The image of the Russian estate. Modern estates

The appearance in fiction of the image of a noble estate was a consequence of the decree of Catherine II (“Charter to the nobility”, 1785) on the release of the nobility from military service, after which the role and importance of noble local life in Russian culture began to strengthen. At the end of the 18th - beginning of the 19th centuries, the noble estate experienced its heyday, after which its gradual decline began, until 1917.

During the first half of the 19th century, the noble estate was included in works of art, mainly as a human habitat, a certain way of life that characterizes the owner of the estate (nobleman), his moral and spiritual foundations, way of life and culture, although already during this period the process begins symbolization of the image of a noble estate, which, in particular, finds expression in the work of A.S. Pushkin. In the second half of the 19th century, when the crisis of this way of life becomes most tangible, the noble estate declares itself as a special cultural phenomenon, which they begin to actively study, describe, and strive to preserve. In the 80-90s of the 19th century, they began to talk about estates as cultural monuments, from 1909 to 1915, the Society for the Protection and Preservation of Monuments of Art and Antiquity in Russia operated in St. Petersburg.

Estate masterpieces by S.T. Aksakov, I.S. Turgenev, I.A. Goncharov, L.N. Tolstoy were created in the literature of the second half of the 19th century. The concept of a family nest of nobles, introduced into culture by the Slavophiles (Shchukin, 1994, p. 41), is gaining more and more strength and significance, and by the end of the 19th century is perceived as one of the central symbols of Russian culture.

At the turn of the 19th - 20th centuries, writers of various views, belonging to different literary movements and associations, paid increased attention to the image of a noble estate. Among them are the names of such artists of the word as A.P. Chekhov, I.A. Bunin, B.K. Zaitsev, A.N. Tolstoy, M.A. Kuzmin, N.G. Garin-Mikhailovsky, A. Bely, F.K. Sologub, G.I. Chulkov, S.N. Sergeev-Tsensky, B.A. Sadovskoy, S.A. Auslender, P.S. Romanov

S. M. Gorodetsky and many others. As a result, a huge layer of fiction was created, where the image of a noble estate received a detailed development and multifaceted coverage.

The relevance of the study is due to the active growth of interest in the lost values ​​of national culture and attempts to revive them. Appeal to the image of a noble estate is necessary, in our opinion, to solve the problem of self-identification of Russian culture. Comprehension of the image of a noble estate as one of the fundamental symbols of Russia is a way of national self-knowledge and self-preservation and represents the possibility of restoring a vast complex of moral and aesthetic norms, largely lost in the vicissitudes of recent centuries.

The object of research in the dissertation is the image of a noble estate in Russian prose of the late XIX - early XX centuries. The subject of the dissertation is the noble estate as a phenomenon of the Russian literary process at the turn of the 19th-20th centuries. The research material consists of works of art by such writers as A.P. Chekhov, I.A. Bunin, B.K. Zaitsev, A.N. Tolstoy, M.A. Kuzmin, N.G. Garin-Mikhailovsky, D.V. .Grigorovich, A.Bely, F.K.Sologub, G.I.Chulkov, I.A.Novikov, S.N.Sergeev-Tsensky, B.A.Sadovskoy, S.A.Auslender, P.S.Romanov , I.I. Yasinsky, S.M. Gorodetsky, A.V. Amfiteatrov, M.P. Artsybashev, A.N. Budischev, V.V. Muyzhel. Prose and poetic works of other writers and poets of the 19th - first third of the 20th centuries are also used as material for comparative analysis.

The degree of knowledge of the issue. The noble estate in pre-revolutionary and modern science was and is being studied to a greater extent from the standpoint of historical and cultural studies. Since the 70s of the 19th century, as G. Zlochevsky notes, guidebooks around Moscow have appeared, which necessarily include a section on estates (for example, guidebooks by N.K. Neighborhoods of Moscow. ”(“ 2nd ed., 1880)). From 1913 to 1917, the magazine "Capital and Estate" was published (already in the title of this magazine, the opposition in Russian culture of the estate and capital worlds was reflected); publications about estates are also published in a number of other journals. Monographs devoted to the history and architecture of individual estates also appeared before the revolution. In particular, in 1912 the work of Prince. M.M. Golitsyn about the estate of Petrovskoye, Zvenigorod district, Moscow province (“Russian estates. Issue 2. Petrovsky”), in 1916 - the work of P.S. Sheremetev “Vyazemy”. Memoirs of both individual representatives of the nobility and collections, including the memoirs of a number of authors, are published. So in 1911, under the editorship of N.N. Rusov, the book "Landed Russia according to the notes of contemporaries" was published, which collected memoirs of representatives of the nobility of the late 18th - early 19th centuries. But in pre-revolutionary science, according to G. Zlochevsky, a comprehensive study of the estate culture was not carried out; publications about estates were mostly descriptive; the authors of articles and monographs acted more like historians and chroniclers (Zlochevsky, 1993, p. 85).

During the Soviet period, the study of the noble estate practically ceased, or was carried out from an ideological standpoint. In 1926, for example, the book by E.S. Kots “The Serf Intelligentsia” was published, in which local life is presented from a negative side (in particular, the author examines in detail the issue of serf harems). Memoirs written in Soviet times become the property of readers, as a rule, only after many years. So, for example, in 2000, the memoirs of L.D. Dukhovskaya (nee Voyekova) were published, the author of which is trying to rehabilitate the estate culture in the eyes of his contemporaries: them and myself an excuse." (Dukhovskaya, 2000, p. 345).

An active revival of interest in the noble estate begins in the last decade of the 20th century. There are many historical and cultural works devoted to the study of life, culture, architecture, and the history of noble estates. Among them, it is necessary to name the work of Yu.M. Lotman “Conversations about Russian culture. Life and traditions of the Russian nobility (XVIII - early XIX centuries) ”(St. Petersburg, 1997), as well as collections of the Society for the Study of the Russian Estate, including the works of many researchers (G.Yu. Sternina, O.S. Evangulova, T. P. Kazhdan, M.V. Nashchokina, L.P. Sokolova, L.V. Rasskazova, E.N. Savinova,

V.I.Novikov, A.A.Shmelev, A.V.Razina, E.G.Safonova, M.Yu.Korobka, T.N.Golovina and others). It is also necessary to note the fundamental collective work "Noble and merchant rural estate in Russia in the 16th - 20th centuries." (M., 2001); collections “The World of the Russian Estate” (M., 1995) and “Noble Nests of Russia. History, culture, architecture” (M., 2000); works by L.V. Ershova (Ershov, 1998), V. Kuchenkova (Kuchenkova, 2001), E.M. Lazareva (Lazareva, 1999),

S.D. Ohlyabinina (Okhlyabinin, 2006), E.V. Lavrent’eva (Lavrent’eva, 2006).

In recent years, in addition, several dissertations have been defended that consider the estate as a phenomenon of Russian culture, economics, and politics (Popova M.S. Russian noble estate in the context of the mentality of Russian culture (M., 2004); Kuznetsova Yu.M. Russian noble estate Economic, political and socio-cultural aspects (Samara, 2005), Ponomareva MV Noble estate in the cultural and artistic life of Russia (M., 2005)).

The authors of these works seek to substantiate the significance of the noble estate for the history of Russia, to show the organic connection of the noble estate with Russian culture, to prove that the estate was not something alien in relation to the latter, but was its integral part. In the noted historical and cultural works, the Russian noble estate is considered as a special microcosm, the whole Universe (O.S. Evangulova, T.P. Kazhdan, M.V. Nashchokina), which is a universal symbol of Russian life (G.Yu. Sternin) , the quintessence of the Russian state (M.V. Nashchokina, Yu.M. Kuznetsova), the center for the formation, development and preservation of the dominant features of Russian culture, an indicator of the state of Russian culture (Popova M.S.). Scientists especially emphasize the value of a personal, individual beginning in a noble estate (each estate, "both literally and figuratively, is" handmade "" (Kuznetsova, 2005, p. 146); "self-portrait of the owner" (Evangulova, 1996, p.49); even “parts of the garden [.] became, as it were, parts [.] of the inner world” of the owners (Nashchokina, 2001, p. 12)), as well as the metaphorical correlation in Russian culture of the estate with the image of the Garden of Eden.

However, as we have already noted, the subject of the study of these works is the noble estate as a phenomenon of Russian history, economy, and culture. The appeal of scientists to Russian literature in these cases is limited to the task of simply illustrating certain features of its history, economic and everyday life.

The image of a noble estate in Russian literature of the 18th - 20th centuries receives a wider and more multifaceted coverage in the book by E.E. Dmitrieva, O.N. The authors refer to a huge number of literary sources, including few or completely unknown ones. However, this work is more art criticism than literary criticism. Artistic works are often used as illustrative material for cultural aspects, showing how a real estate influenced Russian literature, or, conversely, how literature shaped "estate life, and real estate space, and the very way of living in the estate" (Dmitrieva, Kuptsova, 2003, p. 5).

Until now, a comprehensive literary study of the image of a noble estate in the prose of the turn of the 19th - 20th centuries as a phenomenon of the Russian literary process has not been created.

The most complete image of the noble estate was studied in Russian literature of the second half of the 19th century, in the works of S.T. Aksakov, I.S. Turgenev, I.A. Goncharov, L.N. Tolstoy (see, for example, the works of V.M. Markovich "I.S. Turgenev and the Russian realistic novel of the 19th century" (L., 1982), V.G. The image of a noble estate in the works of S.T. Aksakov, I.S. Turgenev and L.N. Tolstoy "(Magnitogorsk, 1991); G.N. Popova" The world of the Russian province in the novels of I.A. Goncharov "(Yelets, 2002 )).

In Russian prose of the late 19th - early 20th centuries, the image of a noble estate is considered on the basis of the works of a limited circle of authors. So the critics of the beginning of the 20th century focused on the depiction of local life in the works of I.A. Bunin and A.N. Tolstoy, as well as A.V. Amfiteatrov and S.N. Sergeev-Tsensky. However, in the critical works of the early 20th century, there is no consideration of the image of a noble estate as a phenomenon of Russian culture in the literature of a certain period as a whole. Critics such as K. Chukovsky (Chukovsky, 1914, p. 73-88), V. Lvov-Rogachevsky (Lvov-Rogachevsky, 1911, p. 240-265), G. Chulkov (Chulkov, 1998, p. 392- 395) ), E. Lundberg (Lundberg, 1914, p. 51), A. Gvozdev (Gvozdev, 1915, p. 241-242), characterizing the image of local life in the works of the above-mentioned writers, are limited to one or two phrases, they only mention the conversion authors to the image of local life. So, for example, G. Chulkov, analyzing the story of I. A. Bunin "New Year", speaks of the miraculous power of the estate, awakening in the heroes a feeling of love (Chulkov, 1998, p. 394). V. Cheshikhin-Vetrinsky, considering such works by A.N. Tolstoy as "The Lame Master" and "The Ravines", emphasize the "warm, sincere attitude of the author" to the provincial noble life and "the people of this life" (Cheshikhin-Vetrinsky, 1915, p.438). E. Koltonovskaya writes about the writer's attempt in the cycle "Trans-Volga" through the image of the local nobility "to look into the elemental depths of the Russian man, his nature, his soul" (Koltonovskaya, 1916, p. 72).

Being noticed in the works of I.A. Bunin, A.N. Tolstoy, A.V. Amfiteatrov and S.N. Sergeev-Tsensky, but not having received sufficient development here either, the image of a noble estate in the works of other writers we are considering of the late XIX - the beginning of the 20th century turned out to be completely unexplored by the criticism of the "Silver Age".

In modern literary science, the image of a noble estate in the works of many authors of the turn of the 19th and 20th centuries still remains unexplored. Such scientists as N.V. Barkovskaya (Barkovskaya, 1996), L.A. Kolobaeva (Kolobaeva, 1990), Yu.V. Maltsev (Maltsev, 1994), M.V. Mikhailova (Mikhailova, 2004), O. V.Slivitskaya (Slivitskaya, 2004), R.S.Spivak (Spivak, 1997), refer to the image of a noble estate in the works of I.A.Bunin, A.Bely, F.K.Sologub, I.A.Novikov. But in the works of these scientists, the image of a noble estate is not the object of a special, detailed analysis.

The image of a noble estate becomes the subject of a separate study in the works of N.S. Avilova (Avilova, 2001), U.K. Abisheva (Abisheva, 2002). G.A. Golotina (Golotina, 1985), L.V. Ershova (Ershova, 1998, 1999, 2002), N.V. Zaitseva (Zaitseva, 1999), L.P. nyh creativity of I.A. Bunin and A.N. Tolstoy.

In literary science, the reasons for the destruction and decline of the noble estate in the work of I.A. Bunin are revealed, the dialectical nature of Bunin's concept of the estate is noted, as well as the idealization of estate life in the writer's emigrant work.

L.V. Ershova in the article “Images-symbols of the estate world in the prose of I.A. Bunin” speaks of the writer’s ambivalent attitude to the world of the noble estate and divides the symbols in the works of I.A. Bunin into two rows: negative, “reflecting desolation and the death of the former "gold mine" of the Russian provinces", and positive, "associated with deep and sincere nostalgia, with memory, which tends to idealize the past, elevate and romanticize it" (Ershova, 2002, p. 105). In the emigrant period, from the point of view of the researcher, the positive and negative series of images-symbols opposed to each other come to a dialectical unity - "estate culture is presented in them as part of the all-Russian history" (Ershova, 2002, p. 107). The article "Bunin's lyrics and Russian estate culture" by L.V. Ershova notes the simultaneous depiction of the extinction of the noble estate and its poeticization in the poetry of I.A. Bunin. As the researcher writes, the antithesis “estate-capital” is reflected in the lyrics of I.A. Bunin; the figurative system external to the manor opposes the artist's warmth of the house, which is a protection and a talisman for the lyrical hero.

A different point of view on the image of the house by I.A. Bunin is presented in the work of G.A. Golotina. Considering the theme of the house in the lyrics of I.A. Bunin, the author talks about the doom of the family nest to destruction and death and believes that if in the early poems the house is a reliable protection in all the vicissitudes of life, then since the beginning of the 1890s, the house of I. A. Bunina has never been a prosperous family nest.

N.V. Zaitseva traces the evolution of the image of a noble estate in the prose of I.A. Bunin in 1890 - early 1910s, concludes that the estate in the writer's works is a small estate.

In the prose of A.N. Tolstoy, the image of a noble estate is considered in the works of L.V. Ershova (Ershova, 1998), N.S. Avilova (Avilova, 2001), U.K. Abisheva (Abisheva, 2002). But the range of the writer's works, to which these researchers turn, is limited ("Nikita's Childhood", "The Dreamer (Aggey Korovin)"). Many aspects of the artistic image of the noble estate in the work of A.N. Tolstoy remain unexplored.

L.V. Ershova in the article "The world of the Russian estate in the artistic interpretation of the writers of the first wave of Russian emigration" notes a strong tendency to idealize the image of the noble estate in the "Childhood of Nikita" by A.N. . N.S. Avilova writes about the opposition in "Nikita's Childhood" of the image of the estate as a reliable protection and protection of the heroes to the image of the surrounding steppe. U.K.Abisheva in the article "The Artistic Reception of Russian Manor Prose in A. Tolstoy's The Dreamer (Haggey Korovin)" reveals the traditional and innovative in Tolstoy's understanding of manor life.

The scientific novelty of the dissertation work is determined by the research material (for analysis, a large volume of works of the late 19th and early 20th centuries is involved, in which the image of a noble estate was not previously the object of study); an integrated approach to the study of the image of a noble estate as a phenomenon of Russian culture in the literature of the late XIX - early XX centuries as a whole; historical and typological approach to its study; aspects of considering the image of a noble estate that are new for literary criticism.

The purpose of the dissertation is to consider the image of a noble estate as one of the central symbols of Russian culture, representative of the modernization of Russian artistic consciousness at the turn of the 19th - 20th centuries.

Achieving this goal involves solving the following tasks: - to identify and describe the general system of universals in which the image of a Russian noble estate in the prose of the late 19th - early 20th centuries is interpreted and evaluated;

To create a typology of the image of a noble estate in the fiction of the designated period, revealing the main trends in the artistic understanding of the historical path of Russia in the prose of the turn of the 19th-20th centuries; - to analyze the features of the artistic image of the noble estate by the leading directions of the Russian literary process of the late XIX - early XX centuries;

To trace the fate of the moral code of the noble estate in the literature of the first wave of Russian emigration, as well as its influence on the formation of both the oppositional line of Soviet literature and literature biased by official ideology. The main provisions for defense:

1. In Russian prose of the late 19th - early 20th centuries, there were three concepts of a noble estate: idealizing, critical, dialectical, fixing in their totality the dynamics of the historical process in Russian public consciousness at the turn of the 19th - 20th centuries.

2. Each concept forms its own image of the artistic world. Three artistic models of a noble estate are created through the writers' interpretation and evaluation of the estate's way of life in the general system of universals, which are childhood, love, family memory.

3. The image of a noble estate in works with a predominant idealizing concept is depicted as the embodiment of moral and aesthetic norms that are of decisive importance for Russian culture: stability, the value of the personal principle, a sense of the connection of times, veneration of traditions, life in unity with the earthly and heavenly world.

4. The critical concept destroys the idyllic-mythologized image of the noble estate, debunks the moral foundations of the estate culture. The childhood and love of noble heroes are portrayed by the authors as "distorted"; the burdened consciousness of the inhabitants of the noble estate with ancestral memory is conceived as the cause of its death.

5. The works of the dialectical concept are characterized by the synthesis of an idealizing and critical view of the phenomenon of the noble estate in the history and culture of Russia. In the image of a noble estate, the same spiritual values ​​and foundations are affirmed as in the works of the idealizing concept. However, the estate world in the works of this group is no longer ideal, it includes an element of disharmony.

6. In the artistic interpretation of the image of a noble estate, representatives of various literary movements reflected the main features of the Russian literary process of the late 19th - early 20th centuries.

7. The moral code of the noble estate left a big mark on the Russian culture of subsequent periods: it had a noticeable influence on the literature of the Russian diaspora, as well as on the formation of both the oppositional line of Soviet literature and literature biased by official ideology.

The methodological basis of the work is an integrated approach to the study of literary heritage, focused on a combination of several methods of literary analysis: historical-typological, cultural-contextual, structural-semiotic, mythopoetic. The solution of the research tasks formulated above led to the appeal to the works

M.M.Bakhtin, V.A.Keldysh, B.O.Korman, D.S.Likhachev, A.F.Losev, Yu.M.Lotman, E.M.Meletinsky, V.N.Toporov, V. I.Tyupa. The theoretical categories used in the dissertation (artistic image, artistic world, artistic mode, chronotope, symbol, myth) are interpreted by us according to the developments of these scientists.

Theoretical value of the dissertation. The dissertation enriches the tools of literary analysis 1) with new models of chronotopes; 2) a system of new universals, productive for transitional periods of cultural development; 3) confirms and concretizes on the new material as a general pattern the multidirectional artistic searches for the literary process of transitional periods.

The practical significance of the work is related to the possibility of using its materials and results in general lecture courses on the history of Russian literature and special courses on the history of Russian prose, Russian culture of the 19th-20th centuries.

Approbation of work. The main provisions of the dissertation are reflected in 16 publications (7 abstracts, 9 articles), including a peer-reviewed publication recommended by the Higher Attestation Commission of the Russian Federation for the publication of works of applicants for scientific degrees, as well as in reports at international, all-Russian, interuniversity conferences in the years. Perm, Solikamsk, Izhevsk, St. Petersburg, Moscow.

Dissertation structure. The work consists of an introduction, three chapters, a conclusion and a list of references, including 220 titles. The first chapter "Idealizing Conception of a Noble Manor" examines the principles of idealizing the image of a manor through the establishment of moral and aesthetic norms that make up the code of manor life. The second chapter "The Critical Conception of the Noble Estate" is devoted to the consideration of the opposite idealization of the phenomenon: criticism of the noble estate, debunking the moral foundations of the estate culture. The third chapter "The Dialectical Concept of the Noble Estate" analyzes the process of synthesis of idealization and criticism, which forms such

Conclusion

The noble estate is one of the most mysterious phenomena of Russian culture, which is associated with many unresolved issues. In Russian literature of the 18th - 20th centuries, the image of a noble estate was repeatedly recreated, comprehended and rethought. At the end of the 19th - beginning of the 20th centuries, this image becomes one of the central ones in Russian literature, representative of the modernization of Russian artistic consciousness at the turn of the century: the appeal to the image of a noble estate is accompanied by a rethinking by the writers of many issues raised by Russian literature and culture of the 18th - 19th centuries, as well as the formulation new problems related to the further development of Russia.

The assessment of the role and place of the noble estate in the history and culture of Russia in the prose of the turn of the 19th-20th centuries, as we have seen, is far from the same. Its range ranges from absolute idealization to the same absolute criticism, complete overthrow and debunking of the vital foundations of a noble estate. However, to a greater extent, the writers of this period are characterized by an ambivalent attitude towards the noble estate, the simultaneous recognition of its merits and mistakes.

In Russian literature of the late 19th - early 20th centuries, as shown in our work, there were three concepts of a noble estate, three views on one of the most profound and multifaceted, in our opinion, symbols of Russian culture. In the works of the idealizing concept, the idealization and mythologization of the image of the noble estate prevails. This concept forms a special image of the artistic world, which is based on the idyllic chronotope "House" - as a national form of paradise, the original heavenly abode of the soul. The time of this chronotope is the original time of creation, paradise existence, characterized by uniformity and cyclicality. The space of a noble estate in the works of an idealizing concept simultaneously possesses such properties as introversion and extroversion, harmoniously combining a certain isolation and self-sufficiency with openness and infinity. In the works of representatives of the idealizing concept, those foundations of the local way of life are highlighted and symbolized, the essence of which is connected with the eternal principles of being (B.K. Zaitsev, I.A. Novikov, P.S. Romanov, A.N. Tolstoy). The image of a noble estate in the works of an idealizing concept is accompanied by the motifs of childhood as a paradise, legendary existence, memory, mystery and inviolability of the past, deep kinship with the past. The very idealization of the noble estate in this group of works becomes a guarantee of preserving the personal principle, one's individuality in a rapidly changing world - through the affirmation of life values ​​and foundations that are enduring, from the point of view of writers: childhood, love, memory, interconnection with nature.

A completely different view of the image we are considering is presented in the works of a critical concept, the purpose of which is the destruction of the idyllic mythologized image of a noble estate, debunking its moral and aesthetic norms. The critical concept, as well as the idealizing one, forms a special image of the artistic world of the estate, which in this case is based on the chronotope of the "cottage". This chronotope is characterized by temporality and limitation. The space of the “dacha” chronotope is characterized by extreme isolation, artificiality, and impenetrability. In this chronotope, such modes of artistry as comedy, humor, irony find expression. The works of the critical concept emphasize the extinction of life, the economic and spiritual degeneration of the noble manor culture. The nobility is characterized by a propensity for extreme tyranny, for unbearable exploitation of the peasantry; noble heroes are overly exalted, incapable of actively transforming reality (A.N. Tolstoy, S.N. Sergeev-Tsensky, S.M. Gorodetsky, A.N. Budischev, A.V. Amfiteatrov, B.A. Sadovskoy). In the works of a number of representatives of the critical concept, when the myth of the estate as the promised land is destroyed, another myth is created, a kind of anti-myth of the noble estate, in which the estate world appears as a terrible and mysterious, seized by the forces of fate, depriving the heroes of vital energy, leading them to death, often to death. suicide (B.A. Sadovskoy, S.M. Gorodetsky, S.N. Sergeev-Tsensky).

A peculiar synthesis of idyllic and critical views on the image of a noble estate occurs in the dialectical concept (I.A. Bunin, A.P. Chekhov, N.G. Garin-Mikhailovsky, A. Bely, G.I. Chulkov, S.A. Auslender and etc.). Such modes of artistry as tragic and dramatic find expression in the works of this concept. The artistic world of the estate in the works of the designated concept is based on the dramatic chronotope of the “crossroads”. The works of the dialectical concept reflect the complexity and inconsistency of the estate world; the attitude of writers to the estate can be described as "attraction-repulsion". Along with the poeticization of the estate life and the recognition of the basic values ​​of the noble culture, the authors show the disappearance of the estate into the past. In the works of the dialectical concept, the life of a noble estate is included in the broad context of Russian and world culture. Writers introduce many reminiscences and allusions to Russian and Western European art into their works. The rethinking of cultural traditions leads to the understanding that the golden past of the noble estate has outlived its usefulness, but the moral and aesthetic values ​​of noble culture, which have no replacement, also die with it. Such a view of the noble estate is marked by the stamp of tragedy.

It would be wrong, in our opinion, to talk about the limitations of any of the concepts presented above. Each concept reveals its own sides of a noble estate, makes its own accents, carries its own truth. In the work of the same writer, different views on the image of a noble estate can be combined, forming a multifaceted view of the author on the problem we are considering (A.P. Chekhov, A.N. Tolstoy, G.I. Chulkov, S.A. Auslender). The image of the noble estate as a whole, as a phenomenon of Russian historical reality of the 18th - early 20th centuries, reflected, from our point of view, a common feature of the Russian soul: Russia is “contradictory, antinomic”, and you can know its secret, as N.A. Berdyaev, only immediately recognizing its "terrible inconsistency" (Berdyaev, 1997, p. 228).

At the turn of the XIX - XX centuries, increased attention was paid to the image of the noble estate, as we have shown, by writers of various views, belonging to different literary movements and associations. An analysis of all the main variants of the image of the estate allows us to raise the question of the features of the embodiment of this image within the framework of various artistic movements of the late XIX - early XX centuries: the naturalistic tradition, the realistic tradition, the directions of symbolism, acmeism, writers of the "intermediate type" (Keldysh).

The naturalistic tradition is characterized by a critical attitude towards the image of the Russian noble estate and noble heroes. We refer to the naturalistic tradition such works considered in our work as “The Fire-flower” by A.V. Amfiteatrov and “The Breaks of Love” by A.N. Budischev. Novel

We rank A.V. Amfiteatrov among the designated tradition, in particular, following

V.L. Lvov-Rogachevsky, who noted in the article “A Writer Without Fiction” (1911) the excessive naturalism of the writer’s artistic manner. The image of the noble estate in the named works of A.V. Amfiteatrov and A.N. Budischev is not individualized; in the center of the work is not so much a personal collision, the inner world of the hero, as the capture of a certain social (noble) environment, society as such. The purpose of these works is to study this social group (nobility) using the achievements of advanced science, using scientific terminology (A.V. Amfiteatrov's novel). By the end of the works of these writers, a certain mental illness characteristic of this social group is revealed, and its diagnosis is made. According to A.V. Amfiteatrov and A.N. Budischev, the root of mental deviations of the nobility lies not in socio-historical or existential areas (as happens in the works of realism or modernism), but in the natural laws of nature and human physiology.

The most multifaceted image of the Russian noble estate in the literature of the turn of the 19th - 20th centuries was embodied in the works of the realistic tradition. In the work of realist writers, all the concepts of the noble estate considered by us are reflected: idealizing, critical, dialectical. The attitude of writers to the image of a noble estate is determined, in our opinion, both by the problems sharpened in the work, by the tasks that the author sets himself, by the time and place of writing the work, and by the creative individuality of the author. The artistic interpretation of the image of a noble estate by writers of the realistic tradition reflected the main features of realism at the beginning of the 20th century. The sharpening of socio-historical problems in the image of a noble estate is combined with problems of a universal, substantial nature (D.V. Grigorovich, N.G. Garin-Mikhailovsky, I.A. Bunin, A.N. Tolstoy, S.N. Sergeev-Tsensky ). The widespread use of subject matter, a certain determinism of the character by the historical situation is complemented by an appeal to the poetics of other directions (the use of symbolism, impressionistic imagery, the strengthening of the lyrical beginning).

A new, although largely prepared by Russian culture and literature of past centuries, comprehension of the noble estate takes place in the work of symbolist writers. In their works, the image of a noble estate is largely deprived of concrete historical content and becomes a deep philosophically loaded symbol. Thus, in A. Bely's novels "Silver Dove" and "Petersburg", the image of a noble estate is considered by the author in connection with the problem of the collision of the west and east in Russia, as well as with the problem of confrontation in the culture of the Dionysian and Apollonian principles. In the works of the mystical symbolist G.I. Chulkov, a noble estate becomes a special model of the universe, which has its own internal laws and has its own life, different from other worlds. The main essence of this world is, from the point of view of G.I. Chulkov, the indissoluble unity in it of the life of the past and the present - not only of noble culture, but of the entire human race.

The image of a noble estate as a model of the universe is also vividly represented in the works of such a symbolist as I.A. Novikov. In contrast to the works of A. Bely and G. I. Chulkov, in which the spirit of destruction and gradual fading wafts over the image of a noble estate, characteristic of the work of I. A. Novikov is the idea of ​​a noble estate as a special harmoniously arranged world. In the noble estate of I.A. Novikov, the fullness of being with its joys and sufferings, dreams and reality, gains and losses, meetings and partings, where the human soul can develop harmoniously and holistically, is embodied. It is in such a world, which is the image of a noble estate in the works of the writer, that the basic essential laws of the world order can be fully embodied.

The artistic interpretation of the image of a noble estate acquires its own characteristics in the work of acmeists. The principles of acmeism find expression, in our opinion, in such works considered in our work as "Dreamers" (1912), "The Deceased in the House" (1913) by M.A. Kuzmin and "The Terrible Manor" (1913) by S.M. Gorodetsky. In understanding the image of a noble estate, for M.A. Kuzmin and S. M. Gorodetsky, as well as for the symbolists, the socio-historical issues that are important for realists are insignificant. Unlike the works of symbolists and realists, in the works of M.A. Kuzmin and S. M. Gorodetsky indicated above, there is no symbolization of the image of a noble estate (“A = A”). As acmeists, M.A. Kuzmin and S.M. Gorodetsky are more interested in the aesthetic and cultural content of the image we are considering. Descriptions of the manor park, halls and furnishings of the manor house serve as aesthetic signs of the outgoing era of "noble nests".

M.A. Kuzmin and S. M. Gorodetsky are united by a negative attitude towards the image of a noble estate. In the images of noble heroes, writers, as a negative, emphasize detachment from real life reality, illusory nature, addiction to dreams, passion for theosophy, occult sciences, and magic. All this, from the point of view of M.A. Kuzmin and S.M. Gorodetsky, takes the heroes away from real life and deprives them of the joy of being. This position of M.A. Kuzmin and

S.M. Gorodetsky is different from the opinion of the Symbolists, who see the only possibility for their harmonious existence in the world in the possession of noble heroes of secret spiritual knowledge and skills (F.K. Sologub, G.I. Chulkov). In the works of M.A. Kuzmin and S.M. Gorodetsky, the image of a noble estate, saturated with an atmosphere of mystery, fatal predestination, the relationship between the world of the dead and the world of the living, is opposed to real life with its freedom, beauty, and joy. The exit (more precisely, the escape) of the heroes from the estate (or the estate-dacha) is equated in the works of writers with the return from death to life (“Deceased in the House” by M.A. Kuzmin, “Terrible Manor” by S.M. Gorodetsky).

The image of a noble estate is also embodied in the works of writers of the “intermediate type” (Keldysh), namely in the prose of B.K. Zaitsev. In various works of the writer, both an idyllic (“Dawn”) and a dialectical (“Far Territory”) view of the Russian noble estate were reflected. The works of B.K. Zaitsev are characterized by the symbolization and mythologization of the image of a noble estate, which in the writer’s artistic system is associated with the image of Eden, the Garden of Eden, the Promised Land, the original womb of the existence of the human soul. A significant role in shaping the image of a noble estate in the prose of B.K. Zaitsev is played by the category of culture. The world of the noble estate of B.K. Zaitsev reflects the spiritual potential of Russian and world culture, the relationship with which is constantly felt in the way of thinking and behavior of the writer's noble heroes.

In the image of a noble estate in Russian prose of the late 19th - early 20th centuries, in our opinion, the main processes characteristic of the historical and philosophical life of Russia in the era of change were reflected. A change in lifestyle, paradigms of thinking, a change in the traditional role of classes in the history of Russia, attitudes towards tradition, a change in the code of values ​​- all this is reflected in the image of a noble estate. The analysis of the concepts of the estate highlighted in the dissertation testifies to the actualization for Russian society at the turn of the 19th - 20th centuries, along with the socio-historical problems of the complex internal nature of man, the role of the irrational in man, the relationship between social and metaphysical principles, personality and collective, the problem of cosmism. Being largely correlated with the literary tradition of the 19th century, the image of a noble estate at the turn of the century significantly changes its nature: the concrete historical content of this image is supplemented by the universal one.

In Russian prose of the late 19th - early 20th centuries, in the works of the idealizing and dialectical concept of a noble estate, moral and aesthetic values ​​\u200b\u200bthat are inherent both in Russian culture as a whole and unique, characteristic only of a noble estate, were concentrated. The ideas of the House as the eternal abode of the human soul, the unity of earthly and heavenly being, the freedom and value of the individual, harmony with the universe, a deep relationship with all living things, continuity and Memory - tribal and cultural were correlated with the image of the noble estate. But an irreversible vector of the historical path of Russia is also fixed, which enters into dialectical relations with these values.

After the revolution of 1917, the moral and aesthetic foundations of the life of a noble estate fell into disgrace. The fate of the noble estate in the Soviet era is well known: the eviction, arrests and murders of former estate owners, the destruction of estates, their use as a place of rest for the new government elite, and the like. The debunking of the noble estate and its moral and aesthetic norms became a form of class struggle, a way to establish a new ideology. However, the understanding of the estate in Russian prose at the turn of the 19th and 20th centuries had, in our opinion, a significant impact on the further development of both Soviet literature and, of course, the literature of Russian abroad.

In the literature of the first wave of Russian emigration, the idealizing concept of a noble estate is most developed. Away from Russia, the myth of the estate as the promised land, the primary source of being (I.A. Bunin, B.K. Zaitsev, V.V. Nabokov, P.N. Krasnov) is finally formed. The organizing motives of this myth are the motives of childhood as the childhood of being, morning as the morning of being, creativity (through creativity, connection and connection with the Creator of the world), ancestral continuity, lost paradise, which are partly characteristic of the works of the idealizing concept in the prose of the early 20th century. In the manor myth, the theme of creativity declares itself brighter than before. Creativity is associated by its nature with the primary source of being, in which it receives its beginning and life impulse; through creativity, the Creator reveals Himself to the artist (I.A. Bunin, B.K. Zaitsev). The image of a noble estate is similar in its semantics to the image of Russia. The estate and Russia are equally associated with the feeling of silence, with the images of mother and birch, and most importantly, they merge in the image of the lost and desecrated Motherland. Russia and the estate remain in the past, they live only in the soul; and since the soul breathes eternity, the past acquires immortality (I.A. Bunin, B.K. Zaitsev, I.S. Shmelev).

As for Russian literature of the 20th century proper, the artistic model of the critical concept of the noble estate left a big mark on it. A critical look at the values ​​of the noble estate contributed to the emergence of a new positive hero in literature, which was formed according to the logic of direct repulsion from the hero of the noble estate, in a direct dispute with him. This dispute constantly reminds us of the old hero, does not let us forget about him. A noble hero, possessing internal complexity, inconsistency, striving to resolve many existential issues (which we showed when considering the works of an idealizing and dialectical concept), is perceived as a class enemy and is emphatically replaced by a hero of proletarian origin, devoid of spiritual reflection and possessing such qualities as immutability , certainty, straightforwardness (Sinyavsky, 1990, p.59-60). The image of the new hero poeticizes blind devotion to the idea of ​​a complete rejection of the past, selflessness, readiness to "lay down one's life" for the working class; such a hero appreciates the idea more than a person, prefers the general to the individual (D. Furmanov, A. Serafimovich, A. Fadeev, N. Ostrovsky). Personal values ​​in the literature of socialist realism are replaced by collective values. The main criterion for evaluating a hero is not his spiritual essence, but his ideological position (F. Gladkov, V. Kochetov). There is a rejection of such important categories for the noble estate as ancestral memory and love as the main meaning of life. The whole existence of heroes is directed towards the construction of a bright future, comprehended in the doctrine of Soviet ideology. In the 1930s, this feature finds a vivid expression in the development of the so-called "industrial prose"; instead of a secluded “corner” of a noble estate, the world space bursts into fiction, united by the revolution and the construction of a new life (F. Gladkov, F. Panferov, M. Shaginyan, V. Kataev, N. Ostrovsky).

However, the model of the idealizing concept of a noble estate did not remain unaccepted by Russian literature of the 20th century. Moral and aesthetic criteria for assessing personality and way of life, marked by an idealizing concept, are especially recognizable in the works of M. Bulgakov "The White Guard", "Days of the Turbins" and B. Pasternak "Doctor Zhivago" (the value of the family, personality, a certain cultural and psychological warehouse) . But, paradoxically, traces of the named concept of a noble estate can be found, in our opinion, in the literature of socialist realism. We see them in the actualization of the spiritual aspect of love, the ideals of friendship, loyalty and devotion to a person, word, Motherland (F. Gladkov, A. Kaverin, B. Lavrenyov, A. Arbuzov, A. Fadeev, A. Tvardovsky, B. Polevoy and others .). The values ​​of the idealizing concept of a noble estate are also manifested in the significance of childhood in a person’s life (although different from the childhood of noble heroes), the phenomenon of the family, which, although polemical to the ideal of a noble family and has completely different social roots (worker dynasties), plays an important role. role in the artistic systems of a number of writers (V. Kochetov). Moral and aesthetic aspects, marked by the idealizing concept of a noble estate, are also recognizable in the sharpening of the problem of the relationship between man and nature, preserving the beauty and harmony of the world order (L. Leonov).

In Russian literature of the 20th century, there was, in addition, a third trend, genetically linked, in our opinion, with the dialectical concept of a noble estate. This trend is characterized by a certain synthetism, which finds expression, in particular, in the prose of A. Platonov. A. Platonov, on the one hand, repels the noble culture. His hero is a man from the people, accepting the revolution, possessing, in comparison with the hero of a noble estate, a completely different social experience, other ideals. But, on the other hand, for A. Platonov, it is very important to understand the complexity of the inner world of a person, the rejection of herding, the search for beauty. With all the striving of the Platonic hero towards the new world, he cannot go to it without recourse to memory. It is the memories of childhood, although different from childhood in a noble estate, that become the key to comprehending the world for the protagonist of Platonov's Chevengur.

In Russian literature of the 1960s and 1970s, the moral code of the noble estate, its values ​​and priorities are being resurrected only in the lives of people of a different social status: the intelligentsia, the peasantry. Writers sharpen the problem of human degradation, loss of life values ​​and foundations; there is a desire to preserve, remember, restore, return the desecrated, forgotten, lost, lost (M. Prishvin, “lieutenant prose”, K. Paustovsky, V. Shukshin, S. Zalygin, Yu. Trifonov, A. G. Bitov).

In fiction, in particular, the motive of the lost home appears (Yu. Trifonov), the problem of preserving the individual, individuality in the world of collectivism and socialist transformations is emphasized (V. Tendryakov). Often the reason for the loss of one's own "I" is associated in the literature of the 1960s-1970s with the loss of memory, without which, from the point of view of writers, there can be no real, real life (Yu. Trifonov).

In the noted period in Russian literature, the view of such concepts as the nobility and aristocracy is changing. The nobility is comprehended by writers and poets not as a social status, but as spirituality, intelligence; it is in the spiritual sphere (love, friendship) that the priorities of the poets of the 60s (B. Okudzhava, B. Akhmadulina, N. Matveeva, Yu. Moritz) lie. The theme of the intelligentsia in fiction is associated with the problem of a person's moral choice, preservation of memory, relationships between fathers and children, fidelity, purity of friendship and love (Y. Trifonov, A. Bitov, D. Granin, B. Okudzhava, B. Akhmadulina).

In Russian prose of the 1970s-1990s, the problems of the deformation of society, disrespect for man, the cruelty of the modern world and the loneliness of man in it are sharpened; writers oppose the moral, spiritual impoverishment of the individual, stand up for the revival of its inner wealth, for the restoration of the system of moral values, which are directly related, in our opinion, to the moral and aesthetic code of the noble estate (L. Petrushevskaya, V. Tokareva, T. Tolstaya, Yu. Dombrovsky, V. Makanin).

In the literature of the 1990s-2000s, the motif of childhood, characteristic of the works of the dialectical concept of a noble estate, reappears as a paradise, legendary existence - irretrievably lost, however (V. Lorchenkov).

The departure after the revolution from Russian literature and culture of the image of a noble estate as the main symbol of the promised land led to the need to form a replacement for it. On the one hand, as the image of paradise in the literature of the Soviet period, a kind of vague future was seen, to which all the positive heroes of "socialist realism" were striving. On the other hand, in the 1970s, the functions of the promised land were assumed by the image of the village, which is reflected in the “village prose” (V. Rasputin, V. Astafiev, V. Belov, F. Abramov).

The images of the noble estate and the village are brought together by the priority of memory in the lives of heroes, their unity with nature, and their relationship to time. In the works of the idealizing concept, we noted such a feature of the estate time as measured, unhurried, cyclical nature, which, according to the writers, was a way of resisting the rapidly changing world and preserving one's individuality and trace in it. A similar attitude to time is also characteristic of the heroes of “village prose”, in which a measured, calm, thoughtful village existence, which allows one to save one’s soul, is opposed to the accelerated, subordinate technology of city life, where a person in a hurry has no time to think about his spiritual foundation.

However, there are significant differences between the images of the noble estate and the village. If, as we noted in the first chapter, the space of a noble estate in Russian prose of the turn of the 19th - 20th centuries is characterized by simultaneous introversion and extroversion, self-direction and at the same time a deep relationship with the entire universe, which makes the estate a receptacle not only for the ancestral, but also general cultural memory, then the idyllic space of the village turns out to be self-sufficient, separated from the surrounding world, essentially not connected with it (“Farewell to Matyora” by V. Rasputin).

The difference between the image of a village and a noble estate indicates that an equivalent replacement in Russian literature and culture of one symbol of the promised land by another did not happen. According to V.G. Shchukin, the functions of a noble estate in Russian fiction of the 20th century are finally taken over by a dacha (Shchukin, 1997, p. 212). However, we allow ourselves to disagree with this opinion. In our opinion, between the noble estate and the dacha in the fiction of both the 19th and 20th centuries, there were and there are many differences, the main of which is again the connection of the image of the estate, in contrast to the dacha, with ancestral and cultural memory, which makes the human personality protected from all the vicissitudes and cataclysms of world history.

Today, the life of a noble estate is moving farther and farther away from us, and with it the moral and aesthetic values ​​\u200b\u200bthat it kept in itself are gone and forgotten. However, these values ​​are necessary for the further full existence of both each of us individually, and for the revival and development of the entire Russian culture. The problem of loss of memory, one's own "I", one's roots and life foundations has not weakened in recent decades, but has become even more acute and relevant. And, apparently, in order to somehow solve the problems that confront us, we need to turn our faces to history, remember, peer into it, see its true undistorted image, and only in deep relationship with it move on, because, according to M.I .Gefter, “it is still a delusion that the future is always ahead. In fact, people, peoples, civilizations have long moved forward with their backs, facing the same thing that is without return and without oblivion. And now, especially now, the future in the demiurges has a memory” (Gefter, 1996, p. 80).

And the Russian estate in the literature of the late XIX - early XX centuries reminds us of this.

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