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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 other famous writers were also published in the magazine. 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), " Noble Nest"(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."

Turgenev Ivan Sergeevich (1818-1883)

Great Russian writer. Born in the city of Orel, in a middle-class noble family. He studied at a private boarding school in Moscow, then at universities - Moscow, St. Petersburg, Berlin. Turgenev began his literary career as a poet. In 1838-1847. he writes and publishes lyrical poems and poems in magazines (“Parasha”, “Landowner”, “Andrey”, etc.).

At first, Turgenev's poetic work developed under the sign of romanticism, later realistic features prevail in it.

Turning to prose in 1847 (“Khor and Kalinich” from the future “Notes of a Hunter”), Turgenev left poetry, but at the end of his life he created a wonderful cycle of “Poems in Prose”.

He had a great influence on Russian and world literature. Outstanding Master psychological analysis, descriptions of pictures of nature. He created a number of socio-psychological novels - "Rudin" (1856), "On the Eve" (1860), "The Nest of Nobles" (1859), "Fathers and Sons" (1862), the stories "Leya", "Spring Waters", in which brought out both representatives of the outgoing noble culture and new heroes of the era - raznochintsy and democrats. His images of selfless Russian women enriched literary criticism with a special term - "Turgenev's girls".

In his later novels Smoke (1867) and Nov (1877) he portrayed the life of Russians abroad.

At the end of his life, Turgenev turns to memoirs (“Literary and everyday memories”, 1869-80) and “Poems in prose” (1877-82), where almost all the main themes of his work are presented, and summing up takes place as if in the presence approaching death.

The writer died on August 22 (September 3), 1883 in Bougival, near Paris; buried at the Volkov cemetery in St. Petersburg. Death was preceded by more than a year and a half of a painful illness (cancer of the spinal cord).

Sometimes some facts from the writer's life help readers better understand the idea of ​​​​the whole work. It is necessary to keep in mind what the social or economic situation was at that moment in the country. To make it easier for you to understand Turgenev's masterpieces, the Wise Litrecon briefly outlined his biography.

The man, so keenly feeling the spirit of his time, was born in 1818 in the Oryol province. The writer spent the first nine years of his life here, in the estate of Spasskoe-Lutovinovo. The boy had to endure a difficult childhood. His mother, Varvara Turgeneva, often used violence against her children and servants. The boy from an early age witnessed cruelty, rudeness.

However, despite the severity of her character, the mother wished her sons (there were three of them) only the best. She invited foreign teachers to educate them, and in 1827 the whole family moved to Moscow to receive an education. In 1830, Varvara Turgeneva was left alone - her husband Sergei left the family. Their union was never a happy one, such is the fate of many arranged marriages.

At the age of 15, Ivan Sergeevich Turgenev became a student of the verbal department of Moscow University.

Youth and education

After studying for a year at Moscow University, together with such famous figures as V. G. Belinsky, A. I. Herzen, Turgenev was transferred to the Faculty of Philosophy of St. Petersburg University. This change was due to family relocation. However, the writer quickly settles into a new place: he begins to make friends with T. N. Granovsky, writes his first work - “The Wall”. In his student years, he was fond of poetry, during this period he created about a hundred poems, some of which were published in Sovremennik

He also managed to establish himself as a publicist. In 1836, his first article was published in the Journal of the Ministry of Public Education. At the age of 20, Turgenev graduated from his studies in Russia and went to acquire knowledge abroad. The writer moved to Berlin, where he studied ancient languages ​​and foreign literature. During this period, he becomes close to a man who had a strong influence on Turgenev's worldview - N.V. Stankevich. German philosophy attracted the young author, he absorbed Western ideas more and more. This will subsequently lead to the fact that the writer will become a representative of one of the directions of social thought. Turgenev will be a real "Westernizer".

However, the writer's interest in scientific activity disappeared upon his return to his homeland. He came to St. Petersburg in the 1840s and met the progressive people of that time: Gogol, Aksakovs, Khomyakov, Fet, Dostoevsky.

creative path

The environment of the writer greatly influenced his many works. In some poems, you can see the "pen" of Lermontov, in prose - Dostoevsky. In 1834 the writer creates his first poem "The Wall", in 1838 the poems "Evening", "To the Venus of the Medicean". After meeting Belinsky, new masterpieces of the author come to light, among them: "Three Portraits", "Pop", "Parasha". The flourishing of the author's work occurs while working in the well-known magazine Sovremennik. Turgenev begins to write serious prose - the first chapters of the collection of short stories "Notes of a Hunter". Only in 1852 did he complete this work. In the 1840s - 1850s, the Creator was fond of another kind of literature - drama. He creates more and more plays: "Freeloader", "Where it is thin, there it breaks", "The Bachelor", "A Month in the Country", "Provincial Girl". Many of them were popular with theater directors.

Turgenev was shocked by the death of Gogol, he considered himself his follower. In 1852, the writer's obituary was published, because of which he was forced to spend two years in exile. During this period, he creates the story "Mumu".

All the work of the author was accompanied by strict censorship. He was considered a dangerous writer at the time. Turgenev received some freedom after the death of Nicholas I. Such works as “Rudin” were published (subsequently, people throwing words to the wind were called by this name), “On the Eve”, “Noble Nest”, “Fathers and Sons” (a novel on the topic of the day ”), “Asya”.

Turgenev maintained a close friendship with the democratic emigrant Herzen, helped him in his work on the Kolokol magazine. However, he did not accept the radical ideas of a friend.

In the 1870s Turgenev lived abroad, communicated with progressive people of that time, was engaged in translations, promoted Russian literature. His novels "Smoke" and "New" are published. In their last years writer learns new literary genre- poetry in prose. His small masterpieces still retain their significance and popularity.

Personal life

Turgenev early experienced the tragedy of love. As a teenager, he fell in love with Princess Shakhovskaya, who was four years older than him. However, the girl reciprocated the writer's father, which broke the heart of young Turgenev.

The next craze occurred in 1841. The author fell in love with the seamstress Avdotya, but their romance did not end as the writer had dreamed. The girl became pregnant from him, but the mother did not allow her son to marry the poor. Dunyasha was sent to her parents, they immediately found her groom. Turgenev recognized his daughter only in 1857.

After that, the writer spiritually approaches the sister of the radical Bakunin - Tatyana. They have close communication, they often discuss philosophical topics in their letters. The girl falls in love with the writer, but Turgenev did not have serious feelings for her. Tatyana became the prototype of one of the heroines of the novel "Smoke".

Many of the writer's travels abroad were explained by his affair with a married lady, actress and singer Pauline Viardot. Turgenev lived with this family "on the edge of someone else's nest", together with his beloved he raised his illegitimate daughter. Because of Viardot, the author had material problems for three years - his mother refused to send him money. She could not accept this girl. The writer maintained contact with this family for thirty-eight years.

Even at the age of 61, the writer never ceases to experience a wonderful feeling of love. His new hobby is another actress - Marina Savina, who at that time was only twenty-five years old. Despite rare meetings, they maintained a correspondence for four years, but the marriage never took place.

1. Turgenev was involved in charity work - he was a member of the Society for Assistance to Needy Writers and Scientists.
2. The writer translated Byron and Shakespeare, but condemned those who tried to copy their style in their works.
3. Turgenev adhered to the ideas of Western writers, believed that Russia and Europe should follow the same path of development. He categorically denied the ideas of the Democrats.
4. Once between I. S. Turgenev and L. N. Tolstoy there was a quarrel, which almost led to a duel. Because of this, former friends did not communicate for seventeen years. Lev Nikolaevich believed that a colleague took his sister away from the family, who divorced her husband. In fact, Ivan Sergeyevich simply communicated closely with her and did not promise anything, although the woman to some extent counted on his reciprocity.
5. Turgenev became the prototype of the hero of Dostoevsky's novel "Demons" - Karmazinov.
6. All his life he was an ardent opponent of serfdom. In 1835, the writer defended a peasant woman with a gun, as a result of which a criminal case was opened.
7. Turgenev called himself "the most careless of the Russian landowners." He was not at all interested in the affairs of his estate, he shifted all responsibility to his relatives.
8. The writer often forgot about his promises, about meetings. He could not send a work for the magazine at the right time, leave home after inviting guests for dinner.

Death

The writer died in 1883 in a small Parisian city. The cause was sarcoma. Turgenev was buried at the Volkovskoye cemetery.

The wise Litrecon hopes that you have found all the details you are interested in in this work. If not, write to us about it in the comments - we will add it.

Ivan Sergeevich Turgenev, in the future world famous writer, was born November 9, 1818. Place of birth - the city of Orel, parents - nobles. He began his literary activity not with prose, but with lyric works and poems. Poetic notes are felt in many of his subsequent stories and novels.

It is very difficult to briefly present Turgenev's work, the influence of his creations on all Russian literature of that time was too great. He is prominent representatives golden age in the history of Russian literature, and his fame extended far beyond the borders of Russia - abroad, in Europe, the name of Turgenev was also familiar to many.

Turgenev's Peru belongs to the typical images of new literary heroes- serfs, superfluous people, fragile and strong women and raznochintsy. Some of the topics he touched on more than 150 years ago are relevant to this day.

If we briefly characterize Turgenev's work, then the researchers of his works conditionally distinguish three stages in it:

1. 1836 – 1847.
2. 1848 – 1861.
3. 1862 – 1883.

Each of these stages has its own characteristics.

1) Stage one is the beginning creative way, writing romantic poems, searching for oneself as a writer and one's own style in different genres - poetry, prose, dramaturgy. At the beginning of this stage, Turgenev was influenced by the philosophical school of Hegel, and his work was of a romantic and philosophical nature. In 1843 he met the famous critic Belinsky, who became his creative mentor and teacher. a little formerly Turgenev wrote his first poem called Parasha.

A great influence on Turgenev's work was his love for the singer Pauline Viardot, after which he left for France for several years. It is this feeling that explains the subsequent emotionality and romanticism of his works. Also, during his life in France, Turgenev met many talented masters of the word of this country.

The creative achievements of this period include the following works:

1. Poems, lyrics - "Andrey", "Conversation", "Landowner", "Pop".
2. Dramaturgy - plays "Carelessness" and "Lack of money".
3. Prose - stories and novels "Petushkov", "Andrey Kolosov", "Three Portraits", "Breter", "Mumu".

The future direction of his work - works in prose - is becoming better and better.

2) The second stage is the most successful and fruitful in Turgenev's work. He enjoys the well-deserved fame that arose after the publication of the first story from the "Notes of a Hunter" - the story-essay "Khor and Kalinich" published in 1847 in the Sovremennik magazine. Its success marked the beginning of five years of work on the rest of the stories in the series. In the same year, 1847, when Turgenev was abroad, the following 13 stories were written.

The creation of the "Hunter's Notes" carries an important meaning in the activities of the writer:

- firstly, Turgenev, one of the first Russian writers, touched on a new topic - the theme of the peasantry, more deeply revealed their image; he portrayed the landowners in a real light, trying not to embellish or criticize without reason;

- secondly, the stories are imbued with a deep psychological meaning, the writer does not just portray the hero of a certain class, he tries to penetrate his soul, to understand the way of his thoughts;

- thirdly, the authorities did not like these works, and for their creation Turgenev was first arrested, and then sent into exile to his family estate.

Creative heritage:

1. Novels - "Rud", "On the Eve" and "Noble Nest". The first novel was written in 1855 and was a great success with readers, and the next two further strengthened the fame of the writer.
2. The stories are "Asya" and "Faust".
3. Several dozen stories from the "Notes of a hunter".

3) Stage three - the time of mature and serious works of the writer, in which the writer touches on deeper issues. It was in the sixties that the writing of the famous novel Turgenev - "Fathers and Sons". This novel raised questions of the relationship between different generations that are still relevant to this day and gave rise to many literary discussions.

An interesting fact is also that at the dawn of its creative activity Turgenev returned to where he started - to lyrics, poetry. He became interested in a special kind of poetry - writing prose fragments and miniatures, in lyrical form. For four years he wrote more than 50 such works. The writer believed that such a literary form could fully express the most secret feelings, emotions and thoughts.

Works from this period:

1. Novels - "Fathers and Sons", "Smoke", "Nov".
2. The stories - "Punin and Baburin", "The Steppe King Lear", "The Brigadier".
3. Mystical works - "Ghosts", "After death", "The story of Lieutenant Ergunov".

In the last years of his life, Turgenev was mainly abroad, while not forgetting his homeland. His work influenced many other writers, opened many new questions and images of heroes in Russian literature, therefore Turgenev is rightfully considered one of the most outstanding classics of Russian prose.

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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 " extra person"(Rudin, Lavretsky), "new man" (Insarov, Bazarov), "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,” Pisarev wrote.
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 that any literary work made so much noise and aroused so many conversations as Turgenev’s story Fathers and Sons. It can be positively said that Fathers and Sons were read even by such people who have not taken books in their hands since 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 be in military service served. - Pushkin was never a military man! - For mercy, on every page he has: "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.