev, Chekhov, Pasternak. On the problem of space in Chekhov's plays" monograph by B. Zingerman. Cm.
about this: Zingerman B. Chekhov’s Theater and its global significance. - M., 1988. - P. 131-167.

45 Brodsky N.L. Turgenev the playwright. Intentions // Documents on the history of literature and the public.
I.S. Turgenev. - M., 1923. - P. 9.

46 Ibid.-S. 183.

Yu.B. Basikhin: “... from romantic lyrics Turgenev moves on to a story in verse, developing his narrative syllable"(emphasis added by the author - H.3.). See: Basikhin Yu.B. Turgenev's poems... - P. 92. 48 Brodsky N.L. Turgenev the playwright... - P. 3.

prosaic form of presentation of artistic material, including lyrical intonation.

Relevance This dissertation research is due, on the one hand, to the special role of the lyrical principle in Turgenev’s artistic system, and on the other hand, to the lack of development and unclearness of this phenomenon in the writer’s work of the 1840-1850s. The lyricism of Turgenev’s work is generally recognized, but there is still no systematic structural and semantic understanding of the role of the lyrical principle in Turgenev’s works of different genre nature.

What has been done in this regard allows us to raise the question of the lyrical as the basis of a unique synthesis of various generic contents and formal elements in the writer’s work, a synthesis whose origins should be sought in the period under consideration of his biography and the history of Russian literature. In the synthesis of different generic elements in the works of Turgenev of this time, the priority role is given to the lyrical principle. 49 Thanks to the active presence of the lyrical principle, it is not the plot side of the text that predominantly develops, not the event series as such, but the so-called “internal” side, in the center of which is “the soul with its subjective judgment, with its joys, amazement, pain and feeling.” 50

Many researchers have repeatedly noted the fact of mutual influence of poetry and prose, leading to a shift in lyrical and epic forms, often giving rise to a new type of work, often unique in its generic nature. In the history of Russian literature, there is a phenomenon antonymous with “lyricization.” We are talking about the “proseization” of the lyrics. This concept, as a rule, is associated primarily with the name of N. Nekrasov. It is obvious that the study of the “lyricization” of various genre forms, identifying the reasons

49 “Lyrical beginning” is understood as a “generic idea”, mainly embodied in lyrics, but also
characteristic of texts of a different genre. Details about the theoretical aspects of the problem
“lyrical” will be discussed in Chapter 1 of the dissertation.

50 Hegel. Aesthetics: In 4 volumes - M., 1971. - T.Z. - P. 414.

its constant presence in Turgenev’s texts will help to understand the opposite phenomenon, which is developing almost in parallel - the “proseization” of the lyrics.

The purpose of the dissertation research: consider the role and manifestations of the lyrical in lyrical, lyric-epic and dramatic works; to prove that the above forms, despite all the obvious generic differences, are united with each other by a common lyrical tuning fork, they tend to interpenetrate and ultimately form the “poetic style” (Zhirmunsky’s term) of Turgenev.

To achieve this goal, it is necessary to solve the following tasks:

consider the current state of the problem of interaction between the content and form of various generic elements - lyrics, epic, drama; determine the content of the terms “lyrical beginning”, “lyricization”, “lyricism”;

to trace how the process of interpenetration of the lyrical and epic was carried out in Turgenev’s work in accordance with the general

the trend in the development of Russian literature from romanticism to realism;

to identify in the structure of Turgenev’s poems, lyric-epic and dramatic works artistic techniques that create a “lyrical atmosphere” and were subsequently used by him in prose;

to explore the specifics of Turgenev’s dramaturgy, determined by the desire for a synthesis of generic principles.

Object of study: Turgenev's early work.

Subject of study: a movement towards a synthesis of the lyrical, epic and dramatic in the writer’s work, which can be identified in Turgenev’s poems, poems and plays of the 1840-1850s.

The scientific novelty of the dissertation research lies in the fact that for the first time the poems, poems and plays of I.S. Turgenev are considered

15 INTERPRETATION

as works of complex genre forms, which are characterized by “generic ideas” (generic synthesis) with a predominance of the lyrical principle. Provisions for defense:

The early work of I.S. Turgenev is a unique synthesis of lyrical, epic and dramatic principles.

“Natural” and “social” are the structural and content components of I.S. Turgenev’s lyrical system.

In the early work of I.S. Turgenev, there is a “lyricization” of the epic and an “epicization” of the lyrical.

The basis of Turgenev's dramaturgy is the combination of dramatic, lyrical and epic principles. This, in turn, to a certain extent anticipated the emergence of Chekhov’s drama and, more broadly, such a 20th-century phenomenon as “new drama.”

The lyrical poetics that emerged in the pre-historical works of I.S. Turgenev determined the uniqueness of Turgenev’s legacy as a whole.

Methodological basis research constitutes work on theory
lyrics and its interaction with other types of literature (V.M. Zhirmunsky,
R.O.Yakobson, B.V.Tomashevsky, B.M.Eikhenbaum, L.Ya.Ginzburg, V.E.Khalizev,
V.V.Kozhinov, V.D.Skvoznikov, M.M.Girshman, Yu.B.Orlitsky, SI

Kormilov), on the theory of genres (M.M. Bakhtin, Yu.N. Tynyanov), the theory of the author (Yu.M. Lotman, B.O. Korman), the theory of drama (L.M. Lotman, B.I. Zingerman , E.G. Kholodov).

The research is based on unity historical And structural-comparative approaches to literary text.

Approbation. The research materials were discussed at annual scientific conferences of teachers and staff of SamSU, interuniversity scientific conferences of young scientists and specialists in 1997, 1999, 2002, 2003, 2005, as well as at international conferences “Morphology

16 fear" and "Codes of Russian classics. Problems of detection, reading and updating” in 2005.

The main provisions of the dissertation are reflected in the following publications:

Zakharchenko N.A. “Parasha” by I.S. Turgenev as a realistic poem // Bulletin of SamSU. - Samara, 1998. - No. 3(9). - P. 56-64.

Zakharchenko N.A. Theoretical aspects of school study of the cycle “Poems in Prose” by I.S. Turgenev // Problems of studying the literary process of the 19th-20th centuries. Samara, 2000. - pp. 248-255.

Zakharchenko N.A. The lyrical component in I.S. Turgenev’s play “A Month in the Village” // Artistic language of the era: Interuniversity collection of scientific works. Samara, 2002. - pp. 88-107.

Zakharchenko N.A. The lyrical beginning as a form of manifestation of the author’s consciousness in I. S. Turgenev’s play “Where it is thin, there it breaks” // Artistic language of the era: Interuniversity collection of scientific works. Samara, 2002. - pp. 78-87.

Scientific and practical significance of the work is that the dissertation materials can be used to teach the history of Russian literature of the 19th century in higher education, in textbooks and special courses on the works of I.S. Turgenev.

The structure of the dissertation consists of an introduction, four chapters, a conclusion and a bibliography. The total volume of the dissertation is 226 pages, including 21 pages of the list of used literature, containing 312 titles.