The article is about the comparative analysis of the tragedy by Shakespeare and of Turgenev's story A Lear of the Steppes. During all his life and creative work, Turgenev was occupied with research, understanding and popularization of Shakespeare's discoveries in the study of human nature. Shakespeare's belief in the human being organically combined with his own humanistic principles. Creating a story with an evident orientation toward the English dramatist's tragedy, Turgenev included elements in its structure which would designate moments of artistic rapprochement. This arrangement developed at the levels of the genre, the plot, the conflict, the characters' images and the space. However, the writer did not see the problem of a literal reproduction of the form and content of Lear: it would have meant an intolerable simplification of the artistic conception. Shakespeare's experience did not hide the problem of the understanding of national material from Turgenev but served as a significant reference point in modeling the tragic tempers and images. The accent on Shakespeare's figurativeness, the author already expressed in the title, later shows in the exposition where a reader can see six persons sitting in the house of their old fellow student one winter evening who are speaking about Shakespeare's types. Before starting to talk about King Lear, each of them names one character they have met in reality: Hamlet, Othello, Falstaff, Richard III and Macbeth. The list of the names does not remain a simple mention: certain moments of all these types or particular details of the works are represented in the further narration. From separate Shakespeare's insertions Turgenev goes to the modeling of particular artistic images which show their specificity in the material of the usual Russian reality. Making the story on the artistic basis of Shakespeare's tragedy, Turgenev tries the roles of the tragedy characters on his own ones. The author puts a representative of a specific national world who has a strong temper and the might of a boundless power in the center of the dramatic action. The representative is Martin Harlov, a steppe landowner who fairly aspires to the role of the proud monarch. The writer makes almost all characters participate in the large-scale drama. The writer gives everyone their own individuality and independence, and determines their important (laden with a particular meaning) place in the tragic history.