Ivan Sergeevich Turgenev made an invaluable contribution to the development of Russian and world literature. His works excited society, raised new topics, presented new heroes of the time. Turgenev became the ideal for a whole generation of novice writers of the 60s of the 19th century. In his works, the Russian language sounded with renewed vigor, he continued the traditions of Pushkin and Gogol, raising Russian prose to an unprecedented height.
Ivan Sergeevich Turgenev is honored in Russia, in his hometown Orel created a museum dedicated to the life of the writer, and the Spasskoe-Lutovinovo estate became a famous place of pilgrimage for connoisseurs of Russian literature and culture.
Ivan Sergeevich Turgenev was born in Orel in 1818. The Turgenev family was well off and well-born, but little Nikolai did not see real happiness. His parent, the owner of a large fortune and vast lands in the Oryol province, was wayward, cruel towards the serfs. The pictures taken away by Turgenev in childhood left a mark on the writer's soul, made him an ardent fighter against Russian slavery. The mother became the prototype of the image of the elderly lady in the famous story "Mumu".
The father was on military service, had a good upbringing, refined manners. He was well-born, but rather poor. Perhaps this fact made him connect his life with Turgenev's mother. Soon the parents separated.
The family had two children, boys. The brothers received a good education. Life in Spassky-Lutovinovo, the estate of his mother, had a great influence on Ivan Turgenev. Here he met folk culture, communicated with the serfs.
Education
Moscow University - the young man Turgenev entered here in 1934. But after the first year, the future writer became disillusioned with the learning process and teachers. He transferred to St. Petersburg University, but even there he did not find a sufficiently high level of teaching. So he went abroad to Germany. A German university attracted him with a philosophy program that included Hegel's theories.
Turgenev became one of the most educated people of his time. The first attempts at writing belong to this period. He acted as a poet. But the first poems were imitative, did not attract the attention of society.
After graduating from university, Turgenev came to Russia. He entered the Department of the Interior in 1843, hoping that he could contribute to the speedy abolition of serfdom. But he was soon disappointed public service did not welcome the initiative, and the blind execution of orders did not attract him ..
Turgenev's social circle abroad included the founder of the national revolutionary idea, M.A. Bakunin, and representatives of progressive Russian thought N.V. Stankevich and T.N. Granovsky.
Creation
The forties of the nineteenth century forced others to pay attention to Turgenev. The main direction at this stage: naturalism, the author carefully, with maximum accuracy, describes the character through the details, way of life, life. He believed that social position was brought up
The most important works of this period:
- "Parash".
- "Andrey and the landowner".
- "Three portraits".
- "Recklessness".
Turgenev became close to the Sovremennik magazine. His first prose experiments were positively evaluated by Belinsky, the main literary critic 19th century. It became a ticket to the world of literature.
Since 1847, Turgenev began to create one of the most striking works of literature - "Notes of a Hunter". The first story in this cycle was "Khor and Kalinich". Turgenev became the first writer to change his attitude towards the enslaved peasant. Talent, individuality, spiritual height - these qualities made the Russian people beautiful in the eyes of the author. At the same time, the heavy burden of slavery destroys the best forces. The book "Notes of a Hunter" received a negative assessment from the government. Since then, the attitude of the authorities towards Turgenev was wary.
Eternal love
The main story of Turgenev's life is his love for Pauline Viardot. french Opera singer won his heart. But being married, she could make him happy. Turgenev followed her family, lived nearby. He spent most of his life abroad. Homesickness accompanied him until his last days, clearly expressed in the cycle of "Poems in Prose".
civil position
Turgenev was one of the first to raise the problems of modernity in his work. He analyzed the image of the advanced man of his time, covered the most important issues that excited society. Each of his novels became an event and the subject of furious discussion:
- "Fathers and Sons".
- "New".
- "Fog".
- "The day before".
- "Rudin".
Turgenev did not become an adherent of revolutionary ideology, he was critical of new trends in society. He considered it a mistake to want to break everything old in order to build new world. Eternal ideals were dear to him. As a result, there was a break in his relationship with Sovremennik.
One of the important facets of the writer's talent is lyricism. His works are characterized by a detailed depiction of feelings, the psychology of the characters. Descriptions of nature are filled with love and understanding of the dim beauty of Russia in the middle zone.
Every year Turgenev came to Russia, his main route was St. Petersburg - Moscow - Spasskoe. Last year life became painful for Turgenev. A serious illness, a sarcoma of the spine, for a long time brought him terrible torment and became an obstacle to visiting his homeland. The writer died in 1883.
Already during his lifetime, he was recognized as the best writer in Russia, his works were reprinted in different countries. In 2018, the country will celebrate the 200th anniversary of the birth of the remarkable Russian writer.
1818 , October 28 (November 9) - was born in Orel in a noble family. He spent his childhood in the family estate of his mother, Spasskoe-Lutovinovo, Oryol province.
1822–1823 - a trip abroad for the whole Turgenev family along the route: with. Spasskoye, Moscow, St. Petersburg, Narva, Riga, Memel, Koenigsberg, Berlin, Dresden, Karlsbad, Augsburg, Konstanz, ... Kiev, Orel, Mtsensk. The Turgenevs lived in Paris for six months.
1827 - The Turgenevs move to Moscow, where they acquire a house on Samoteka. Ivan Turgenev is placed in the Weidenhammer boarding house, where he stayed for about two years.
1829
, August - Ivan and Nikolai Turgenev are placed in the boarding house of the Armenian Institute.
november- Ivan Turgenev leaves the boarding school and continues his training with home teachers - Pogorelov, Dubensky, Klyushnikov.
1833–1837 - studies at the Moscow (language faculty) and St. Petersburg (philological department of the philosophical faculty) universities.
1834 , December - finishes work on the poem "Steno".
1836
, April 19 (May 1) - attends the first performance of The Inspector General in St. Petersburg.
The end of the year- submits the poem "The Wall" for consideration by P. A. Pletnev. After a condescending response, he gives him a few more poems.
1837 - A. V. Nikitenko sends his literary works: "Wall", "The Old Man's Tale", "Our Century". He reports that he has three completed short poems: “Calm at Sea”, “Phantasmagoria on a Midsummer Night”, “Dream” and about a hundred small poems.
1838
, beginning of April - the book is published. I of Sovremennik, in it: the poem "Evening" (signature: "---v").
May 15 (27)- went abroad on the steamer "Nikolai". E. Tyutcheva, the first wife of the poet F.I. Tyutchev, P. A. Vyazemsky and D. Rosen left on the same ship.
Early October- the book comes out. 4 of Sovremennik, in it: the poem "To the Venus of Medicine" (signed "---v").
1838–1841 - studies at the University of Berlin.
1883 , August 22 (September 3) - died in Bougival near Paris, was buried at the Volkov cemetery in St. Petersburg.
Ivan Turgenev (1818-1883) is a world-famous Russian prose writer, poet, playwright, critic, memoirist and translator of the 19th century, recognized as a classic of world literature. He wrote many outstanding works that have become literary classics, the reading of which is mandatory for school and university curricula.
Born Ivan Sergeevich Turgenev from the city of Orel, where he was born on November 9, 1818 in a noble family in the family estate of his mother. Sergei Nikolaevich, father - a retired hussar, who served before the birth of his son in a cuirassier regiment, Varvara Petrovna, mother - a representative of an old noble family. In addition to Ivan, there was another eldest son Nikolai in the family, the childhood of the little Turgenevs passed under the vigilant supervision of numerous servants and under the influence of their mother's rather heavy and unbending temper. Although mother was distinguished by her special dominance and severity of temper, she was known as a rather educated and enlightened woman, it was she who interested her children in science and fiction.
At first, the boys were educated at home, after the family moved to the capital, they continued their studies with local teachers. Then follows a new turn in the fate of the Turgenev family - a trip and subsequent life abroad, where Ivan Turgenev lives and is brought up in several prestigious boarding houses. Upon arrival at home (1833), at the age of fifteen, he entered the Faculty of Literature of the Moscow state university. After the eldest son Nikolai becomes a guards cavalryman, the family moves to St. Petersburg and the younger Ivan becomes a student of the philosophical faculty of a local university. In 1834, the first poetic lines appeared from the pen of Turgenev, imbued with the spirit of romanticism (a trendy trend at that time). Poetic lyrics were appreciated by his teacher and mentor Pyotr Pletnev (a close friend of A. S. Pushkin).
After graduating from St. Petersburg University in 1837, Turgenev left to continue his studies abroad, where he attended lectures and seminars at the University of Berlin, traveling in parallel across Europe. Returning to Moscow and successfully passing the master's exams, Turgenev hopes to become a professor at Moscow University, but due to the abolition of philosophy departments in all Russian universities, this desire will not come true. At that time, Turgenev was becoming more and more interested in literature, several of his poems were published in the newspaper " Domestic notes", Spring 1843 - the time of the appearance of his first small book, where the poem "Parasha" was printed.
In 1843, at the insistence of his mother, he becomes an official in the "special office" at the Ministry of the Interior and serves there for two years, then retires. The imperious and ambitious mother, dissatisfied with the fact that her son did not live up to her hopes both in career and personal terms (he did not find a worthy party for himself, and even had an illegitimate daughter Pelageya from a seamstress), refuses to support him and Turgenev has to live from hand to mouth and get into debt.
Acquaintance with the famous critic Belinsky turned Turgenev's work towards realism, and he began to write poetic and ironic moral poems, critical articles and stories.
In 1847, Turgenev brought the story “Khor and Kalinich” to the Sovremennik magazine, which Nekrasov prints with the subtitle “From the Notes of a Hunter”, this is how the real story begins. literary activity Turgenev. In 1847, because of his love for the singer Pauline Viardot (he met her in 1843 in St. Petersburg, where she came on tour), he left Russia for a long time and lived first in Germany, then in France. During his life abroad, several dramatic plays were written: "Freeloader", "Bachelor", "A Month in the Country", "Provincial Girl".
In 1850, the writer returned to Moscow, worked as a critic in the Sovremennik magazine, and in 1852 published a book of his essays called Notes of a Hunter. At the same time, impressed by the death of Nikolai Vasilievich Gogol, he wrote and published an obituary, officially banned by the tsarist caesura. This is followed by an arrest for one month, deportation to the family estate without the right to leave the Oryol province, a ban on traveling abroad (until 1856). During the exile, the story "Mumu", "Inn", "Diary extra person”,“ Yakov Pasynkov ”,“ Correspondence ”, novel“ Rudin ”(1855).
After the end of the ban on traveling abroad, Turgenev leaves the country and lives in Europe for two years. In 1858, he returned to his homeland and published his story "Asya", around which critics immediately flared up heated debates and disputes. Then comes the novel Noble Nest"(1859), 1860 - "On the Eve". After that, there is a break between Turgenev and such radical writers as Nekrasov and Dobrolyubov, a quarrel with Leo Tolstoy and even the challenge of the latter to a duel, which eventually ended in peace. February 1862 - printing of the novel "Fathers and Sons", in which the author showed the tragedy of the growing conflict of generations in the context of a growing social crisis.
From 1863 to 1883, Turgenev lives first with the Viardot family in Baden-Baden, then in Paris, never ceasing to be interested in the events taking place in Russia and acting as a kind of mediator between Western European and Russian writers. During his life abroad, the “Notes of a Hunter” were supplemented, the novels “The Hours”, “Punin and Baburin”, the largest of all his novels “Nov”, were written.
Together with Victor Hugo Turgenev was elected co-chairman of the First International Congress of Writers, held in Paris in 1878, in 1879 the writer was elected an honorary doctor of the oldest university in England - Oxford. In his declining years, Turgenevsky did not cease to engage in literary activity, and a few months before his death, "Poems in Prose" were published, prose fragments and miniatures distinguished by a high degree of lyricism.
Turgenev dies in August 1883 from a serious illness in the French Bougival (a suburb of Paris). In accordance with the last will of the deceased, recorded in his will, his body was transported to Russia and buried at the Volkovo cemetery in St. Petersburg.
Books to read
Screen adaptation of the classics
Biography of the writer
Turgenev Ivan Sergeevich (1818-1883) - prose writer, poet, playwright. Ivan Sergeyevich Turgenev was born in Orel in 1818. Soon the Turgenev family moved to Spasskoe-Lutovinovo, which became the poetic cradle of the future famous writer. In Spassky, Turgenev learned to deeply love and feel nature. He was not yet fifteen years old when he entered Moscow University in the verbal department. Turgenev did not study at Moscow University for long: his parents transferred him to the philosophical department of St. Petersburg University. After graduating, he went to Germany to complete his education, and in 1842 he returned from abroad. Having passed the exam in philosophy, he wanted to become a professor, but at that time all the departments of philosophy were closed in Russia. In 1843, Turgenev's literary activity begins. His poem "Parasha" came out, which he showed criticism to V. G. Belinsky, and this began a friendship between them. In 1847, Turgenev's essay "Khor and Kalinich" was published in Sovremennik, which immediately attracted the reader's attention. In 1852, Notes of a Hunter were published as a separate book, which can be called an artistic chronicle of Russian folk life because they reflect the thoughts of the people, and the grief of the peasants, and various forms of protest against the exploiting landowners. Turgenev achieves the greatest depth of generalization in the depiction of the "humane landowner" Arkady Pavlovich Penochkin ("Burgeon"). This is a liberal who claims to be educated and cultured, imitating everything Western European, but behind this ostentatious culture lies a “bastard with fine manners,” as V. G. Belinsky aptly said about him. In "Notes of a Hunter", and later in stories, novels, short stories, Turgenev portrays simple peasants with deep sympathy. He shows that in conditions of serf oppression and poverty, the peasants are able to preserve human dignity, faith in better life. In many of his works, Turgenev shows the inhumanity of the feudal landlords, the slavish position of the peasants. One of these works is the story "Mumu", written in 1852. The range of Turgenev's creativity is extraordinarily wide. He writes stories, plays, novels, in which he illuminates the life of various strata of Russian society. In the novel "Rudin", written in 1855, its characters belong to that galaxy of intellectuals who were fond of philosophy and dreamed of a bright future for Russia, but practically could not do anything for this future. In 1859, the novel "The Nest of Nobles" was published, which was a huge and universal success. In the 1950s and 1960s, people of action came to replace Rudin and Lavretsky. Turgenev captured them in the images of Insarov and Bazarov (the novels “On the Eve” (1860), “Fathers and Sons” (1862), showing their mental and moral superiority over representatives of the noble intelligentsia. Yevgeny Bazarov is a typical democrat-raznochinets, a naturalist-materialist, a fighter for the enlightenment of the people, for the liberation of science from moldy traditions.In the 70s, when populism entered the public arena, Turgenev published the novel Nov, whose characters represent various types of populism.Turgenev created a whole gallery of images of charming Russian women - from peasant women Akulina and Lukerya ("Date", "Living Powers") to the revolutionary-minded girl from "The Threshold".The charm of Turgenev's heroines, despite the difference in their psychological types, lies in the fact that their characters are revealed at the moments of manifestation of the most noble feelings, that their love is portrayed as sublime, pure, ideal.Turgenev is an unsurpassed master of landscape.Pictures of nature in his works are distinguished by concreteness, reality, and visibility. The author describes nature not as a dispassionate observer; he clearly and clearly expresses his attitude towards her. In the late 70s - early 80s, Turgenev wrote the cycle "Poems in Prose". These are lyrical miniatures written in the form of either philosophical and psychological reflections or elegiac memoirs. The social content of Turgenev's works, the depth of the depiction of human characters in them, the magnificent description of nature - all this excites the modern reader.Analysis of creativity and ideological and artistic originality of works
Ivan Sergeevich TURGENEV (1818–1883)
The work of I.S. Turgenev is a striking phenomenon not only in the history of Russian literature, but also in the history of social thought. The writer's works have always caused a strong reaction in society. The novel "Fathers and Sons" "provoked" such a controversy in criticism, the like of which is difficult to find in the history of Russian social thought. The writer in each new work responded to the social life of his time. keen interest in topical issues modernity - a typological characteristic of Turgenev's realism.
N. Dobrolyubov, noting this feature of Turgenev's work, wrote in the article “When will the real day come?”: “A lively attitude to modernity has strengthened Turgenev's constant success with the reading public. We can safely say that if Turgenev raised any issue in his story, if he depicted some new side of social relations, this serves as a guarantee that this issue is being raised or will soon be raised in the minds of an educated society, that this new side. .. will soon speak out before the eyes of everyone.”
With such a "live" connection with time, the peculiarities of the writer's worldview and political views played an important role.
manifested themselves in the artistic types he created of the “extra person” (Rudin, Lavretsky), the “new person” (Insarov, Bazarov), the “Turgenev girl” (Lisa Kalitina, Natalya Lasunskaya).
Turgenev belonged to the camp of liberal nobles. The writer took a consistent anti-serf position, hated despotism. Proximity in the 40s to Belinsky and Nekrasov, cooperation in the 50s with the Sovremennik magazine contributed to his convergence with the advanced social ideology. However, fundamental differences in the question of ways to change life (he categorically denied the revolution and relied on reform from above) led Turgenev to break with Chernyshevsky and Dobrolyubov, leaving the Sovremennik magazine. The reason for the split in Sovremennik was Dobrolyubov’s article “When will the real day come?” about Turgenev's novel "On the Eve". The bold revolutionary conclusions of the critic frightened Turgenev. In 1879, he wrote about his political and ideological predilections: “I have always been and still remain a “gradualist”, a liberal of the old cut in the English dynastic sense, a person who expects reforms only from above, a principled opponent of the revolution.
Today's reader, to a lesser extent than the writer's contemporaries, is concerned about the political sharpness of his works. Turgenev is of interest to us primarily as a realist artist who contributed to the development of Russian literature. Turgenev strove for fidelity and completeness of the reflection of reality. At the heart of his aesthetics lay the demand for the "reality of life", he strove, in his own words, "to the best of my strength and skill, conscientiously and impartially portray and embody in the proper types and what Shakespeare calls "the very image and pressure of time", and that rapidly changing physiognomy of the Russian people of the cultural layer, which mainly served as the subject of my observations. He created his own style, his own manner of narration, in which brevity, brevity of presentation did not contradict the reflection of complex conflicts and characters.
Turgenev's work developed under the influence of Pushkin's discoveries in prose. The poetics of Turgenev's prose was distinguished by an emphasis on objectivity, on the literary nature of the language, on a concise, expressive psychological analysis using the technique of silence. An important role in his works is played by everyday background, given in expressive and concise sketches. Turgenev's landscape is a universally recognized artistic discovery of Russian realism. The lyrical Turgenev landscape, estate poetry with motifs of the withering of "noble nests" influenced the work of writers of the 20th century - I. Bunin, B. Zaitsev.
The ability to respond to a topic relevant to the era, the ability to create a psychologically reliable character, the lyricism of the narrative manner and the purity of the language are the main features of Turgenev's realism. Turgenev's meaning goes beyond national writer. He was a kind of mediator between Russian and Western European culture. Since 1856, he almost constantly lived abroad (this is how the circumstances of his personal life developed), which did not in the least prevent him, as already emphasized, from being in the thick of events in Russian life. He actively promoted Russian literature in the West, and in Russia - European. In 1878 he was elected Vice-President of the International Literary Congress in Paris, and in 1879 Oxford University awarded him the degree of Doctor of Common Law. At the end of his life, Turgenev wrote a prose poem "The Russian Language", which expresses the strength of his love for Russia and faith in the spiritual power of the people.
The creative path of I.S. Turgenev essentially began with the publication in the journal Sovremennik in 1847 of the story “Khor and Kalinich”. Although until that time he wrote poetry and poems in a romantic spirit (“Evening”, “Steno”, “Parasha”), novels and short stories (“Andrey Kolosov”, “Three Portraits”), only this publication marked the birth of the writer Turgenev.
For my long life in literature, Turgenev created significant works in various genres of the epic kind. In addition to the aforementioned anti-serf stories, he became the author of the stories “Asya”, “First Love”, etc., united by the theme of the fate of the noble intelligentsia, and social novels"Rudin", "Noble Nest", etc.
Turgenev left a mark on Russian dramaturgy. His plays "To the Breadmaker", "A Month in the Country" are still included in the repertoire of our theaters. At the end of his life, he turned to a new genre for himself and created the cycle “Poems in Prose”.
The title of Turgenev's novel has nothing to do with the opposition of the characters in terms of family and age. In the novel, the ideological struggle of the era is artistically comprehended: the antagonism of the positions of liberal nobles (“fathers”) and raznochintsi-democrats (“children”).
As far back as 1859, Dobrolyubov, reflecting on the social situation in Russia, ironically characterized the generation of the forties as "a wise lot of older people ... with high, but somewhat abstract aspirations." “When we say “older,” noted a democratic critic, “everywhere we mean people who have outlived their youthful strength and are no longer able to understand the modern movement and the needs of the new time; such people are found even between twenty-five years. In the same place, Dobrolyubov also reflects on the representatives of the “new” generation. They refuse to worship lofty but abstract principles. “Their final goal is not perfect slavish fidelity to abstract higher ideas, but bringing “the greatest possible benefit to humanity,” writes the critic. The polarity of ideological attitudes is obvious, the confrontation between "fathers" and "children" is ripe in life itself. Sensitive to modernity, Turgenev the artist could not but respond to him. The collision of Pavel Petrovich Kirsanov as a typical representative of the generation of the 40s with Evgeny Bazarov, the bearer of new ideas, is inevitable. Their main life and worldview positions are revealed in the dialogues-disputes.
Dialogues occupy a large place in the novel: their compositional dominance emphasizes the ideological, ideological nature of the main conflict. Turgenev, as already noted, was a liberal in his convictions, which did not prevent him from showing in the novel the failure of heroes - liberal nobles in all spheres of life. The writer definitely and rather harshly assessed the generation of "fathers". In a letter to Sluchevsky, he noted: “My whole story is directed against the nobility as an advanced class. Look into the faces of Nikolai Petrovich, Pavel Petrovich, Arkady. Weakness and lethargy or limitation. Aesthetic feeling made me
Let's just take good representatives of the nobility in order to prove my theme all the more correctly: if cream is bad, what about milk? They are the best of the nobles - and that is why I have chosen them to prove their failure. The father of the Kirsanov brothers is a military general in 1812, a simple, even rude man, "pulling his webbing all his life." The life of his sons is different. Nikolai Petrovich, who left the university in 1835, began his service under the patronage of his father in the "Ministry of appanages". However, he left her shortly after his marriage. Laconically, but succinctly, the author tells about his family life: “The spouses lived very well and quietly, they almost never parted. Ten years have passed like a dream ... And Arkady grew and grew - also well and quietly. The narration is colored with soft author's irony. Nikolai Petrovich has no public interests. The university youth of the hero took place in the era of the Nikolaev reaction, and the only sphere of application of his forces was love, family. Pavel Petrovich, a brilliant officer, left his career and the world because of his romantic love for the mysterious Princess R. The lack of social activity, social tasks, lack of housekeeping skills leads the heroes to ruin. Nikolai Petrovich, not knowing where to get the money, sells the forest. Being a mild-mannered man of liberal convictions, he is trying to reform the economy, to alleviate the position of the peasants. But his "farm" does not give the expected income. The author notes on this occasion: "Their economy creaked like an unoiled wheel, cracked like home-made furniture made of raw wood." Expressive and meaningful is the description of the wretched villages that the characters pass by at the beginning of the novel. Nature is a match for them: "Like beggars in tatters stood roadside willows with peeled bark and broken branches ...". A sad picture of Russian life arose, from which "the heart contracted." All this is a consequence of the unfavorable social structure, the failure of the landlord class, including the subjectively very attractive Kirsanov brothers. Relying on the strength of the aristocracy, high principles, so dear to Pavel Petrovich, will not help to change the socio-economic situation in Russia. The disease has gone far. We need strong means, revolutionary transformations, Bazarov, a "democrat to the end of his nails," believes.
Bazarov is the central character in the novel, it is he who is the hero of time. This is a man of action, a naturalist materialist, a democrat-educator. Personality in all respects antagonistically opposed to the Kirsanov brothers. He is from the generation of "children". However, in the image of Bazarov, the contradictions of Turgenev's worldview and creativity were more pronounced.
Bazarov's political views contain some of the features inherent in the leaders of the revolutionary democracy of the 60s. He denies social foundations; hates "damned barchuks"; seeks to "clear a place" for a future properly arranged life. But all the same, nihilism, which Turgenev identified with revolutionism, was decisive in his political views. In a letter to Sluchevsky, he wrote like this: "... and if he is called a nihilist, then it must be considered: a revolutionary." Nihilism was an extreme trend in the revolutionary democratic movement and did not define it. But the absolute nihilism of Bazarov in relation to art, love, nature, emotional experiences was the author's exaggeration. There was no such degree of denial in the outlook of the sixties.
Bazarov attracts with his desire for practical activities, he dreams of “breaking off many cases”, however, we do not know which ones. His ideal is a man of action. In the Kirsanov estate, he is constantly engaged in natural science experiments, and having arrived at his parents, he begins to treat the surrounding peasants. For Bazarov, the essence of life is important, because he is so dismissive of its external side - his clothes, appearance, demeanor.
The cult of deeds, the idea of benefit sometimes turn in Bazarov into naked utilitarianism. In terms of the direction of his worldview, he is closer to Pisarev than to Chernyshevsky and Dobrolyubov.
Bazarov's relationship with the common people is contradictory. Undoubtedly, he is closer to him than the perfumed, prim Pavel Petrovich, but the peasants do not understand either his behavior or his goals.
Bazarov is shown by Turgenev in an environment alien to himself, he, in fact, has no like-minded people. Arkady is a temporary companion who has fallen under the influence of a strong friend, his convictions are superficial. Kukshina and Sitnikov are epigones, a parody of the "new man" and his ideals. Bazarov is alone, which makes his figure tragic. But there is in his personality and internal dissonance. Bazarov proclaims integrity, but in his nature it just does not exist. At the heart of his worldview lies not only the denial of recognized authorities, but also confidence in the absolute freedom of his own feelings and moods, beliefs. It is this freedom that he demonstrates in a dispute with Pavel Petrovich after evening tea, in the tenth chapter of the novel. But a meeting with Odintsova and love for her unexpectedly show him that he does not have this kind of freedom. He is powerless to cope with that feeling, the very existence of which he so easily and boldly denied. Being an ideological maximalist, Bazarov is not able to give up his convictions, but he is not able to win his heart either. This duality causes him great suffering. His own feelings, the life of his heart dealt a terrible blow to his harmonious worldview system. Before us is no longer a self-confident person, ready to destroy the world, but, as Dostoevsky said, "restless, yearning Bazarov." His death is accidental, but it manifested a vital pattern. Bazarov's courage in death confirms the originality of his nature and even the heroic beginning in him. “To die the way Bazarov died is the same as to accomplish a feat,” wrote Pisarev.
Turgenev's novel about the hero of time, the "new man" Bazarov, is written with impeccable skill. First of all, it manifested itself in the creation of images of characters. The analytical portrait of the hero gives him a capacious socio-psychological description. So, “a beautiful hand with long pink nails, a hand that seemed even more beautiful from the delicate whiteness of a mitten buttoned with a single large opal ...” emphasizes the aristocracy of Pavel Petrovich, along with other details of the portrait, indicates the romantic nature of this character. The “long robe with tassels” and the “naked red hand”, which Bazarov does not immediately give to Nikolai Petrovich, these portrait details speak eloquently of Bazarov’s democracy and independence.
With great skill, the author conveys the originality of speech
BEET FORMULA. Turgenev
"Fathers and Sons" is perhaps the most noisy and scandalous book in Russian literature. Avdotya Panaeva, who did not like Turgenev very much, wrote: “I don’t remember any literary work made so much noise and stirred up as many conversations as Turgenev's story "Fathers and Sons". It can be positively said that "Fathers and Sons" was read even by people who did not pick up books from school.
It is precisely the fact that since then the book has been picked up just at the school bench, and only occasionally after, has deprived Turgenev's work of a romantic aura of resounding popularity. "Fathers and Sons" is perceived as a work of social service. And in fact, the novel is such a work. It is simply necessary, apparently, to separate what arose thanks to the author's intention, and what - contrary to, by virtue of the very nature of art, which desperately resists attempts to put it at the service of anything.
Turgenev quite succinctly described the new phenomenon in his book. A definite, concrete, today's phenomenon. Such a mood is already set at the very beginning of the novel: “What, Peter? can’t you see it yet?” he asked on May 20, 1859, going out on a low porch without a hat ...
It was very significant for the author and for the reader that such a year was in the yard. Previously, Bazarov could not appear. The achievements of the 1840s prepared for his arrival. The society was strongly impressed by natural scientific discoveries: the law of conservation of energy, the cellular structure of organisms. It turned out that all the phenomena of life can be reduced to the simplest chemical and physical processes, expressed in an accessible and convenient formula. Focht's book, the same one that Arkady Kirsanov gives his father to read - "Strength and Matter" - taught: the brain secretes thought, like the liver - bile. Thus, the very highest human activity - thinking - turned into a physiological mechanism that can be traced and described. There were no secrets.
Therefore, Bazarov easily and simply transforms the basic position of the new science, adapting it for different occasions. “You study the anatomy of the eye: where can you get, as you say, a mysterious look? This is all romanticism, nonsense, rot, art,” he says to Arkady. And logically ends: "Let's go and watch the beetle."
(Bazarov quite rightly contrasts two worldviews - scientific and artistic. Only their clash will end differently than it seems inevitable to him. Actually, Turgenev's book is about this - more precisely, this is her role in the history of Russian literature.)
In general, Bazarov's ideas boil down to "watching the beetle" - instead of pondering over mysterious views. The beetle is the key to all problems. Bazarov's perception of the world is dominated by biological categories. In such a system of thinking, a beetle is simpler, a person is more complicated. Society is also an organism, only even more developed and complex than a person.
Turgenev saw a new phenomenon and was frightened of it. In these unprecedented people, an unknown force was felt. In order to understand it, he began to write down: "I painted all these faces, as if I were painting mushrooms, leaves, trees; my eyes were sore - I began to draw."
Of course, one should not completely trust the author's coquetry. But it is true that Turgenev tried his best to maintain objectivity. And achieved this. As a matter of fact, this is precisely what made such a strong impression on the society of that time: it was not clear - for whom Turgenev?
The narrative fabric itself is extremely objectified. All the time one feels a zero degree of writing, uncharacteristic for Russian literature, where we are talking about a social phenomenon. In general, reading "Fathers and Sons" leaves a strange impression of a lack of alignment of the plot, looseness of the composition. And this is also the result of an attitude towards objectivity: as if not a novel is being written, but notebooks, notes for memory.
Of course, one should not overestimate the importance of intention in belles-lettres. Turgenev is an artist, and this is the main thing. The characters in the book are alive. The language is bright. How wonderfully Bazarov says about Odintsova: "A rich body. At least now to the anatomical theater."
But nevertheless, the scheme appears through the verbal fabric. Turgenev wrote a novel with a tendency. The point is not that the author openly takes sides, but that social problem. This is a novel on the subject. That is, as they would say now - engaged art.
However, here a clash of scientific and artistic worldviews occurs, and the same miracle occurs that Bazarov completely denied. The book is by no means exhausted by the scheme of confrontation between the old and the new in Russia in the late 50s of the 19th century. And not because the author's talent built up high-quality artistic material on the speculative frame, which has independent value. The key to "Fathers and Sons" lies not above the scheme, but below it - in a deep philosophical problem that goes beyond both the century and the country.
The novel "Fathers and Sons" is about the collision of a civilizing impulse with the order of culture. The fact that the world, reduced to a formula, turns into chaos.
Civilization is a vector, culture is a scalar. Civilization is made up of ideas and beliefs. Culture summarizes techniques and skills. The invention of the cistern is a sign of civilization. The fact that every house has a flush tank is a sign of culture.
Bazarov is a free and sweeping bearer of ideas. This looseness of his is presented in Turgenev's novel with mockery, but also with admiration. Here is one of the notable conversations: "- ... However, we philosophized quite a lot. "Nature evokes the silence of a dream," said Pushkin. "He never said anything like that," said Arkady. as a poet. By the way, he must have served in the military. - Pushkin was never a military man! - For mercy, he has on every page: "To fight, to fight! for the honor of Russia!"
It is clear that Bazarov is talking nonsense. But at the same time, something very accurately guesses in the reading and mass perception of Pushkin by Russian society .. Such courage is the privilege of a free mind. Enslaved thinking operates with ready-made dogmas. Uninhibited thinking turns a hypothesis into a hyperbole, a hyperbole into a dogma. This is the most attractive thing in Bazarov. But the most frightening thing, too.
Such Bazarov was remarkably shown by Turgenev. His hero is not a philosopher, not a thinker. When he speaks at length, it is usually from popular scientific writings. When brief, he speaks sharply and sometimes witty. But the point is not in the ideas themselves that Bazarov expounds, but in the way of thinking, in absolute freedom ("Rafael is not worth a penny").
And Bazarov is opposed not by his main opponent - Pavel Petrovich Kirsanov - but by the way, order, respect for which Kirsanov professes ("Without principles taken on faith, one cannot take a step, one cannot breathe").
Turgenev destroys Bazarov, confronting him with the very idea of a way of life. The author guides his hero through the book, consistently arranging exams for him in all spheres of life - friendship, enmity, love, family ties. And Bazarov consistently fails everywhere. The series of these examinations constitutes the plot of the novel.
Despite the differences in circumstances, Bazarov suffers defeats for the same reason: he invades order, rushing like a lawless comet - and burns out.
His friendship with Arkady, so devoted and faithful, ends in failure. Attachment does not withstand the tests of strength, which are carried out in such barbaric ways as the reviling of Pushkin and other authorities. The bride of Arkady Katya accurately formulates: "He is predatory, and we are tame." Manual
means living by the rules, keeping order.
The way of life is sharply hostile to Bazarov and in his love for Odintsova. In the book, this is persistently emphasized - even by a simple repetition of literally the same words. “What do you need Latin names for?” Bazarov asked. “Everything needs order,” she answered.
And then, even more clearly, “the order that she established in her house and in life is described. She strictly adhered to it and forced others to obey him. Everything during the day was done at a certain time ... Bazarov did not like this measured, somewhat solemn correctness of daily life; “like rolling on rails,” he assured.
Odintsova is frightened by the scope and uncontrollability of Bazarov, and the worst accusation in her lips is the words: "I begin to suspect that you are prone to exaggeration." Hyperbole - the strongest and most effective trump card of Bazarov's thinking - is regarded as a violation of the norm.
The clash of chaos with the norm exhausts the theme of enmity, which is very important in the novel. Pavel Petrovich Kirsanov is also, like Bazarov, not a thinker. He is unable to oppose Bazarov's pressure with any articulated ideas and arguments. But Kirsanov acutely feels the danger of the very fact of Bazarov’s existence, while focusing not on thoughts and not even on words: “You deign to find my habits, my toilet, my neatness funny ... Kirsanov defends these seemingly trifles, because instinctively understands that the sum of trifles is culture. The same culture in which Pushkin, Raphael, clean nails and an evening walk are naturally distributed. Bazarov poses a threat to all this.
The civilizer Bazarov believes that somewhere there is a reliable formula for well-being and happiness, which you just need to find and offer to humanity ("Fix society, and there will be no diseases"). For the sake of finding this formula, some insignificant trifles can be sacrificed. And since any civilizer always deals with an already existing, established world order, he goes by the opposite method: not creating something anew, but first destroying what is already there.
Kirsanov is convinced that prosperity itself
and happiness and consist in accumulation, summation and preservation. The uniqueness of the formula is opposed by the diversity of the system. new life can't start on Monday.
The pathos of destruction and reorganization is so unacceptable to Turgenev that it forces Bazarov to ultimately lose outright to Kirsanov.
The climactic event is a finely crafted duel scene. Depicted as a whole as an absurdity, the duel, however, is not out of place for Kirsanov. She is part of his heritage, his world, his culture, rules and "principles". Bazarov, on the other hand, looks pitiful in a duel, because he is alien to the system itself, which gave rise to such phenomena as a duel. He is forced to fight here on foreign territory. Turgenev even suggests that against Bazarov - something much more important and powerful than Kirsanov with a pistol: "Pavel Petrovich seemed to him a big forest, with which he still had to fight." In other words, at the barrier is nature itself, nature, the world order.
And Bazarov is finally finished off when it becomes clear why Odintsova renounced him: "She forced herself to reach a certain line, forced herself to look beyond her - and saw behind her not even an abyss, but emptiness ... or disgrace."
This is an important confession. Turgenev denies even greatness to the chaos that Bazarov brings, leaving only one bare disorder.
That is why Bazarov dies humiliatingly and pitifully. Although here the author retains complete objectivity, showing the strength of mind and courage of the hero. Pisarev even believed that by his behavior in the face of death, Bazarov put on the scales that last weight, which, ultimately, pulled in his direction.
But the cause of Bazarov's death is much more significant - a scratch on his finger. The paradoxical nature of the death of a young, flourishing, outstanding person from such an insignificant reason creates a scale that makes one think. It was not a scratch that killed Bazarov, but nature itself. He again invaded with his crude lancet (literally this time) of the transducer into the routine of life and death - and fell victim to it. The smallness of the cause here only emphasizes the inequality of forces. It's aware
and Bazarov himself: "Yes, go and try to deny death. She denies you, and that's it!"
Turgenev killed Bazarov not because he did not guess how to adapt this new phenomenon in Russian society, but because he discovered the only law that, at least theoretically, the nihilist does not undertake to refute.
The novel "Fathers and Sons" was created in the heat of controversy. Russian literature rapidly democratized, the priestly sons crowded out the nobles resting on "principles". "Literary Robespierres", "cookers-vandals" confidently walked, striving to "wipe poetry, fine arts, all aesthetic pleasures from the face of the earth and establish their rude seminary principles" (all are Turgenev's words).
This, of course, is an exaggeration, a hyperbole - that is, a tool that, naturally, is more suitable for a destroyer-civilizer than for a cultural conservative, which was Turgenev. However, he used this tool in private conversations and correspondence, and not in belles-lettres. The journalistic idea of the novel "Fathers and Sons" was transformed into a convincing literary text. It sounds not even the author's voice, but the culture itself, which denies the formula in ethics, but does not find a material equivalent for aesthetics. The pressure of civilization breaks down on the foundations of the cultural order, and the diversity of life cannot be reduced to a beetle, which one must go to look at in order to understand the world.
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Ivan Sergeevich Turgenev tour
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manor tour Ivan Sergeevich Turgenev was born on October 28 (November 9), 1818 in the city of Orel. His family, both maternal and paternal, belonged to the noble class. The first education in Turgenev's biography was received at the Spassky-Lutovinovo estate. The boy was taught to read and write by German and French teachers. Since 1827 the family moved to Moscow. Then Turgenev's training took place in private boarding schools in Moscow, after which - at Moscow University. Without graduating from it, Turgenev transferred to the philosophical faculty of St. Petersburg University. He also studied abroad, after which he traveled around Europe.
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The beginning of the literary path While studying in the third year of the institute, in 1834 Turgenev wrote his first poem called "The Wall". And in 1838, his first two poems were published: "Evening" and "To the Venus of Medicius." In 1841, having returned to Russia, he was engaged in scientific activities, wrote a dissertation and received a master's degree in philology. Then, when the craving for science cooled down, Ivan Sergeevich Turgenev served as an official in the Ministry of the Interior until 1844. In 1843, Turgenev met Belinsky, and they struck up friendly relations. Under the influence of Belinsky, new poems by Turgenev, poems, stories are created, printed, among which are: Parasha, Pop, Breter and Three Portraits.
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The heyday of Turgenev's creativity was invariably in the center of attention of Russian criticism. Around his major works, fierce disputes have always flared up. While living abroad, Turgenev - the first of the Russian writers - received recognition as "a great novelist." In Paris, he became especially close friends with the leading French realist writers.I. S. Turgenev - Honorary Doctor of Oxford University. He also had a connection with the Russian emigrant environment. Literary interests, always vitally close to Turgenev, were expressed in his generous support of young, beginning Russian writers, in his creative and financial assistance them. Popularization of Russian fiction in the West during all these years remained his zealous and constant concern.
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Since 1847, at the invitation of Nekrasov, his " Contemporary notes"And the first chapters of the Hunter's Notes" ("Khor and Kalinich"), which brought the author a huge success, and he began work on the rest of the stories about hunting. Work in Sovremennik brought Turgenev many interesting acquaintances; Dostoevsky, Goncharov, Ostrovsky, Fet and others were also published in the magazine famous writers. In 1847, together with his friend Belinsky, he went abroad, where he witnessed the February Revolution in France. In the late 40s and early 50s, he was actively involved in dramaturgy, writing the plays “Where it is thin, it breaks there” and “The Freeloader” (both 1848), “The Bachelor” (1849), “A Month in the Country” (1850) , "Provincial" (1851), which are staged on theater stages and are a success with the public. Turgenev translated the works of Byron and Shakespeare into Russian, he learned from them the mastery of literary techniques. In August 1852, one of Turgenev's most important books, The Hunter's Notes, was published. famous works Turgenev: "Rudin" (1856), "Nest of Nobles" (1859), "On the Eve" (1860) and "Fathers and Sons" (1862). In the autumn of 1855, Turgenev met Leo Tolstoy, who soon published the story "Cutting the Forest" with a dedication to I. S. Turgenev.
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Turgenev was often sick for a long time. In 1882, the first signs of a long and painful illness (cancer of the spine) appeared, which brought him to the grave. Turgenev was dying in a foreign land, yearning for his homeland. Knowing that he was terminally ill, Turgenev wrote to one of his friends, the poet Ya. I will see." Turgenev died on August 22, 1883. From France, his body was transported to St. Petersburg and on September 27, with an unprecedented large gathering of people, he was buried at the Volkovo cemetery. The funeral took on the character of a major public event, causing considerable alarm in government circles. Turgenev himself was repeatedly asked to give his biography. He usually limited himself to a short reference about a few external facts of his life, and once answered: "My entire biography is in my writings."
