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Turgenev Ivan Sergeevich, whose stories, novels and novels are known and loved by many today, was born on October 28, 1818 in the city of Orel, into an old noble family. Ivan was the second son of Varvara Petrovna Turgeneva (nee Lutovinova) and Sergei Nikolaevich Turgenev.
Turgenev's parents
His father was in the service of the Elisavetgrad Cavalry Regiment. After his marriage, he retired with the rank of colonel. Sergei Nikolayevich belonged to an old noble family. His ancestors are believed to have been Tatars. Ivan Sergeevich's mother was not as well-born as her father, but she surpassed him in wealth. The vast lands located in belonged to Varvara Petrovna. Sergei Nikolaevich stood out for his elegance of manners and secular sophistication. He had a subtle soul, he was handsome. Mother's temper was not like that. This woman lost her father early. She had to experience a terrible shock in her adolescence, when her stepfather tried to seduce her. Barbara ran away from home. Ivan's mother, who survived humiliation and oppression, tried to use the power given to her by law and nature over her sons. This woman was strong willed. She arbitrarily loved her children, and was cruel to the serfs, often punishing them with flogging for insignificant infractions.
Case in Bern
In 1822, the Turgenevs went on a trip abroad. In Bern, a Swiss city, Ivan Sergeevich almost died. The fact is that the father put the boy on the railing of the fence, which surrounded a large pit with city bears entertaining the public. Ivan fell off the railing. Sergei Nikolaevich at the last moment grabbed his son by the leg.
An introduction to belles-lettres
The Turgenevs returned from their trip abroad to Spasskoye-Lutovinovo, their mother's estate, located ten miles from Mtsensk (Oryol province). Here Ivan discovered literature for himself: one courtyard man from a serf mother read to the boy in the old manner, singsongly and measuredly, the poem "Rossiada" by Kheraskov. Kheraskov in solemn verses sang the battles for Kazan of the Tatars and Russians during the reign of Ivan Vasilyevich. Many years later, Turgenev in his 1874 story "Punin and Baburin" endowed one of the heroes of the work with love for "Rossiada".
First love
The family of Ivan Sergeevich was in Moscow from the end of the 1820s to the first half of the 1830s. At the age of 15, Turgenev fell in love for the first time in his life. At this time, the family was at Engel's dacha. They were neighbors with their daughter, Princess Catherine, who was 3 years older than Ivan Turgenev. First love seemed to Turgenev captivating, beautiful. He was in awe of the girl, afraid to confess the sweet and languid feeling that had taken possession of him. However, the end of joys and torments, fears and hopes came suddenly: Ivan Sergeevich accidentally found out that Catherine was his father's beloved. Turgenev was haunted by pain for a long time. He will present his love story for a young girl to the hero of the 1860 story "First Love". In this work, Catherine became the prototype of Princess Zinaida Zasekina.
Studying at the universities of Moscow and St. Petersburg, the death of his father
The biography of Ivan Turgenev continues with a period of study. Turgenev in September 1834 entered the Moscow University, the verbal department. However, he was not satisfied with his studies at the university. He liked Pogorelsky, a mathematics teacher, and Dubensky, who taught Russian. Most of the teachers and courses left the student Turgenev completely indifferent. And some teachers even caused obvious antipathy. This is especially true of Pobedonostsev, who tediously and for a long time talked about literature and could not advance in his predilections further than Lomonosov. After 5 years, Turgenev will continue his studies in Germany. About Moscow University he will say: "It is full of fools."
Ivan Sergeevich studied in Moscow for only a year. Already in the summer of 1834 he moved to St. Petersburg. Here on military service was his brother Nicholas. Ivan Turgenev continued to study. His father died in October of the same year from kidney stones, right in Ivan's arms. By this time, he was already living apart from his wife. Ivan Turgenev's father was amorous and quickly lost interest in his wife. Varvara Petrovna did not forgive him for his betrayals and, exaggerating her own misfortunes and illnesses, exposed herself as a victim of his callousness and irresponsibility.
Turgenev left a deep wound in his soul. He began to think about life and death, about the meaning of being. Turgenev at that time was attracted by powerful passions, vivid characters, throwing and struggles of the soul, expressed in an unusual, sublime language. He reveled in the poems of V. G. Benediktov and N. V. Kukolnik, the stories of A. A. Bestuzhev-Marlinsky. Ivan Turgenev wrote in imitation of Byron (the author of "Manfred") his dramatic poem called "The Wall". After more than 30 years, he will say that this is "a completely ridiculous work."
Writing poetry, republican ideas
Turgenev in the winter of 1834-1835. fell seriously ill. He had a weakness in his body, he could not eat or sleep. Having recovered, Ivan Sergeevich changed a lot spiritually and physically. He became very stretched out, and also lost interest in mathematics, which attracted him before, and became more and more interested in belles-lettres. Turgenev began to compose many poems, but still imitative and weak. At the same time, he became interested in republican ideas. He felt the serfdom that existed in the country as a shame and the greatest injustice. In Turgenev, a sense of guilt in front of all the peasants strengthened, because his mother treated them cruelly. And he took an oath to himself to do everything to ensure that there was no class of "slaves" in Russia.
Acquaintance with Pletnev and Pushkin, publication of the first poems
Student Turgenev in his third year met P. A. Pletnev, professor of Russian literature. This is a literary critic, poet, friend of A. S. Pushkin, to whom the novel "Eugene Onegin" is dedicated. At the beginning of 1837, on literary evening with him, Ivan Sergeevich also encountered Pushkin himself.
In 1838, two poems by Turgenev were published in the Sovremennik magazine (the first and fourth issues): "To the Venus of the Medicean" and "Evening". Ivan Sergeevich published poetry after that. The first tests of the pen, which were printed, did not bring him fame.
Continued studies in Germany
In 1837 Turgenev graduated from St. Petersburg University (language department). He was not satisfied with the education he received, feeling gaps in his knowledge. German universities were considered the standard of that time. And in the spring of 1838, Ivan Sergeevich went to this country. He decided to graduate from the University of Berlin, where Hegel's philosophy was taught.
Abroad, Ivan Sergeevich became friends with the thinker and poet N.V. Stankevich, and also became friends with M.A. Bakunin, who later became a famous revolutionary. He had conversations on historical and philosophical topics with T. N. Granovsky, the future famous historian. Ivan Sergeevich became a staunch Westerner. Russia, in his opinion, should take an example from Europe, getting rid of lack of culture, laziness, ignorance.
public service
Turgenev, returning to Russia in 1841, wanted to teach philosophy. However, his plans were not destined to come true: the department he wanted to enter was not restored. Ivan Sergeevich in June 1843 was enlisted in the Ministry of the Interior for service. At that time, the issue of the liberation of the peasants was being studied, so Turgenev reacted to the service with enthusiasm. However, Ivan Sergeevich did not serve long in the ministry: he quickly became disillusioned with the usefulness of his work. He began to be burdened by the need to fulfill all the instructions of his superiors. In April 1845, Ivan Sergeevich retired and was never again in the public service.
Turgenev becomes famous
Turgenev in the 1840s began to play the role of a secular lion in society: always well-groomed, neat, with the manners of an aristocrat. He wanted success and attention.
In 1843, in April, Turgenev's poem Parasha was published. Its plot is the touching love of the landowner's daughter for a neighbor on the estate. The work is a kind of ironic echo of "Eugene Onegin". However, unlike Pushkin, in Turgenev's poem everything ends happily with the marriage of the heroes. Nevertheless, happiness is deceptive, doubtful - it's just ordinary well-being.
The work was highly appreciated by V. G. Belinsky, the most influential and well-known critic of that time. Turgenev met Druzhinin, Panaev, Nekrasov. Following Parasha, Ivan Sergeevich wrote the following poems: in 1844 - Conversation, in 1845 - Andrey and Landowner. Turgenev Ivan Sergeevich also created stories and novels (in 1844 - "Andrey Kolosov", in 1846 - "Three Portraits" and "Breter", in 1847 - "Petushkov"). In addition, Turgenev wrote the comedy Lack of Money in 1846, and the drama Indiscretion in 1843. He followed the principles of the "natural school" of writers, to which Grigorovich, Nekrasov, Herzen, Goncharov belonged. Writers belonging to this direction depicted "non-poetic" objects: everyday life people, life, predominant attention was paid to the influence of circumstances and the environment on the fate and character of a person.
"Hunter's Notes"
Ivan Sergeevich Turgenev in 1847 published an essay "Khor and Kalinich", created under the impression of hunting trips in 1846 through the fields and forests of the Tula, Kaluga and Oryol provinces. Two heroes in it - Khor and Kalinich - are presented not just as Russian peasants. These are individuals with their own uneasy inner world. On the pages of this work, as well as other essays by Ivan Sergeevich, published in the book "Notes of a Hunter" in 1852, the peasants have their own voice, which differs from the manner of the narrator. The author recreated the customs and life of the landlord and peasant Russia. His book was evaluated as a protest against serfdom. Society accepted it with enthusiasm.
Relationship with Pauline Viardot, mother's death
1843 arrived on tour young Opera singer from France Pauline Viardot. She was greeted enthusiastically. Ivan Turgenev was also delighted with her talent. He was captivated by this woman for the rest of his life. Ivan Sergeevich followed her and her family to France (Viardot was married), accompanied Polina on a tour of Europe. His life was henceforth divided between France and Russia. The love of Ivan Turgenev has passed the test of time - Ivan Sergeevich has been waiting for the first kiss for two years. And only in June 1849 Polina became his lover.
Turgenev's mother was categorically against this connection. She refused to give him the funds received from the income from the estates. Death reconciled them: Turgenev's mother was dying hard, suffocating. She died in 1850 on November 16 in Moscow. Ivan was informed of her illness too late and did not have time to say goodbye to her.
Arrest and exile
In 1852, N. V. Gogol died. I. S. Turgenev wrote an obituary on this occasion. There were no reprehensible thoughts in him. However, it was not customary in the press to recall the duel that led to as well as recall the death of Lermontov. On April 16 of the same year, Ivan Sergeevich was put under arrest for a month. Then he was exiled to Spasskoe-Lutovinovo, not allowed to leave the Oryol province. At the request of the exile, after 1.5 years he was allowed to leave Spassky, but only in 1856 was he granted the right to go abroad.
New works
During the years of exile, Ivan Turgenev wrote new works. His books became more and more popular. In 1852, Ivan Sergeevich created the story "Inn". In the same year, Ivan Turgenev wrote Mumu, one of his most famous works. In the period from the late 1840s to the mid-1850s, he created other stories: in 1850 - "The Diary of a Superfluous Man", in 1853 - "Two Friends", in 1854 - "Correspondence" and "Calm" , in 1856 - "Yakov Pasynkov". Their heroes are naive and lofty idealists who fail in their attempts to benefit society or find happiness in their personal lives. Criticism called them "superfluous people." Thus, the creator of a new type of hero was Ivan Turgenev. His books were interesting for their novelty and topicality.
"Rudin"
The fame acquired by the mid-1850s by Ivan Sergeevich was strengthened by the novel Rudin. The author wrote it in 1855 in seven weeks. Turgenev in his first novel made an attempt to recreate the type of ideologist and thinker, modern man. The protagonist is an "extra person", who is depicted both in weakness and in attractiveness at the same time. The writer, creating it, endowed his hero with the features of Bakunin.
"Nest of Nobles" and new novels
In 1858, Turgenev's second novel appeared - " Noble Nest". His themes are the history of an old noble family; the love of a nobleman, hopeless by the will of circumstances. The poetry of love, full of grace and subtlety, the careful depiction of the characters' experiences, the spiritualization of nature - these are the distinctive features of Turgenev's style, perhaps most clearly expressed in "The Noble Nest ". They are also characteristic of some stories, such as "Faust" in 1856, "A Trip to Polissya" (years of creation - 1853-1857), "Asya" and "First Love" (both works were written in 1860). "was warmly received. He was praised by many critics, in particular Annenkov, Pisarev, Grigoriev. However, Turgenev's next novel had a completely different fate.
"The Eve"
In 1860, Ivan Sergeevich Turgenev published the novel "On the Eve". Summary his next. In the center of the work - Elena Stakhova. This heroine is brave, determined, devotedly loving girl. She fell in love with the revolutionary Insarov, a Bulgarian who devoted his life to liberating his homeland from the rule of the Turks. The story of their relationship ends, as usual with Ivan Sergeevich, tragically. The revolutionary dies, and Elena, who has become his wife, decides to continue the work of her late husband. This is the plot of the new novel, which was created by Ivan Turgenev. Of course, we have described its summary only in general terms.
This novel caused conflicting assessments. Dobrolyubov, for example, in an instructive tone in his article reprimanded the author where he was wrong. Ivan Sergeevich was furious. Radical democratic publications published texts with scandalous and malicious allusions to the details of Turgenev's personal life. The writer broke off relations with Sovremennik, where he had been published for many years. The younger generation stopped seeing Ivan Sergeevich as an idol.
"Fathers and Sons"
In the period from 1860 to 1861, Ivan Turgenev wrote Fathers and Sons, his new novel. It was published in Russkiy Vestnik in 1862. Most readers and critics did not appreciate it.
"Enough"
In 1862-1864. a story-miniature "Enough" was created (published in 1864). It is imbued with motives of disappointment in the values of life, including art and love, which are so dear to Turgenev. In the face of inexorable and blind death, everything loses its meaning.
"Smoke"
Written in 1865-1867. the novel "Smoke" is also imbued with a gloomy mood. The work was published in 1867. In it, the author tried to recreate a picture of modern Russian society, the ideological moods that dominated it.
"Nov"
Turgenev's last novel appeared in the mid-1870s. In 1877 it was printed. Turgenev in it presented populist revolutionaries who are trying to convey their ideas to the peasants. He assessed their actions as a sacrificial feat. However, this is a feat of the doomed.
The last years of the life of I. S. Turgenev
Turgenev from the mid-1860s almost constantly lived abroad, only visiting his homeland on short visits. He built himself a house in Baden-Baden, near the house of the Viardot family. In 1870, after the Franco-Prussian war, Polina and Ivan Sergeevich left the city and settled in France.
In 1882, Turgenev fell ill with spinal cancer. The last months of his life were difficult, and death was also difficult. The life of Ivan Turgenev ended on August 22, 1883. He was buried in St. Petersburg at the Volkovsky cemetery, near the grave of Belinsky.
Ivan Turgenev, whose stories, novels and novels are included in the school curriculum and known to many, is one of the greatest Russian writers of the 19th century.
×Ivan Sergeevich Turgenev was born on August 22, 1818 in the city of Orel, Oryol region. Father, Sergei Nikolaevich Turgenev (1793-1834), was a retired cuirassier colonel. Mother, Varvara Petrovna Turgeneva (before the marriage of Lutovinova) (1787-1850), came from a wealthy noble family.
Family Ivan Sergeyevich Turgenev came from an ancient family of Tula nobles Turgenevs. It is curious that the great-grandfathers were involved in the events of the times of Ivan the Terrible: the names of such representatives of this family as Ivan Vasilievich Turgenev, who was a nursemaid with Ivan the Terrible (1550-1556), are known; Dmitry Vasilyevich was the governor in Kargopol in 1589. And in the Time of Troubles, Pyotr Nikitich Turgenev was executed at the Execution Ground in Moscow for denouncing False Dmitry I; great-grandfather Alexei Romanovich Turgenev was a participant in the Russian-Turkish war under Catherine II.
Up to 9 years Ivan Turgenev lived in the hereditary estate of Spasskoe-Lutovinovo, 10 km from Mtsensk, Oryol province. In 1827, the Turgenevs, in order to educate their children, settled in Moscow, in a house bought on Samotyok.
The first romantic passion of young Turgenev was falling in love with the daughter of Princess Shakhovskaya - Catherine. The estates of their parents in the suburbs bordered, they often exchanged visits. He is 14, she is 18. In letters to her son, V.P. Turgeneva called E.L. Shakhovskaya a “poet” and a “villain”, since Sergey Nikolayevich Turgenev himself, a happy rival of his son, could not resist the charms of the young princess. The episode was revived much later, in 1860, in the story "First Love".
After his parents went abroad, Ivan Sergeevich first studied at the Weidenhammer boarding house, then he was sent as a boarder to the director of the Lazarevsky Institute Kruse. In 1833, 15-year-old Turgenev entered the verbal department of Moscow University. Herzen and Belinsky studied here at that time. A year later, after Ivan's older brother entered the Guards Artillery, the family moved to St. Petersburg, and Ivan Turgenev then transferred to St. Petersburg University to the Faculty of Philosophy. Timofey Granovsky became his friend.
While Turgenev I saw myself in the field of poetry. In 1834 he wrote the dramatic poem "The Wall", several lyric poems. The young author showed these tests of the pen to his teacher, professor of Russian literature P. A. Pletnev. Pletnev called the poem a weak imitation of Byron, but noted that "there is something" in the author. By 1837 he had already written about a hundred small poems. At the beginning of 1837, an unexpected and short meeting with A. S. Pushkin takes place. In the first issue of the Sovremennik magazine for 1838, which, after Pushkin’s death, was edited by P. A. Pletnev, Turgenev’s poem “Evening” was printed with the signature “- - -v”, which is the author’s debut.
In 1836, Turgenev graduated from the course with the degree of a real student. Dreaming of scientific activity, he again took the final exam the next year, received a candidate's degree, and in 1838 went to Germany. During the journey, a fire broke out on the ship, and the passengers miraculously managed to escape. Fearing for his life, Turgenev asked one of the sailors to save him and promised him a reward from his rich mother if he could fulfill his request. Other passengers testified that the young man exclaimed plaintively: "To die so young!", while pushing women and children at the lifeboats. Fortunately, the beach was not far.
Once on the shore, the young man was ashamed of his cowardice. Rumors of his cowardice infiltrated society and became the subject of ridicule. The event played a certain negative role in the subsequent life of the author and was described by Turgenev himself in the short story "Fire at Sea". Having settled in Berlin, Ivan took up his studies. Listening to lectures at the university on the history of Roman and Greek literature, at home he studied the grammar of ancient Greek and Latin. Here he became close to Stankevich. In 1839 he returned to Russia, but already in 1840 he again left for Germany, Italy, Austria. Impressed by a meeting with a girl in Frankfurt am Main, Turgenev later wrote the story "Spring Waters".
In 1841 Ivan returned to Lutovinovo. He became interested in the seamstress Dunyasha, who in 1842 gave birth to his daughter Pelageya. Dunyasha was given in marriage, the daughter was left in an ambiguous position.
At the beginning of 1842, Ivan Sergeevich submitted a request to Moscow University for admission to the exam for a master's degree in philosophy. At the same time, he began his literary activity.
The largest printed work of this time was the poem Parasha, written in 1843. Not hoping for positive criticism, he took a copy of V. G. Belinsky to Lopatin's house, leaving the manuscript to the critic's servant. Belinsky highly appreciated Parasha, publishing two months later positive feedback in "Domestic Notes". From that moment began their acquaintance, which eventually grew into a strong friendship.
In the autumn of 1843, Turgenev first saw Pauline Viardot on the stage of the opera house, when the great singer came on tour to St. Petersburg. Then, while hunting, he met Pauline's husband, the director of the Italian Theater in Paris, a well-known critic and art critic, Louis Viardot, and on November 1, 1843, he was introduced to Pauline herself. Among the mass of fans, she did not particularly single out Turgenev, known more as an avid hunter, and not a writer. And when her tour ended, Turgenev, together with the Viardot family, left for Paris against the will of his mother, without money and still unknown to Europe. In November 1845, he returned to Russia, and in January 1847, having learned about Viardot's tour in Germany, he left the country again: he went to Berlin, then to London, Paris, a tour of France and again to St. Petersburg.
In 1846, he participated in the renewal of Sovremennik. Nekrasov is his best friend. With Belinsky he went abroad in 1847 and in 1848 he lived in Paris, where he witnessed revolutionary events. He becomes close to Herzen, falls in love with Ogaryov's wife Tuchkova. In 1850-1852 he lived either in Russia or abroad. Most of the "Notes of a Hunter" was created by the writer in Germany.
Without an official marriage, Turgenev lived in the Viardot family. Pauline Viardot raised Turgenev's illegitimate daughter. Several meetings with Gogol and Fet belong to this time.
In 1846, the novels Breter and Three Portraits were published. Later, he wrote such works as The Freeloader (1848), The Bachelor (1849), The Provincial Girl, A Month in the Village, Calm (1854), Yakov Pasynkov (1855), Breakfast at the Leader "(1856), etc. "Mumu" he wrote in 1852, being in exile in Spassky-Lutovinovo because of an obituary on the death of Gogol, which, despite the ban, he published in Moscow.
In 1852 a collection was published short stories Turgenev under the general title "Notes of a Hunter", which was published in Paris in 1854. After the death of Nicholas I, four major works of the writer were published one after another: Rudin (1856), The Noble Nest (1859), On the Eve (1860) and Fathers and Sons (1862). The first two were published in Nekrasov's Sovremennik. The next two are in the Russian Messenger by M. N. Katkov. The departure from Sovremennik marked a break with the radical camp of N. G. Chernyshevsky and N. A. Dobrolyubov.
Turgenev gravitates toward the circle of Western writers who profess the principles of "pure art", opposing the tendentious creativity of raznochintsev revolutionaries: P. V. Annenkov, V. P. Botkin, D. V. Grigorovich, A. V. Druzhinin. For a short time, Leo Tolstoy also joined this circle, who for some time lived in Turgenev's apartment. After Tolstoy's marriage to S. A. Bers, Turgenev found a close relative in Tolstoy, but even before the wedding, in May 1861, when both prose writers were visiting A. A. Fet at the Stepanovo estate, a serious quarrel occurred between the two writers, barely which did not end in a duel and spoiled relations between writers for a long 17 years.
From the beginning of the 1860s, Turgenev settled in Baden-Baden. The writer actively participates in the cultural life of Western Europe, making acquaintances with the leading writers of Germany, France and England, promoting Russian literature abroad and acquainting Russian readers with the best works of contemporary Western authors. Among his acquaintances or correspondents are Friedrich Bodenstedt, Thackeray, Dickens, Henry James, George Sand, Victor Hugo, Saint-Beuve, Hippolyte Taine, Prosper Mérimée, Ernest Renan, Theophile Gauthier, Edmond Goncourt, Emile Zola, Anatole France, Guy de Maupassant , Alphonse Daudet, Gustave Flaubert. In 1874, the famous bachelor dinners of five began in the Parisian restaurants of Rich or Pellet: Flaubert, Edmond Goncourt, Daudet, Zola and Turgenev.
I. S. Turgenev acts as a consultant and editor of foreign translators of Russian writers, he himself writes prefaces and notes to translations of Russian writers into European languages, as well as to Russian translations of works by famous European writers. He translates Western writers into Russian and Russian writers and poets into French and German. This is how translations of Flaubert's works Herodias and The Tale of St. Yuliana Merciful" for the Russian reader and Pushkin's works for the French reader. For some time, Turgenev became the most famous and most widely read Russian author in Europe. In 1878, at the international literary congress in Paris, the writer was elected vice-president; in 1879 he received an honorary doctorate from Oxford University.
Despite living abroad, all Turgenev's thoughts were still connected with Russia. He writes the novel "Smoke" (1867), which caused a lot of controversy in Russian society. According to the author's review, everyone scolded the novel: "both red and white, and from above, and from below, and from the side - especially from the side." The fruit of his intense reflections in the 1870s was the largest of Turgenev's novels, Nov (1877).
Turgenev was friends with the Milyutin brothers (comrade of the Minister of Internal Affairs and Minister of War), A. V. Golovnin (Minister of Education), M. Kh. Reitern (Minister of Finance).
At the end of his life, Turgenev decides to reconcile with Leo Tolstoy, he explains the meaning of modern Russian literature, including Tolstoy's work, to the Western reader. In 1880, the writer takes part in the Pushkin celebrations dedicated to the opening of the first monument to the poet in Moscow, organized by the Society of Lovers of Russian Literature. The writer died in Bougival near Paris, August 22 (September 3), 1883 from myxosarcoma. Turgenev's body was, according to his desire, brought to St. Petersburg and buried at the Volkovskoye cemetery with a large gathering of people.
Turgenev Ivan Sergeevich |
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Aliases: |
Vb; -e-; I.S.T.; I.T.; L.; Nedobobov, Jeremiah; T.; T…; T. L.; T……in; *** |
Date of Birth: |
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Place of Birth: |
City of Orel, Russian Empire |
Date of death: |
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A place of death: |
Bougival, French Third Republic |
Citizenship: |
Russian empire |
Occupation: |
Prose writer, poet, playwright, translator |
Years of creativity: |
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Direction: |
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Short story, novella, novel, elegy, drama |
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Art language: |
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"Evening", 1838 |
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Biography
Origin and early years
After graduation
The heyday of creativity
Dramaturgy
1850s
Death and funeral
Personal life
"Turgenev girls"
Passion for hunting
The value and appreciation of creativity
Turgenev on stage
Foreign criticism
Bibliography
Novels and stories
Turgenev in illustrations
Screen adaptations
In St. Petersburg
Toponymy
Public institutions
monuments
Other objects
Ivan Sergeevich Turgenev(October 28, 1818, Oryol, Russian Empire - August 22, 1883, Bougival, France) - Russian realist writer, poet, publicist, playwright, translator; corresponding member of the Imperial Academy of Sciences in the category of Russian language and literature (1860), honorary doctor of Oxford University (1879). One of the classics of Russian literature, who made the most significant contribution to its development in the second half of the 19th century.
Created by him art system influenced the poetics of not only Russian, but also Western European novels of the second half of the 19th century. Ivan Turgenev was the first in Russian literature to begin to study the personality of the "new man" - the sixties man, his moral qualities and psychological characteristics, thanks to him the term "nihilist" began to be widely used in the Russian language. He was a propagandist of Russian literature and dramaturgy in the West.
The study of the works of I. S. Turgenev is an obligatory part of the general education school programs in Russia. Most famous works- a cycle of stories "Notes of a Hunter", the story "Mumu", the story "Asya", the novels "The Noble Nest", "Fathers and Sons".
Biography
Origin and early years
The family of Ivan Sergeevich Turgenev came from an ancient family of Tula nobles, the Turgenevs. In her memorial book, the mother of the future writer wrote: “ On October 28, 1818, on Monday, the son Ivan, 12 inches tall, was born in Orel, in his house, at 12 o'clock in the morning. Baptized on the 4th of November, Feodor Semenovich Uvarov with his sister Fedosya Nikolaevna Teplovoy».
Ivan's father Sergei Nikolaevich Turgenev (1793-1834) served at that time in the cavalry regiment. The careless lifestyle of the handsome cavalry guard upset his finances, and in order to improve his position, he entered into a marriage of convenience in 1816 with an elderly, unattractive, but very wealthy Varvara Petrovna Lutovinova (1787-1850). In 1821, with the rank of colonel of the cuirassier regiment, my father retired. Ivan was the second son in the family. The mother of the future writer, Varvara Petrovna, came from a wealthy noble family. Her marriage to Sergei Nikolayevich was not happy. The father died in 1834, leaving three sons - Nikolai, Ivan and Sergei, who died early from epilepsy. Mother was a domineering and despotic woman. She herself lost her father early, suffered from the cruel attitude of her mother (whom the grandson later portrayed as an old woman in the essay "Death"), and from a violent, drinking stepfather, who often beat her. Due to constant beatings and humiliation, she later fled to her uncle, after whose death she became the owner of a magnificent estate and 5000 souls.
Varvara Petrovna was a difficult woman. Serfdom habits coexisted in her with erudition and education, she combined care for the upbringing of children with family despotism. Ivan was also subjected to maternal beatings, despite the fact that he was considered her beloved son. The boy was taught literacy by frequently changing French and German tutors. In the family of Varvara Petrovna, everyone spoke exclusively in French among themselves, even prayers in the house were pronounced in French. She traveled a lot and was an enlightened woman, she read a lot, but also mostly in French. But her native language and literature were not alien to her either: she herself had an excellent figurative Russian speech, and Sergei Nikolayevich demanded that the children write letters to him in Russian during their father's absences. The Turgenev family maintained ties with V. A. Zhukovsky and M. N. Zagoskin. Varvara Petrovna followed the novelties of literature, was well aware of the work of N. M. Karamzin, V. A. Zhukovsky, A. S. Pushkin, M. Yu. Lermontov and N. V. Gogol, whom she willingly quoted in letters to her son.
Love for Russian literature was also instilled in young Turgenev by one of the serf valets (who later became the prototype of Punin in the story "Punin and Baburin"). Until the age of nine, Ivan Turgenev lived in the hereditary mother's estate, Spasskoe-Lutovinovo, 10 km from Mtsensk, Oryol province. In 1827, the Turgenevs, in order to educate their children, settled in Moscow, buying a house on Samotyok. The future writer studied first at the Weidenhammer boarding house, then became a boarder with the director of the Lazarev Institute, I. F. Krause.
Education. The beginning of literary activity
In 1833, at the age of 15, Turgenev entered the verbal department of Moscow University. At the same time, A. I. Herzen and V. G. Belinsky studied here. A year later, after Ivan's elder brother entered the Guards Artillery, the family moved to St. Petersburg, where Ivan Turgenev moved to the Faculty of Philosophy at St. Petersburg University. At the university, T. N. Granovsky, the future famous historian of the Western school, became his friend.
At first, Turgenev wanted to become a poet. In 1834, as a third-year student, he wrote the dramatic poem "Steno" in iambic pentameter. The young author showed these tests of the pen to his teacher, professor of Russian literature P. A. Pletnev. During one of the lectures, Pletnev analyzed this poem quite strictly, without disclosing its authorship, but at the same time he also admitted that “there is something” in the writer. These words prompted the young poet to write a number of more poems, two of which Pletnev published in 1838 in the Sovremennik magazine, of which he was the editor. They were published under the signature "....v". The debut poems were "Evening" and "To Venus Mediciy".
Turgenev's first publication appeared in 1836 - in the "Journal of the Ministry of Public Education" he published a detailed review "On a Journey to Holy Places" by A. N. Muravyov. By 1837, he had already written about a hundred small poems and several poems (the unfinished "The Old Man's Tale", "Calm at Sea", "Phantasmagoria on a Moonlit Night", "Dream").
After graduation
In 1836 Turgenev graduated from the university with the degree of a real student. Dreaming of scientific activity, the following year he passed the final exam and received a Ph.D. In 1838 he went to Germany, where he settled in Berlin and took up his studies in earnest. At the University of Berlin he attended lectures on the history of Roman and Greek literature, and at home he studied the grammar of ancient Greek and Latin. Knowledge of ancient languages allowed him to freely read the ancient classics. During his studies, he became friends with the Russian writer and thinker N.V. Stankevich, who had a noticeable influence on him. Turgenev attended the lectures of the Hegelians, became interested in German idealism with its doctrine of world development, the "absolute spirit" and the lofty vocation of the philosopher and poet. In general, the whole way of Western European life made a strong impression on Turgenev. The young student came to the conclusion that only the assimilation of the basic principles of universal culture can lead Russia out of the darkness in which it is immersed. In this sense, he became a convinced "Westernizer".
In the 1830-1850s, an extensive circle of literary acquaintances of the writer was formed. Back in 1837 there were fleeting meetings with A. S. Pushkin. Then Turgenev met V. A. Zhukovsky, A. V. Nikitenko, A. V. Koltsov, a little later - with M. Yu. Lermontov. Turgenev had only a few meetings with Lermontov, which did not lead to a close acquaintance, but Lermontov's work had a certain influence on him. He tried to master the rhythm and stanza, style and syntactic features of Lermontov's poetry. Thus, the poem "The Old Landowner" (1841) in some places is close in form to Lermontov's "Testament", in "Ballad" (1841) one feels the influence of "The Song about the Merchant Kalashnikov". But the connection with Lermontov's work is most tangible in the poem "Confession" (1845), whose accusatory pathos brings him closer to Lermontov's poem "Duma".
In May 1839, the old house in Spassky burned down, and Turgenev returned to his homeland, but already in 1840 he again went abroad, visiting Germany, Italy and Austria. Impressed by a meeting with a girl in Frankfurt am Main, Turgenev later wrote the story Spring Waters. In 1841 Ivan returned to Lutovinovo.
In early 1842, he applied to Moscow University for admission to the examination for the degree of Master of Philosophy, but at that time there was no full-time professor of philosophy at the university, and his request was rejected. Not settling in Moscow, Turgenev satisfactorily passed the exam for a master's degree at St. Petersburg University and wrote a dissertation for the verbal department. But by this time, the craving for scientific activity had cooled down, more and more began to attract literary creativity. Refusing to defend his dissertation, he served until 1844 in the rank of collegiate secretary in the Ministry of the Interior.
In 1843 Turgenev wrote the poem Parasha. Not really hoping for a positive response, he nevertheless took the copy to V. G. Belinsky. Belinsky highly appreciated Parasha, publishing his review in Fatherland Notes two months later. Since that time, their acquaintance began, which later grew into a strong friendship; Turgenev was even godfather to Belinsky's son, Vladimir. The poem was published in the spring of 1843 as a separate book under the initials "T. L." (Turgenev-Lutovinov). In the 1840s, in addition to Pletnev and Belinsky, Turgenev met with A. A. Fet.
In November 1843, Turgenev created the poem "Mistful Morning", set to music in different years by several composers, including A. F. Gedike and G. L. Catuar. The most famous, however, is the romance version, which was originally published under the title "Music of Abaza"; its belonging to V. V. Abaza, E. A. Abaza or Yu. F. Abaza has not been finally established. Upon publication, the poem was seen as a reflection of Turgenev's love for Pauline Viardot, whom he met during this time.
In 1844, the poem "Pop" was written, which the writer himself described rather as fun, devoid of any "deep and significant ideas." Nevertheless, the poem attracted public interest for its anti-clerical orientation. The poem was curtailed by Russian censorship, but it was printed in its entirety abroad.
In 1846, the novels Breter and Three Portraits were published. In Breter, which became Turgenev's second story, the writer tried to present the struggle between Lermontov's influence and the desire to discredit posturing. The plot for his third story, Three Portraits, was drawn from the Lutovinov family chronicle.
The heyday of creativity
Since 1847, Ivan Turgenev participated in the reformed Sovremennik, where he became close to N. A. Nekrasov and P. V. Annenkov. The magazine published his first feuilleton " Contemporary notes”, began to publish the first chapters of the Hunter's Notes. In the very first issue of Sovremennik, the story "Khor and Kalinich" was published, which opened countless editions of the famous book. The subtitle "From the notes of a hunter" was added by the editor I. I. Panaev in order to draw the attention of readers to the story. The success of the story turned out to be huge, and it brought
Turgenev to the idea of writing a number of others of the same kind. According to Turgenev, "Notes of a Hunter" was the fulfillment of his Annibal oath to fight to the end with the enemy, whom he had hated since childhood. “This enemy had a certain image, wore famous name: this enemy was - serfdom. To carry out his intention, Turgenev decided to leave Russia. “I couldn’t,” wrote Turgenev, “breathe the same air, stay close to what I hated. I needed to move away from my enemy so that from my very place I would be given a stronger attack on him.”
In 1847, Turgenev went abroad with Belinsky and in 1848 lived in Paris, where he witnessed revolutionary events. Being an eyewitness to the killing of hostages, attacks, barricades of the February french revolution, he forever endured a deep disgust for revolutions in general. A little later, he became close to A. I. Herzen, fell in love with Ogaryov's wife N. A. Tuchkova.
Dramaturgy
The end of the 1840s - the beginning of the 1850s became the time of Turgenev's most intense activity in the field of dramaturgy and the time of reflection on issues of history and theory of drama. In 1848 he wrote such plays as "Where it is thin, there it breaks" and "The Freeloader", in 1849 - "Breakfast at the Leader" and "The Bachelor", in 1850 - "A Month in the Country", in 1851- m - "Provincial". Of these, "The Freeloader", "The Bachelor", "The Provincial Girl" and "A Month in the Country" were successful due to their excellent productions on stage. The success of The Bachelor was especially dear to him, which became possible largely thanks to the performing skills of A. E. Martynov, who played in four of his plays. Turgenev formulated his views on the position of the Russian theater and the tasks of dramaturgy as early as 1846. He believed that the crisis in the theatrical repertoire that was observed at that time could be overcome by the efforts of writers committed to Gogol's dramaturgy. Turgenev counted himself among the followers of Gogol the playwright.
To master the literary techniques of dramaturgy, the writer also worked on translations of Byron and Shakespeare. At the same time, he did not try to copy Shakespeare's dramatic techniques, he only interpreted his images, and all the attempts of his contemporary playwrights to use Shakespeare's work as a role model, to borrow his theatrical techniques only caused Turgenev's irritation. In 1847 he wrote: “The shadow of Shakespeare hangs over all dramatic writers, they cannot get rid of memories; these unfortunates read too much and lived too little.
1850s
In 1850, Turgenev returned to Russia, but he never saw his mother, who died that same year. Together with his brother Nikolai, he shared a large fortune of his mother and, if possible, tried to alleviate the hardships of the peasants he inherited.
In 1850-1852 he lived either in Russia or abroad, he saw N.V. Gogol. After Gogol's death, Turgenev wrote an obituary, which the St. Petersburg censors did not let through. The reason for her dissatisfaction was that, as the chairman of the St. Petersburg Censorship Committee M. N. Musin-Pushkin put it, “it is criminal to speak so enthusiastically about such a writer.” Then Ivan Sergeevich sent the article to Moscow, V.P. Botkin, who published it in Moskovskie Vedomosti. The authorities saw a rebellion in the text, and the author was placed on the exit, where he spent a month. On May 18, Turgenev was sent to his native village, and only thanks to the efforts of Count A.K. Tolstoy, two years later, the writer again received the right to live in the capitals.
There is an opinion that the real reason for the exile was not a seditious obituary to Gogol, but the excessive radicalism of Turgenev's views, manifested in sympathy for Belinsky, suspiciously frequent trips abroad, sympathetic stories about serfs, a laudatory review of an emigrant Herzen about Turgenev. The enthusiastic tone of the article about Gogol only overwhelmed the gendarmerie's patience, becoming an external reason for punishment, the meaning of which was thought out by the authorities in advance. Turgenev feared that his arrest and exile would interfere with the publication of the first edition of the Hunter's Notes, but his fears were not justified - in August 1852 the book was censored and published.
However, the censor Lvov, who let the “Notes of a Hunter” go to print, was dismissed from service by personal order of Nicholas I and deprived of his pension. Russian censorship also imposed a ban on the re-edition of the Hunter's Notes, explaining this step by the fact that Turgenev, on the one hand, poeticized the serfs, and on the other hand, depicted “that these peasants are oppressed, that the landowners behave indecently and illegal ... finally, that it is more free for a peasant to live in freedom.
During his exile in Spasskoye, Turgenev went hunting, read books, wrote stories, played chess, listened to Beethoven's Coriolanus performed by A.P. Tyutcheva and his sister, who lived at that time in Spasskoye, and from time to time was subjected to raids by the bailiff .
In 1852, while still in exile in Spasskoye-Lutovinovo, he wrote the textbook story "Mumu". Most of the "Notes of a Hunter" was created by the writer in Germany. "Notes of a Hunter" in 1854 was published in Paris as a separate edition, although at the beginning of the Crimean War this publication was in the nature of anti-Russian propaganda, and Turgenev was forced to publicly protest against the poor quality French translation by Ernest Charrière. After the death of Nicholas I, four of the most significant works of the writer were published one after another: Rudin (1856), The Noble Nest (1859), On the Eve (1860) and Fathers and Sons (1862). The first two were published in Nekrasov's Sovremennik, the other two in Russkiy Vestnik by M. N. Katkov.
Employees of Sovremennik I. S. Turgenev, N. A. Nekrasov, I. I. Panaev, M. N. Longinov, V. P. Gaevsky, D. V. Grigorovich sometimes gathered in a circle of "warlocks" organized by A. V. Druzhinin. The humorous improvisations of the “warlocks” sometimes went beyond the scope of censorship, so they had to be published abroad. Later, Turgenev took part in the activities of the Society for Assistance to Needy Writers and Scientists (Literary Fund), founded on the initiative of the same A. V. Druzhinin. From the end of 1856, the writer collaborated with the journal Library for Reading, published under the editorship of A. V. Druzhinin. But his editing did not bring the expected success to the publication, and Turgenev, who in 1856 hoped for a close magazine success, in 1861 called the "Library", edited by that time by A. F. Pisemsky, "a dead hole."
In the autumn of 1855, Leo Tolstoy was added to Turgenev's circle of friends. In September of the same year, Tolstoy's story "The Cutting of the Forest" was published in Sovremennik with a dedication to I. S. Turgenev.
1860s
Turgenev took an ardent part in the discussion of the upcoming Peasant Reform, participated in the development of various collective letters, draft addresses addressed to Tsar Alexander II, protests, and so on. From the first months of publication of Herzen's "The Bell" Turgenev was his active collaborator. He himself did not write in The Bell, but he helped in collecting materials and preparing them for publication. Turgenev's equally important role was to mediate between Herzen and those correspondents from Russia who, for various reasons, did not want to be in direct contact with the disgraced London emigrant. In addition, Turgenev sent detailed review letters to Herzen, information from which, without the author's signature, was also published in Kolokol. At the same time, Turgenev always spoke out against the harsh tone of Herzen’s materials and excessive criticism of government decisions: “Please don’t scold Alexander Nikolayevich, otherwise all the reactionaries in St. - so he, perhaps, will lose his spirit.
In 1860, Sovremennik published an article by N. A. Dobrolyubov “When will the real day come?” In which the critic spoke very flatteringly about the new novel “On the Eve” and Turgenev’s work in general. Nevertheless, Turgenev was not satisfied with the far-reaching conclusions of Dobrolyubov, made by him after reading the novel. Dobrolyubov connected the idea of Turgenev's work with the events of the approaching revolutionary transformation of Russia, with which the liberal Turgenev could not come to terms. Dobrolyubov wrote: “Then the full, sharply and vividly outlined image of the Russian Insarov will appear in literature. And we do not have to wait long for him: this is vouched for by the feverish, painful impatience with which we await his appearance in life. He will come, finally, this day! And, in any case, the eve is not far from the day following it: just some kind of night separates them! ... ”The writer gave Nekrasov an ultimatum: either he, Turgenev, or Dobrolyubov. Nekrasov preferred Dobrolyubov. After that, Turgenev left Sovremennik and stopped communicating with Nekrasov, and subsequently Dobrolyubov became one of the prototypes for the image of Bazarov in the novel Fathers and Sons.
Turgenev gravitated towards the circle of Western writers who professed the principles of "pure art", opposed to the tendentious creativity of raznochintsev revolutionaries: P. V. Annenkov, V. P. Botkin, D. V. Grigorovich, A. V. Druzhinin. For a short time, Leo Tolstoy also joined this circle. For some time Tolstoy lived in Turgenev's apartment. After Tolstoy's marriage to S. A. Bers, Turgenev found a close relative in Tolstoy, but even before the wedding, in May 1861, when both prose writers were visiting A. A. Fet at the Stepanovo estate, there was a serious quarrel between them, almost ended in a duel and ruined relations between writers for a long 17 years. For some time, the writer developed complex relationships with Fet himself, as well as with some other contemporaries - F. M. Dostoevsky, I. A. Goncharov.
In 1862, good relations with former friends of Turgenev's youth, A.I. Herzen and M.A. Bakunin, began to deteriorate. From July 1, 1862 to February 15, 1863, Herzen's Bell published a series of articles, Ends and Beginnings, consisting of eight letters. Without naming the addressee of Turgenev's letters, Herzen defended his understanding of the historical development of Russia, which, in his opinion, should move along the path of peasant socialism. Herzen contrasted peasant Russia with bourgeois Western Europe, whose revolutionary potential he considered already exhausted. Turgenev objected to Herzen in private letters, insisting on the commonality of historical development for different states and peoples.
At the end of 1862, Turgenev was involved in the process of the 32nd in the case of "persons accused of having relations with London propagandists." After the authorities ordered him to immediately appear in the Senate, Turgenev decided to write a letter to the sovereign, trying to convince him of the loyalty of his convictions, "quite independent, but conscientious." He asked interrogation points to be sent to him in Paris. In the end, he was forced to leave for Russia in 1864 for a Senate interrogation, where he managed to avert all suspicions from himself. The Senate found him not guilty. Turgenev's appeal to Emperor Alexander II personally caused Herzen's bilious reaction in Kolokol. Much later, this moment in the relationship between the two writers was used by V. I. Lenin to illustrate the difference between the liberal hesitations of Turgenev and Herzen: “When the liberal Turgenev wrote a private letter to Alexander II with assurance of his loyal feelings and donated two gold pieces to the soldiers wounded during the pacification of the Polish uprising , “The Bell” wrote about “the gray-haired Magdalene (male), who wrote to the sovereign that she did not know sleep, tormented that the sovereign did not know about the repentance that had befallen her.” And Turgenev immediately recognized himself. But Turgenev's vacillation between tsarism and revolutionary democracy manifested itself in another way.
In 1863 Turgenev settled in Baden-Baden. The writer actively participated in the cultural life of Western Europe, establishing contacts with the greatest writers of Germany, France and England, promoting Russian literature abroad and acquainting Russian readers with the best works of contemporary Western authors. Among his acquaintances or correspondents were Friedrich Bodenstedt, William Thackeray, Charles Dickens, Henry James, Georges Sand, Victor Hugo, Charles Saint-Beuve, Hippolyte Taine, Prosper Mérimée, Ernest Renan, Théophile Gautier, Edmond Goncourt, Emile Zola, Anatole France , Guy de Maupassant, Alphonse Daudet, Gustave Flaubert. Since 1874, the famous bachelor's "dinners of five" - Flaubert, Edmond Goncourt, Daudet, Zola and Turgenev - have been held in the Parisian restaurants of Risch or Pellet. The idea belonged to Flaubert, but Turgenev was assigned to them the main role. Lunches were held once a month. They raised various topics - about the features of literature, about the structure of the French language, told stories and simply enjoyed delicious food. Lunches were held not only at the Parisian restaurateurs, but also at the writers' houses.
I. S. Turgenev acted as a consultant and editor of foreign translators of Russian writers, wrote prefaces and notes to translations of Russian writers into European languages, as well as to Russian translations of works by famous European writers. He translated Western writers into Russian and Russian writers and poets into French and German. This is how translations of Flaubert's works Herodias and The Tale of St. Julian the Merciful" for Russian readers and Pushkin's works for French readers. For a while, Turgenev became the most famous and most widely read Russian author in Europe, where critics ranked him among the first writers of the century. In 1878, at the international literary congress in Paris, the writer was elected vice-president. On June 18, 1879, he was awarded an honorary doctorate from Oxford University, despite the fact that the university had not given such an honor to any novelist before him.
Despite living abroad, all Turgenev's thoughts were still connected with Russia. He wrote the novel "Smoke" (1867), which caused a lot of controversy in Russian society. According to the author, everyone scolded the novel: "both red and white, and from above, and from below, and from the side - especially from the side."
In 1868, Turgenev became a permanent contributor to the liberal journal Vestnik Evropy and severed ties with M. N. Katkov. The gap did not go easily - the writer began to be persecuted in the Russky Vestnik and Moskovskie Vedomosti. The attacks were especially toughened in the late 1870s, when, regarding the applause that fell to Turgenev's lot, the Katkov newspaper assured that the writer was "tumbling" in front of progressive youth.
1870s
The fruit of the writer's reflections in the 1870s was the largest of his novels, Nov (1877), which was also criticized. So, for example, M.E. Saltykov-Shchedrin regarded this novel as a service to the autocracy.
Turgenev was friends with the Minister of Education A. V. Golovnin, with the Milyutin brothers (comrade of the Minister of Internal Affairs and Minister of War), N. I. Turgenev, and was closely acquainted with the Minister of Finance M. Kh. Reitern. In the late 1870s, Turgenev became closer to the leaders of the revolutionary emigration from Russia, his circle of acquaintances included P. L. Lavrov, Kropotkin, G. A. Lopatin and many others. Among other revolutionaries, he placed German Lopatin above all, bowing before his mind, courage and moral strength.
In April 1878, Leo Tolstoy invited Turgenev to forget all the misunderstandings between them, to which Turgenev happily agreed. Friendship and correspondence resumed. Turgenev explained the meaning of modern Russian literature, including Tolstoy's work, to the Western reader. In general, Ivan Turgenev played a big role in promoting Russian literature abroad.
However, Dostoevsky in the novel "Demons" portrayed Turgenev in the form of "the great writer Karmazinov" - a noisy, petty, scribbled and practically mediocre writer who considers himself a genius and sits out abroad. A similar attitude towards Turgenev by the ever-needy Dostoevsky was caused, among other things, by Turgenev’s secure position in his noble life and by the highest literary fees at that time: “To Turgenev for his“ Noble Nest ”(I finally read it. Extremely well) I ask for 100 rubles per sheet) gave 4,000 rubles, that is, 400 rubles per sheet. My friend! I know very well that I write worse than Turgenev, but not too worse, and finally, I hope to write not worse at all. Why am I, with my needs, taking only 100 rubles, and Turgenev, who has 2,000 souls, 400 each?
Turgenev, not hiding his dislike for Dostoevsky, in a letter to M.E. Saltykov-Shchedrin in 1882 (after Dostoevsky's death) also did not spare his opponent, calling him "the Russian Marquis de Sade."
In 1880, the writer took part in the Pushkin celebrations dedicated to the opening of the first monument to the poet in Moscow, organized by the Society of Lovers of Russian Literature.
Last years
The last years of Turgenev's life became for him the pinnacle of fame both in Russia, where the writer again became a universal favorite, and in Europe, where the best critics of that time (I. Ten, E. Renan, G. Brandes, etc.) ranked him among the first writers of the century. His visits to Russia in 1878-1881 were real triumphs. All the more disturbing in 1882 were the reports of a severe exacerbation of his usual gouty pains. In the spring of 1882, the first signs of the disease appeared, which soon turned out to be fatal for Turgenev. With temporary relief of pain, he continued to work and a few months before his death he published the first part of "Poems in Prose" - a cycle of lyrical miniatures, which became his kind of farewell to life, homeland and art. The book was opened by the poem in prose "Village", and completed by "Russian language" - a lyrical hymn in which the author put his faith in the great destiny of his country:
Parisian doctors Charcot and Jacquet diagnosed the writer with angina pectoris; soon she was joined by intercostal neuralgia. The last time Turgenev was in Spasskoye-Lutovinovo was in the summer of 1881. The sick writer spent the winters in Paris, and for the summer he was transported to Bougival, on the estate of Viardot.
By January 1883, the pains had intensified so much that he could not sleep without morphine. He underwent an operation to remove a neuroma in the lower part of the abdominal cavity, but the operation did not help much, since it did not alleviate the pain in the thoracic region of the spine. The disease developed, in March and April the writer was so tormented that those around him began to notice momentary clouding of reason, caused in part by morphine. The writer was fully aware of his imminent death and resigned himself to the consequences of the disease, which made it impossible for him to walk or just stand.
Death and funeral
The confrontation between an unimaginably painful illness and an unimaginably strong organism"(P. V. Annenkov) ended on August 22 (September 3), 1883 in Bougival near Paris. Ivan Sergeevich Turgenev died of myxosarcoma (Muho Sarcoma) (a cancerous lesion of the bones of the spine). Doctor S. P. Botkin testified that true reason death was clarified only after an autopsy, during which physiologists also weighed his brain. As it turned out, among those whose brains were weighed, Ivan Sergeevich Turgenev had the largest brain (2012 grams, which is almost 600 grams more than the average weight).
Turgenev's death was a great shock to his admirers, expressed in a very impressive funeral. The funeral was preceded by mourning celebrations in Paris, at which more than four hundred people took part. Among them were at least a hundred Frenchmen: Edmond Abu, Jules Simon, Emile Ogier, Emile Zola, Alphonse Daudet, Juliette Adam, artist Alfred Diedone, composer Jules Massenet. Ernest Renan addressed the mourners with a heartfelt speech. In accordance with the will of the deceased, on September 27, his body was brought to St. Petersburg.
Even from the border station Verzhbolovo, funeral services were served at stops. On the platform of the St. Petersburg Warsaw railway station, a solemn meeting of the coffin with the body of the writer took place. Senator A.F. Koni recalled the funeral at the Volkovsky cemetery:
The reception of the coffin in St. Petersburg and its passage to the Volkovo cemetery presented unusual spectacles in their beauty, majestic character and complete, voluntary and unanimous observance of order. An uninterrupted chain of 176 deputations from literature, from newspapers and magazines, scientists, educational and educational institutions, from zemstvos, Siberians, Poles and Bulgarians occupied a space of several miles, attracting the sympathetic and often moved attention of a huge audience that blocked the sidewalks - carried by deputations graceful, magnificent wreaths and banners with meaningful inscriptions. So, there was a wreath “To the Author of Mumu” from the Society for the Protection of Animals ... a wreath with the inscription “Love is stronger than death” from pedagogical women's courses ... - A. F. Koni, "Turgenev's Funeral", Collected Works in eight volumes. T. 6. M., Legal Literature, 1968. Pp. 385-386. |
There were no misunderstandings either. The day after the funeral of Turgenev's body in the Alexander Nevsky Cathedral on the Rue Daru in Paris, on September 19, the famous emigrant populist P.L. Lavrov published a letter in the Parisian newspaper Justice, edited by the future socialist Prime Minister Georges Clemenceau, in which he reported that I. S. Turgenev, on his own initiative, transferred to Lavrov annually for three years 500 francs each to assist in the publication of the revolutionary émigré newspaper Vperyod.
Russian liberals were outraged by this news, considering it a provocation. The conservative press in the person of M. N. Katkov, on the contrary, took advantage of Lavrov’s message for the posthumous persecution of Turgenev in the Russky Vestnik and Moskovskie Vedomosti in order to prevent the deceased writer from being honored in Russia, whose body “without any publicity, with special care” should was to arrive in the capital from Paris for burial. The following of the ashes of Turgenev was very worried about the Minister of the Interior D. A. Tolstoy, who was afraid of spontaneous rallies. According to the editor of Vestnik Evropy, M. M. Stasyulevich, who accompanied the body of Turgenev, the precautions taken by the officials were as inappropriate as if he had accompanied the Nightingale the Robber, and not the body of the great writer.
Personal life
The first romantic passion of young Turgenev was falling in love with the daughter of Princess Shakhovskaya - Catherine (1815-1836), a young poetess. The estates of their parents in the suburbs bordered, they often exchanged visits. He was 15, she was 19. In letters to her son, Varvara Turgeneva called Ekaterina Shakhovskaya a “poet” and a “villain”, since Sergei Nikolayevich himself, the father of Ivan Turgenev, could not resist the charms of the young princess, to whom the girl reciprocated, which broke the heart of the future writer . The episode much later, in 1860, was reflected in the story "First Love", in which the writer endowed some features of Katya Shakhovskaya with the heroine of the story, Zinaida Zasekina.
Henri Troyat, Ivan Turgenev
Turgenev's story at a dinner with G. Flaubert
“My whole life is permeated with the feminine principle. Neither a book nor anything else can replace a woman for me ... How can I explain this? I believe that only love causes such a flowering of the whole being, which nothing else can give. And what do you think? Listen, in my youth I had a mistress - a miller from the outskirts of St. Petersburg. I met her when I went hunting. She was very pretty - a blonde with radiant eyes, which are quite common with us. She didn't want to take anything from me. And once she said: “You must give me a present!” - "What do you want?" - "Bring me soap!" I brought her soap. She took it and disappeared. She returned flushed and said, holding out her fragrant hands to me: “Kiss my hands the way you kiss them to ladies in St. Petersburg drawing rooms!” I threw myself on my knees in front of her ... There is no moment in my life that could compare with this!
In 1841, during his return to Lutovinovo, Ivan became interested in the seamstress Dunyasha (Avdotya Ermolaevna Ivanova). An affair began between the young, which ended in the girl's pregnancy. Ivan Sergeevich immediately expressed a desire to marry her. However, his mother made a serious scandal about this, after which he went to St. Petersburg. Turgenev's mother, having learned about Avdotya's pregnancy, hastily sent her to Moscow to her parents, where Pelageya was born on April 26, 1842. Dunyasha was given in marriage, the daughter was left in an ambiguous position. Turgenev officially recognized the child only in 1857.
Soon after the episode with Avdotya Ivanova, Turgenev met Tatyana Bakunina (1815-1871), the sister of the future revolutionary emigrant M. A. Bakunin. Returning to Moscow after his stay in Spasskoye, he stopped by the Bakunin estate Premukhino. The winter of 1841-1842 passed in close contact with the circle of Bakunin brothers and sisters. All of Turgenev's friends - N.V. Stankevich, V.G. Belinsky and V.P. Botkin - were in love with Mikhail Bakunin's sisters, Lyubov, Varvara and Alexandra.
Tatyana was three years older than Ivan. Like all young Bakunins, she was fascinated by German philosophy and perceived her relationships with others through the prism of Fichte's idealistic concept. She wrote letters to Turgenev in German, full of lengthy reasoning and introspection, despite the fact that young people lived in the same house, and she also expected Turgenev to analyze the motives of her own actions and reciprocal feelings. “The ‘philosophical’ novel,” according to G. A. Byaly, “in the vicissitudes of which the entire younger generation of the Premukhin’s nest took a lively part, lasted several months.” Tatyana was truly in love. Ivan Sergeevich did not remain completely indifferent to the love awakened by him. He wrote several poems (the poem "Parasha" was also inspired by communication with Bakunina) and a story dedicated to this sublimely ideal, mostly literary and epistolary hobby. But he could not answer with a serious feeling.
Among other fleeting hobbies of the writer, there were two more that played a certain role in his work. In the 1850s, a fleeting affair broke out with a distant cousin, eighteen-year-old Olga Alexandrovna Turgeneva. The love was mutual, and in 1854 the writer was thinking about marriage, the prospect of which at the same time frightened him. Olga later served as a prototype for the image of Tatiana in the novel "Smoke". Also indecisive was Turgenev with Maria Nikolaevna Tolstaya. Ivan Sergeevich wrote about Leo Tolstoy's sister P. V. Annenkov: “His sister is one of the most attractive creatures that I have ever been able to meet. Sweet, smart, simple - I would not take my eyes off. In my old age (I turned 36 on the fourth day) - I almost fell in love. For the sake of Turgenev, twenty-four-year-old M. N. Tolstaya had already left her husband, she took the writer's attention to herself for true love. But Turgenev, this time too, limited himself to a Platonic hobby, and Maria Nikolaevna served him as a prototype for Verochka from the story Faust.
In the autumn of 1843, Turgenev first saw Pauline Viardot on the stage of the opera house, when the great singer came on tour to St. Petersburg. Turgenev was 25 years old, Viardot - 22 years old. Then, while hunting, he met Pauline's husband, the director of the Italian Theater in Paris, a well-known critic and art critic, Louis Viardot, and on November 1, 1843, he was introduced to Pauline herself. Among the mass of fans, she did not particularly single out Turgenev, known more as an avid hunter, and not a writer. And when her tour ended, Turgenev, together with the Viardot family, left for Paris against the will of his mother, still unknown to Europe and without money. And this despite the fact that everyone considered him a rich man. But this time, his extremely cramped financial situation was explained precisely by his disagreement with his mother, one of the richest women in Russia and the owner of a huge agricultural and industrial empire.
For attachment to damn gypsy» His mother didn't give him money for three years. During these years, his lifestyle did not bear much resemblance to the stereotype of the life of a “rich Russian” that had developed about him. In November 1845, he returned to Russia, and in January 1847, having learned about Viardot's tour in Germany, he left the country again: he went to Berlin, then to London, Paris, a tour of France and again to St. Petersburg. Without an official marriage, Turgenev lived in the Viardot family " on the edge of someone else's nest", as he himself said. Pauline Viardot raised Turgenev's illegitimate daughter. In the early 1860s, the Viardot family settled in Baden-Baden, and with them Turgenev ("Villa Tourgueneff"). Thanks to the Viardot family and Ivan Turgenev, their villa has become an interesting musical and artistic center. The war of 1870 forced the Viardot family to leave Germany and move to Paris, where the writer also moved.
The last love of the writer was an actress Alexandrinsky Theater Maria Savina. Their meeting took place in 1879, when the young actress was 25 years old, and Turgenev was 61 years old. The actress at that time played the role of Verochka in Turgenev's play A Month in the Country. The role was so vividly played that the writer himself was amazed. After this performance, he went to the actress backstage with a large bouquet of roses and exclaimed: “ Did I write this Verochka?!". Ivan Turgenev fell in love with her, which he openly admitted. The rarity of their meetings was made up for by regular correspondence, which lasted four years. Despite Turgenev's sincere relationship, for Mary he was more good friend. She was going to marry another, but the marriage never took place. The marriage of Savina with Turgenev was also not destined to come true - the writer died in the circle of the Viardot family.
"Turgenev girls"
Turgenev's personal life was not entirely successful. Having lived for 38 years in close contact with the Viardot family, the writer felt deeply alone. Under these conditions, Turgenev's image of love was formed, but love is not quite characteristic of his melancholy creative manner. There is almost no happy ending in his works, and the last chord is more often sad. But nevertheless, almost none of the Russian writers paid so much attention to the depiction of love, no one idealized a woman to such an extent as Ivan Turgenev.
The characters of the female characters in his works of the 1850s - 1880s - the images of whole, pure, selfless, morally strong heroines in total formed a literary phenomenon " Turgenev girl"- a typical heroine of his works. Such are Lisa in the story "The Diary of a Superfluous Man", Natalya Lasunskaya in the novel "Rudin", Asya in the story of the same name, Vera in the story "Faust", Elizaveta Kalitina in the novel "The Noble Nest", Elena Stakhova in the novel "On the Eve", Marianna Sinetskaya in novel "Nov" and others.
L. N. Tolstoy, noting the merits of the writer, said that Turgenev painted amazing portraits of women, and that Tolstoy himself later observed Turgenev's women in life.
Family
Turgenev never got his own family. The writer's daughter from the seamstress Avdotya Ermolaevna Ivanova, Pelageya Ivanovna Turgeneva, in the marriage of Brewer (1842-1919), from the age of eight she was brought up in the family of Pauline Viardot in France, where Turgenev changed her name from Pelageya to Polinet, which was more pleasing to his literary ear - Polinet Turgeneva . Ivan Sergeevich arrived in France only six years later, when his daughter was already fourteen. Polinet almost forgot Russian and spoke only French, which touched her father. At the same time, he was upset that the girl had a difficult relationship with Viardot herself. The girl did not love her father's beloved, and soon this led to the fact that the girl was sent to a private boarding school. When Turgenev next came to France, he took his daughter from the boarding house, and they settled together, and for Polinet a governess from England, Innis, was invited.
At the age of seventeen, Polinet met a young businessman Gaston Brewer, who made a good impression on Ivan Turgenev, and he agreed to marry his daughter. As a dowry, the father gave a considerable amount for those times - 150 thousand francs. The girl married Brewer, who soon went bankrupt, after which Polinet, with the assistance of her father, hid from her husband in Switzerland. Since Turgenev's heiress was Pauline Viardot, his daughter found herself in a difficult situation after his death. financial situation. She died in 1919 at the age of 76 from cancer. The children of Polinet - Georges-Albert and Jeanne had no descendants. Georges Albert died in 1924. Jeanne Brewer-Turgeneva never married; She lived by tutoring for a living, as she was fluent in five languages. She even dabbled in poetry, writing poetry in French. She died in 1952 at the age of 80, and with her the family branch of the Turgenevs along the line of Ivan Sergeevich broke off.
Passion for hunting
I. S. Turgenev was at one time one of the most famous hunters in Russia. The love of hunting was instilled in the future writer by his uncle Nikolai Turgenev, a recognized connoisseur of horses and hunting dogs in the district, who raised the boy during his summer holidays in Spasskoye. He also taught hunting to the future writer AI Kupfershmidt, whom Turgenev considered his first teacher. Thanks to him, Turgenev, already in his youth, could call himself a gun hunter. Even Ivan's mother, who previously looked at the hunters as idlers, was imbued with her son's passion. Over the years, the hobby has grown into a passion. It happened that for whole seasons he did not let go of his gun, went thousands of miles across many provinces of the central strip of Russia. Turgenev said that hunting is generally characteristic of a Russian person, and that Russian people have loved hunting since time immemorial.
In 1837, Turgenev met Afanasy Alifanov, a peasant hunter, who later became his frequent hunting companion. The writer bought it for a thousand rubles; he settled in the forest, five miles from Spassky. Athanasius was an excellent storyteller, and Turgenev often came to him to sit over a cup of tea and listen to hunting stories. The story "About Nightingales" (1854) was recorded by the writer from the words of Alifanov. It was Athanasius who became the prototype of Yermolai from the Hunter's Notes. He was also known for his talent as a hunter among the writer's friends - A. A. Fet, I. P. Borisov. When Athanasius died in 1872, Turgenev was very sorry for his old hunting companion and asked his manager to provide possible assistance to his daughter Anna.
In 1839, the writer's mother, describing the tragic consequences of the fire that occurred in Spasskoye, does not forget to say: your gun is intact, and the dog is crazy". The resulting fire hastened the arrival of Ivan Turgenev in Spasskoye. In the summer of 1839, he first went hunting in the Teleginsky swamps (on the border of the Bolkhovsky and Oryol counties), visited the Lebedyanskaya fair, which was reflected in the story "Lebedyan" (1847). Varvara Petrovna purchased five packs of greyhounds, nine bowhounds and horses with saddles especially for him.
In the summer of 1843, Ivan Sergeevich lived in a dacha in Pavlovsk and also hunted a lot. This year he met Pauline Viardot. The writer was introduced to her with the words: This is a young Russian landowner. Glorious hunter and bad poet". The husband of the actress Louis was, like Turgenev, a passionate hunter. Ivan Sergeevich invited him more than once to hunt in the vicinity of St. Petersburg. They repeatedly went hunting with friends to the Novgorod province and to Finland. And Pauline Viardot gave Turgenev a beautiful and expensive game bag.
In the late 1840s, the writer lived abroad and worked on the "Notes of a Hunter". The writer spent 1852-1853 in Spasskoye under police supervision. But this exile did not oppress him, since the hunt was again waiting in the village, and quite successful. And the next year he went on hunting expeditions 150 miles from Spassky, where, together with I.F. Yurasov, he hunted on the banks of the Desna. This expedition served as material for Turgenev to work on the story "A Trip to Polissya" (1857).
In August 1854, Turgenev, together with N. A. Nekrasov, went hunting to the estate of the titular adviser I. I. Maslov Osmino, after which both continued to hunt in Spassky. In the mid-1850s, Turgenev met the Tolstoy family. The elder brother of Leo Tolstoy, Nikolai, also turned out to be an avid hunter and, together with Turgenev, made several hunting trips around Spassky and Nikolsko-Vyazemsky. Sometimes they were accompanied by the husband of M. N. Tolstoy - Valerian Petrovich; some traits of his character were reflected in the image of Priimkov in the story "Faust" (1855). In the summer of 1855, Turgenev did not hunt because of the cholera epidemic, but in subsequent seasons he tried to make up for lost time. Together with N. N. Tolstoy, the writer visited Pirogovo, the estate of S. N. Tolstoy, who preferred to hunt with greyhounds and had excellent horses and dogs. Turgenev, on the other hand, preferred to hunt with a gun and a setter dog, and mainly for game birds.
Turgenev kept a kennel of seventy hounds and sixty greyhounds. Together with N. N. Tolstoy, A. A. Fet and A. T. Alifanov, he made a number of hunting expeditions in the central Russian provinces. In the years 1860-1870, Turgenev mainly lived abroad. He also tried to recreate the rituals and atmosphere of Russian hunting abroad, but from all this only a distant resemblance was obtained even when he, together with Louis Viardot, managed to rent quite decent hunting grounds. In the spring of 1880, having visited Spasskoye, Turgenev made a special trip to Yasnaya Polyana in order to persuade Leo Tolstoy to take part in the Pushkin celebrations. Tolstoy declined the invitation because he considered formal dinners and liberal toasts in front of the starving Russian peasantry inappropriate. Nevertheless, Turgenev fulfilled his old dream - he hunted with Leo Tolstoy. A whole hunting circle even formed around Turgenev - N. A. Nekrasov, A. A. Fet, A. N. Ostrovsky, N. N. and L. N. Tolsty, artist P. P. Sokolov (illustrator of the "Notes of a Hunter") . In addition, he happened to hunt with the German writer Karl Muller, as well as with representatives of the royal houses of Russia and Germany - Grand Duke Nikolai Nikolaevich and Prince of Hesse.
Ivan Turgenev went with a gun over his shoulders Oryol, Tula, Tambov, Kursk, Kaluga provinces. He was well acquainted with the best hunting grounds in England, France and Germany. He wrote three specialized works devoted to hunting: “On the Notes of the Orenburg Province Rifle Hunter S. T. Aksakov”, “Notes of the Orenburg Province Rifle Hunter” and “Fifty Shortcomings of a Rifle Hunter or Fifty Shortcomings of a Pointing Dog”.
Character traits and writer's life
Biographers of Turgenev noted the unique features of his writing life. From his youth, he combined intelligence, education, artistic talent with passivity, a penchant for introspection, and indecision. All together, in a bizarre way, combined with the habits of a barchonka, who for a long time was dependent on an imperious, despotic mother. Turgenev recalled that at the University of Berlin, while studying Hegel, he could drop out of school when he needed to train his dog or set it on rats. T. N. Granovsky, who came to his apartment, found the student-philosopher playing with a serf servant (Porfiry Kudryashov) in card soldiers. Childhood smoothed over the years, but the internal split and immaturity of views made themselves felt for a long time: according to A. Ya. Panaeva, young Ivan wanted to be accepted both in the literary society and in secular living rooms, while secular society Turgenev was ashamed to admit his literary earnings, which spoke of his false and frivolous attitude towards literature and the title of a writer at that time.
The cowardice of the writer in his youth is evidenced by an episode in 1838 in Germany, when a fire broke out during a trip on a ship, and the passengers miraculously managed to escape. Fearing for his life, Turgenev asked one of the sailors to save him and promised him a reward from his rich mother if he could fulfill his request. Other passengers testified that the young man exclaimed plaintively: Die so young!”, while pushing women and children near the lifeboats. Fortunately, the beach was not far. Once on the shore, the young man was ashamed of his cowardice. Rumors of his cowardice infiltrated society and became the subject of ridicule. The event played a certain negative role in the subsequent life of the author and was described by Turgenev himself in the short story "Fire at Sea".
Researchers note another trait of Turgenev's character, which brought him and those around him a lot of trouble - his optionality, "all-Russian negligence" or "Oblomovism", as E. A. Solovyov writes. Ivan Sergeevich could invite guests to his place and soon forget about it, having gone somewhere on his own business; he could promise a story to N. A. Nekrasov for the next issue of Sovremennik, or even take an advance payment from A. A. Kraevsky and not deliver the promised manuscript on time. Ivan Sergeevich himself subsequently warned the younger generation against such annoying trifles. The Polish-Russian revolutionary Artur Benny once became a victim of this optionality, and he was slanderously accused in Russia of being an agent of Section III. This accusation could only be dispelled by A. I. Herzen, to whom Benny wrote a letter and asked to send it with an opportunity to I. S. Turgenev in London. Turgenev forgot about the letter, which had lain unsent with him for more than two months. During this time, rumors of Benny's betrayal reached catastrophic proportions. The letter, which reached Herzen very late, could not change anything in Benny's reputation.
The reverse side of these flaws was softness of soul, the breadth of nature, a certain generosity, gentleness, but his kindness had its limits. When, during his last visit to Spasskoye, he saw that the mother, who did not know how to please her beloved son, lined up all the serfs along the alley to greet the barchuk " loud and happy”, Ivan was angry with his mother, immediately turned around and left back to St. Petersburg. They did not see each other again until her death, and even lack of money could not shake his decision. Ludwig Peach singled out his modesty among Turgenev's character traits. Abroad, where his work was still poorly known, Turgenev never boasted to those around him that in Russia he was already considered a famous writer. Having become an independent owner of the maternal inheritance, Turgenev did not show any concern for his bread and crops. Unlike Leo Tolstoy, he had no mastery in him.
He calls himself " the most careless of Russian landowners". The writer did not delve into the management of his estate, entrusting it either to his uncle, or to the poet N. S. Tyutchev, or even to random people. Turgenev was very wealthy, he had at least 20 thousand rubles of income per year from the land, but at the same time he always needed money, spending it very imprudently. The habits of a wide Russian master made themselves felt. Turgenev's literary fees were also very significant. He was one of the highest paid writers in Russia. Each edition of the Hunter's Notes brought him 2,500 rubles of net income. The right to publish his works cost 20-25 thousand rubles.
The value and appreciation of creativity
Extra people in the image of Turgenev
Despite the fact that the tradition of depicting “superfluous people” arose before Turgenev (Chatsky A. S. Griboyedova, Evgeny Onegin A. S. Pushkin, Pechorin M. Yu. Lermontov, Beltov A. I. Herzen, Aduev Jr. in “ Ordinary history» I. A. Goncharova), Turgenev has priority in determining this type of literary characters. The name "Extra Man" was fixed after the publication in 1850 of Turgenev's story "The Diary of an Extra Man". "Superfluous people" were distinguished, as a rule, by common features of intellectual superiority over others and at the same time passivity, mental discord, skepticism in relation to the realities of the outside world, and a discrepancy between word and deed. Turgenev created a whole gallery of similar images: Chulkaturin (“The Diary of a Superfluous Man”, 1850), Rudin (“Rudin”, 1856), Lavretsky (“The Noble Nest”, 1859), Nezhdanov (“Nov”, 1877). Turgenev's short stories "Asya", "Yakov Pasynkov", "Correspondence" and others are also devoted to the problem of the "superfluous person".
The protagonist of The Diary of a Superfluous Man is marked by the desire to analyze all his emotions, to record the slightest shades of the state of his own soul. Like Shakespeare's Hamlet, the hero notices the unnaturalness and tension of his thoughts, the lack of will: I disassembled myself to the last thread, compared myself with others, remembered the slightest glances, smiles, words of people ... Whole days passed in this painful, fruitless work". Soul-corroding introspection gives the hero an unnatural pleasure: Only after my expulsion from the Ozhogins' house did I painfully learn how much pleasure a person can draw from the contemplation of his own misfortune.". The failure of apathetic and reflective characters was even more set off by the images of solid and strong Turgenev's heroines.
The result of Turgenev's reflections on the heroes of the Rudin and Chulkaturin types was the article "Hamlet and Don Quixote" (1859). The least "Hamletic" of all Turgenev's "superfluous people" is the hero of the "Noble Nest" Lavretsky. "Russian Hamlet" is named in the novel "Nov" one of its main characters, Alexei Dmitrievich Nezhdanov.
Simultaneously with Turgenev, I. A. Goncharov continued to develop the phenomenon of “an extra person” in the novel “Oblomov” (1859), N. A. Nekrasov - Agarin (“Sasha”, 1856), A. F. Pisemsky and many others. But, unlike Goncharov's character, Turgenev's characters have undergone more typification. According to the Soviet literary critic A. Lavretsky (I. M. Frenkel), “If we had all the sources to study the 40s. there is only one “Rudin” or one “Noble Nest”, then it would still be possible to establish the character of the era in its specific features. According to Oblomov, we are not able to do this.
Later, the tradition of depicting Turgenev's "superfluous people" was ironically played up by A.P. Chekhov. The character of his story "Duel" Laevsky is a reduced and parodic version of Turgenev's superfluous person. He says to his friend von Koren: I'm a loser, an extra person". Von Koren agrees that Laevsky is " a chip from Rudin". At the same time, he speaks of Laevsky’s claim to be “an extra person” in a mocking tone: “ Understand this, they say, that it’s not his fault that state-owned packages lie unopened for weeks and that he himself drinks and gets others drunk, but Onegin, Pechorin and Turgenev, who invented a loser and an extra person, are to blame for this". Later, critics brought the character of Rudin closer to the character of Turgenev himself.
Turgenev on stage
By the mid-1850s, Turgenev had become disillusioned with his calling as a playwright. Critics declared his plays unstaged. The author seemed to agree with the opinion of critics and stopped writing for the Russian stage, but in 1868-1869 he wrote four French operetta librettos for Pauline Viardot, intended for production in the Baden-Baden theater. L.P. Grossman noted the validity of many critics' reproaches against Turgenev's plays for the lack of movement in them and the predominance of the conversational element. Nevertheless, he pointed to the paradoxical persistence of Turgenev's productions on stage. Plays by Ivan Sergeevich have not left the repertoire of European and Russian theaters for more than one hundred and sixty years. Famous Russian performers played in them: P. A. Karatygin, V. V. Samoilov, V. V. Samoilova (Samoilova 2nd), A. E. Martynov, V. I. Zhivokini, M. P. Sadovsky, S V. Shumsky, V. N. Davydov, K. A. Varlamov, M. G. Savina, G. N. Fedotova, V. F. Komissarzhevskaya, K. S. Stanislavsky, V. I. Kachalov, M. N Ermolova and others.
Turgenev the playwright was widely recognized in Europe. His plays were successful on the stages of the Antoine Theater in Paris, the Vienna Burgtheater, the Munich Chamber Theater, Berlin, Koenigsberg and others German theaters. Turgenev's dramaturgy was in the selected repertoire of outstanding Italian tragedians: Ermete Novelli, Tommaso Salvini, Ernesto Rossi, Ermete Zacconi, Austrian, German and French actors Adolf von Sonnenthal, Andre Antoine, Charlotte Voltaire and Franziska Elmenreich.
Of all his plays, "A Month in the Country" had the greatest success. The debut of the performance took place in 1872. At the beginning of the 20th century, the play was staged at the Moscow Art Theater by K. S. Stanislavsky and I. M. Moskvin. The stage designer of the production and the author of sketches for the costumes of the characters was the world artist M. V. Dobuzhinsky. This play never leaves the stage Russian theaters until now. Even during the author's lifetime, theaters began to stage his novels and stories with varying degrees of success: "The Noble Nest", "The Steppe King Lear", "Spring Waters". This tradition is continued by modern theaters.
XIX century. Turgenev in the assessments of contemporaries
Contemporaries gave Turgenev's work a very high assessment. Critics V. G. Belinsky, N. A. Dobrolyubov, D. I. Pisarev, A. V. Druzhinin, P. V. Annenkov, Apollon Grigoriev, V. P. Botkin, N. N. Strakhov, W. P. Burenin, K. S. Aksakov, I. S. Aksakov, N. K. Mikhailovsky, K. N. Leontiev, A. S. Suvorin, P. L. Lavrov, S. S. Dudyshkin, P. N. Tkachev, N. I. Solovyov, M. A. Antonovich, M. N. Longinov, M. F. De Poulet, N. V. Shelgunov, N. G. Chernyshevsky and many others.
So, V. G. Belinsky noted the writer's extraordinary skill in depicting Russian nature. According to N.V. Gogol, in the Russian literature of that time, Turgenev had the most talent. N. A. Dobrolyubov wrote that as soon as Turgenev raised any issue or a new side of social relations in his story, these problems also rose in the minds of an educated society, appearing before everyone’s eyes. M.E. Saltykov-Shchedrin stated that literary activity Turgenev had a value for society equal to the activities of Nekrasov, Belinsky and Dobrolyubov. According to the Russian literary critic the end of the 19th beginning of the 20th century S. A. Vengerov, the writer managed to write so realistically that it was difficult to catch the line between literary fiction and real life. His novels were not only read out - his heroes were imitated in life. Each of his major works has actor, in whose mouth the subtle and apt wit of the writer himself is put.
Turgenev was well known in contemporary Western Europe as well. His works were translated into German as early as the 1850s, and in the 1870s and 1880s he became the most beloved and most read Russian writer in Germany, and German critics rated him as one of the most significant modern novelists. Turgenev's first translators were August Wiedert, August Bolz and Paul Fuchs. The translator of many of Turgenev's works into German, the German writer F. Bodenstedt, in the introduction to "Russian Fragments" (1861), argued that Turgenev's works are equal to the works of the best modern novelists in England, Germany and France. The chancellor of the German Empire Chlodwig Hohenlohe (1894-1900), who called Ivan Turgenev the best candidate for the post of prime minister of Russia, spoke about the writer as follows: “ Today I spoke with the smartest man in Russia».
Turgenev's Notes of a Hunter were popular in France. Guy de Maupassant called the writer " great man" And " brilliant novelist", and George Sand wrote to Turgenev:" Teacher! We all have to go through your school". His work was also well known in English literary circles - the Hunter's Notes, the Noble Nest, the Eve and Nov were translated in England. The Western reader was subdued by moral purity in the depiction of love, the image of a Russian woman (Elena Stakhova); struck by the figure of the militant democrat Bazarov. The writer managed to show true Russia to European society, he introduced foreign readers to the Russian peasant, Russian raznochintsy and revolutionaries, to the Russian intelligentsia and revealed the image of a Russian woman. Foreign readers, thanks to the work of Turgenev, assimilated the great traditions of the Russian realistic school.
Leo Tolstoy gave the following description to the writer in a letter to A. N. Pypin (January 1884): “Turgenev is a wonderful person (not very deep, very weak, but a kind, good person), who always says the very thing that he thinks and feels."
Turgenev in the encyclopedic dictionary of Brockhaus and Efron
According to the encyclopedia of Brockhaus and Efron, "The Hunter's Notes", in addition to the usual reader success, played a certain historical role. The book made a strong impression even on the heir to the throne, Alexander II, who a few years later carried out a series of reforms to abolish serfdom in Russia. Many representatives of the ruling classes were also impressed by the Notes. The book carried a social protest, denouncing serfdom, but serfdom itself was directly touched upon in the "Notes of a Hunter" with restraint and caution. The content of the book was not fictional, it convinced readers that people should not be deprived of the most elementary human rights. But, in addition to protest, the stories also had artistic value, carrying a soft and poetic flavor. According to the literary critic S. A. Vengerov, the landscape painting of the "Hunter's Notes" became one of the best in Russian literature of that time. All best qualities Turgenev's talents received a vivid expression in the essays. " Great, powerful, truthful and free Russian language”, to which the last of his “Poems in Prose” (1878-1882) is dedicated, received in the “Notes” its most noble and elegant expression.
In the novel "Rudin" the author managed to successfully portray the generation of the 1840s. To some extent, Rudin himself is the image of the famous Hegelian agitator M. A. Bakunin, whom Belinsky spoke of as a man " with a blush on the cheeks and no blood in the heart. Rudin appeared in an era when society dreamed of a "deed". The author's version of the novel was not passed by the censors due to the episode of Rudin's death at the June barricades, so it was understood by critics in a very one-sided way. According to the author's idea, Rudin was a richly gifted person with noble intentions, but at the same time he was completely at a loss in front of reality; he knew how to passionately appeal and captivate others, but at the same time he himself was completely devoid of passion and temperament. The hero of the novel has become a household name for those people whose word does not agree with the deed. The writer generally did not particularly spare his favorite heroes, even the best representatives of the Russian nobility of the middle of the 19th century. He often emphasized the passivity and lethargy in their characters, as well as the traits of moral helplessness. This manifested the realism of the writer, depicting life as it is.
But if in "Rudin" Turgenev spoke only against the idle chattering people of the generation of the forties, then in "The Nest of Nobles" his criticism already fell upon his entire generation; he favored the younger forces without the slightest bitterness. In the face of the heroine of this novel, a simple Russian girl Liza, a collective image of many women of that time is shown, when the meaning of a woman’s whole life was reduced to love, failing in which, a woman was deprived of any purpose of existence. Turgenev foresaw the emergence of a new type of Russian woman, which he placed at the center of his next novel. The Russian society of that time lived on the eve of radical social and state changes. And the heroine of Turgenev's novel "On the Eve" Elena became the personification of the indefinite desire for something good and new, characteristic of the first years of the reform era, without a clear idea of \u200b\u200bthis new and good. It is no coincidence that the novel was called “On the Eve” - in it Shubin ends his elegy with the question: “ When will our time come? When will we have people?” To which his interlocutor expresses hope for the best: “ Give me time, - answered Uvar Ivanovich, - they will". On the pages of Sovremennik, the novel received an enthusiastic assessment in Dobrolyubov's article "When the real day comes."
In the next novel, Fathers and Sons, one of the most characteristic features of Russian literature of that time, the closest connection between literature and the real currents of social moods, most fully achieved expression. Turgenev succeeded better than other writers in capturing the moment of unanimity of public consciousness, which in the second half of the 1850s buried the old Nikolaev era with its lifeless reactionary isolation, and the turning point of the era: the subsequent confusion of innovators who singled out from their midst moderate representatives of the older generation with their indefinite hopes for a better future - "fathers" and longing for fundamental changes in the social structure younger generation- "children". The Russian Word magazine, represented by D. I. Pisarev, even recognized the hero of the novel, the radical Bazarov, as his ideal. At the same time, if we look at the image of Bazarov from a historical point of view, as a type that reflects the mood of the sixties of the XIX century, then he is rather not fully disclosed, since socio-political radicalism, quite strong at that time, is almost never seen in the novel. was affected.
While living abroad, in Paris, the writer became close to many emigrants and foreign youth. He again had a desire to write on the topic of the day - about the revolutionary "going to the people", as a result of which his largest novel, Nov, appeared. But, despite his efforts, Turgenev failed to capture the most characteristic features of the Russian revolutionary movement. His mistake was that he made the center of the novel one of the weak-willed people typical of his works, who could be characteristic of the generation of the 1840s, but not the 1870s. The novel was not well received by critics. Of the later works of the writer, the Song of Triumphant Love and Poems in Prose attracted the most attention.
XIX-XX century
At the end of the 19th - beginning of the 20th century, critics and literary critics S. A. Vengerov, Yu. I. Aikhenvald, D. S. Merezhkovsky, D. N. Ovsyaniko-Kulikovskiy, A. I. Nezelenov, Yu. Cheshihin-Vetrinsky, A. F. Koni, A. G. Gornfeld, F. D. Batyushkov, V. V. Stasov, G. V. Plekhanov, K. D. Balmont, P. P. Pertsov, M. O. Gershenzon, P. A. Kropotkin, R. V. Ivanov-Razumnik and others.
According to the literary critic and theater critic Yu. I. Aikhenvald, who gave his assessment of the writer at the beginning of the century, Turgenev was not a deep writer, he wrote superficially and in light colors. According to the critic, the writer took life lightly. Knowing all passions, possibilities and depths human consciousness, the writer, however, did not have true seriousness: “ The tourist of life, he visits everything, looks everywhere, does not stop anywhere for a long time, and at the end of his road he complains that the journey is over, that there is nowhere to go further. Rich, meaningful, varied, it does not, however, have pathos and genuine seriousness. His softness is his weakness. He showed reality, but first took out of it its tragic core.". According to Aikhenwald, Turgenev is easy to read, easy to live with, but he does not want to worry himself and does not want his readers to worry. The critic also reproached the writer for the monotony in the use artistic techniques. But at the same time he called Turgenev " patriot of Russian nature for his illustrious landscapes of his native land.
The author of an article about I. S. Turgenev in the six-volume History of the Russian literature XIX century ”, edited by Professor D. N. Ovsyaniko-Kulikovskiy (1911), A. E. Gruzinsky, explains the claims of critics to Turgenev as follows. In his opinion, in the work of Turgenev, most of all, they sought answers to the living questions of our time, the setting of new social tasks. " This element of his novels and stories alone, in fact, was taken into account seriously and attentively by the guiding criticism of the 50s and 60s; he was considered, as it were, obligatory in Turgenev's work". Having not received answers to their questions in new works, criticism was dissatisfied and reprimanded the author " for failure to fulfill their public duties". As a result, the author was declared scribbled and exchanging his talent. Gruzinsky calls this approach to Turgenev's work one-sided and erroneous. Turgenev was not a writer-prophet, a writer-citizen, although he associated all his major works with important and burning themes of his turbulent era, but most of all he was an artist-poet, and his interest in public life It was more of a detailed analysis.
The critic E. A. Solovyov joins this conclusion. He also draws attention to the mission of Turgenev as a translator of Russian literature for European readers. Thanks to him, almost all the best works of Pushkin, Gogol, Lermontov, Dostoevsky, Tolstoy were soon translated into foreign languages. « No one, we note, was better adapted to this lofty and difficult task than Turgenev. By the very essence of his talent, he was not only a Russian, but also a European, world writer.”, - writes E. A. Solovyov. Stopping on the way of depicting the love of Turgenev's girls, he makes the following observation: Turgenev's heroines fall in love immediately and love only once, and this is for life. They are obviously from the tribe of the poor Asdras, for whom love and death were equivalent. Love and death, love and death are his inseparable artistic associations.". In the character of Turgenev, the critic also finds much of what the writer depicted in his hero Rudin: “ Undoubted chivalry and not particularly high vanity, idealism and a tendency to melancholy, a huge mind and a broken will».
The representative of decadent criticism in Russia, Dmitry Merezhkovsky, treated Turgenev's work ambiguously. He did not appreciate Turgenev's novels, preferring them " small prose”, especially the so-called “mysterious stories and novels” of the writer. According to Merezhkovsky, Ivan Turgenev is the first impressionist artist, the forerunner of the later symbolists: “ The value of Turgenev as an artist for the literature of the future is in the creation of an impressionistic style, which is an art education that is not related to the work of this writer as a whole.».
A.P. Chekhov had the same contradictory attitude towards Turgenev. In 1902, in a letter to O. L. Knipper-Chekhova, he wrote: “ Reading Turgenev. This writer will be left with one eighth or one tenth of what he has written. Everything else will go to the archive in 25-35 years". However, the very next year he told her: I have never been so drawn to Turgenev as I am now.».
The symbolist poet and critic Maximilian Voloshin wrote that Turgenev, thanks to his artistic sophistication, which he studied with French writers, occupies a special place in Russian literature. But unlike French literature, with its fragrant and fresh sensuality, the feeling of living and loving flesh, Turgenev bashfully and dreamily idealized a woman. In Voloshin's contemporary literature, he saw a connection between Ivan Bunin's prose and Turgenev's landscape sketches.
Subsequently, the theme of Bunin's superiority over Turgenev in landscape prose will be repeatedly raised by literary critics. Even L. N. Tolstoy, according to the memoirs of pianist A. B. Goldenweiser, said about the description of nature in Bunin’s story: “It’s raining, and it’s written that Turgenev would not have written like that, and there’s nothing to say about me.” Both Turgenev and Bunin were united by the fact that both were writers-poets, writers-hunters, writers-nobles and authors of "noble" stories. Nevertheless, the singer of the "sad poetry of the ruined noble nests" Bunin, according to the literary critic Fyodor Stepun, "as an artist is much more sensual than Turgenev." “The nature of Bunin, for all the realistic accuracy of his writing, is still completely different from that of our two greatest realists, Tolstoy and Turgenev. Bunin's nature is more unsteady, more musical, more psychic and, perhaps, even more mystical than the nature of Tolstoy and Turgenev. Nature in the image of Turgenev is more static than that of Bunin, - says F. A. Stepun, - despite the fact that Turgenev has more purely external picturesqueness and picturesqueness.
In Soviet Union
Russian language
From "Poems in Prose"
In days of doubt, in days of painful reflections on the fate of my homeland, you alone are my support and support, O great, powerful, truthful and free Russian language! Without you - how not to fall into despair at the sight of everything that happens at home? But one cannot believe that such a language was not given to a great people!
June, 1882
In the Soviet Union, Turgenev's work was paid attention not only by critics and literary critics, but also by the leaders and leaders of the Soviet state: V. I. Lenin, M. I. Kalinin, A. V. Lunacharsky. Scientific literary criticism largely depended on the ideological attitudes of the "party" literary criticism. Among those who contributed to Turgen studies are G. N. Pospelov, N. L. Brodsky, B. L. Modzalevsky, V. E. Evgeniev-Maksimov, M. B. Khrapchenko, G. A. Byaly, S. M. Petrov, A. I. Batyuto, G. B. Kurlyandskaya, N. I. Prutskov, Yu. I. Kuleshov, V. M. Markovich, V. G. Fridlyand, K. I. Chukovsky, B. V. Tomashevsky, B. M. Eikhenbaum, V. B. Shklovsky, Yu. G. Oksman A. S. Bushmin, M. P. Alekseev and so on.
Turgenev was repeatedly quoted by V. I. Lenin, who especially highly appreciated him “ great and mighty» language.M. I. Kalinin said that Turgenev's work had not only artistic, but also socio-political significance, which gave artistic brilliance to his works, and that the writer showed in a serf a man who, like all people, deserves to have human rights . A. V. Lunacharsky, in his lecture on the work of Ivan Turgenev, called him one of the creators of Russian literature. According to A. M. Gorky, Turgenev left an "excellent legacy" to Russian literature.
According to "Big Soviet encyclopedia”, the artistic system created by the writer influenced the poetics of not only the Russian, but also the Western European novel of the second half of the 19th century. It largely served as the basis for the "intellectual" novel by L. N. Tolstoy and F. M. Dostoevsky, in which the fate of the central characters depends on their solution of an important philosophical issue of universal significance. Laid down by the writer literary principles were developed in the work of many Soviet writers - A. N. Tolstoy, K. G. Paustovsky and others. His plays have become an integral part of the repertoire of Soviet theaters. Many of Turgenev's works were filmed. Soviet literary critics paid great attention to the creative heritage of Turgenev - many works were published on the life and work of the writer, the study of his role in the Russian and world literary process. Scientific studies of his texts were carried out, commented collected works were published. Museums of Turgenev were opened in the city of Orel and the former estate of his mother, Spassky-Lutovinovo.
According to the academic History of Russian Literature, Turgenev was the first in Russian literature who succeeded in expressing in his work through pictures of everyday village life and various images of ordinary peasants the idea that the enslaved people are the root, the living soul of the nation. And the literary critic Professor V. M. Markovich said that Turgenev was one of the first to try to portray the inconsistency folk character without embellishment, and for the first time he showed the same people worthy of admiration, admiration and love.
The Soviet literary critic G. N. Pospelov wrote that Turgenev’s literary style can be called, despite its emotional and romantic elation, realistic. Turgenev saw the social weakness of the advanced people from the nobility and was looking for a different force capable of leading the Russian liberation movement; he later saw such strength in the Russian democrats of 1860-1870.
Foreign criticism
Of the émigré writers and literary critics, V. V. Nabokov, B. K. Zaitsev, and D. P. Svyatopolk-Mirsky turned to Turgenev’s work. Many foreign writers and critics also left their feedback on the work of Turgenev: Friedrich Bodenstedt, Emile Oman, Ernest Renan, Melchior Vogüe, Saint-Beuve, Gustave Flaubert, Guy de Maupassant, Edmond Goncourt, Emile Zola, Henry James, John Galsworthy, Georges Sand, Virginia Woolf , Anatole France, James Joyce, William Rolston, Alphonse Daudet, Theodore Storm, Hippolyte Taine, Georg Brandes, Thomas Carlyle and so on.
English novelist and laureate Nobel Prize in literature, John Galsworthy considered Turgenev's novels the greatest example of the art of prose and noted that Turgenev helped " bring the proportions of the novel to perfection". For him, Turgenev was " the most refined poet who ever wrote novels”, and the Turgenev tradition was important for Galsworthy.
Another British writer, literary critic and representative of modernist literature of the first half of the 20th century, Virginia Woolf, noted that Turgenev’s books not only touch with their poetry, but also seem to belong to today, so they have not lost the perfection of form. She wrote that Ivan Turgenev has a rare quality: a sense of symmetry, balance, which give a generalized and harmonious picture of the world. At the same time, she stipulated that this symmetry triumphs not at all because he is such a great storyteller. On the contrary, Woolf believed that some of his stories were rather badly told, as they contained loops and digressions, confusing obscure information about great-grandfathers and great-grandmothers (as in The Noble Nest). But she pointed out that Turgenev's books are not a sequence of episodes, but a sequence of emotions emanating from the central character, and not objects are connected in them, but feelings, and when you finish reading the book, you experience aesthetic satisfaction. Another well-known representative of modernism, the Russian and American writer and literary critic V. V. Nabokov, in his Lectures on Russian Literature, spoke of Turgenev not as a great writer, but called him “ cute". Nabokov noted that Turgenev's landscapes are good, "Turgenev's girls" are charming, he also spoke approvingly of the musicality of Turgenev's prose. And the novel "Fathers and Sons" called one of the most brilliant works of the XIX century. But he also pointed out the shortcomings of the writer, saying that he " bogged down in disgusting sweetness". According to Nabokov, Turgenev was often too straightforward and did not trust the reader's intuition, trying to dot the "i" himself. Another modernist, the Irish writer James Joyce, singled out from the entire work of the Russian writer “Notes of a Hunter”, which, in his opinion, “ penetrate deeper into life than his novels". Joyce believed that it was from them that Turgenev developed as a great international writer.
According to researcher D. Peterson, the American reader in Turgenev's work was struck by " manner of narration ... far from both Anglo-Saxon moralizing and French frivolity". According to the critic, the model of realism created by Turgenev had a great influence on the formation of realistic principles in the work of American writers of the late 19th and early 20th centuries.
XXI Century
In Russia, much is devoted to the study and memory of Turgenev's work in the 21st century. Every five years, the State Literary Museum of I. S. Turgenev in Orel, together with the Oryol State University and the Institute of Russian Literature (Pushkin House) of the Russian Academy of Sciences, hold major scientific conferences that have international status. As part of the Turgenev Autumn project, the museum annually hosts Turgenev readings, in which researchers from Russia and abroad take part in the writer's work. Turgenev anniversaries are also celebrated in other Russian cities. In addition, his memory is honored abroad. So, in the Museum of Ivan Turgenev in Bougival, which opened on the day of the 100th anniversary of the death of the writer on September 3, 1983, the so-called music salons are held annually, where the music of the composers of the times of Ivan Turgenev and Pauline Viardot is played.
Bibliography
Novels
- Rudin (1855)
- Noble Nest (1858)
- The Eve (1860)
- Fathers and Sons (1862)
- Smoke (1867)
- Nov (1877)
Novels and stories
- Andrei Kolosov (1844)
- Three portraits (1845)
- Gide (1846)
- Breter (1847)
- Petushkov (1848)
- Diary of a Superfluous Man (1849)
- Mumu (1852)
- Inn (1852)
- Notes of a hunter (collection of stories) (1852)
- Yakov Pasynkov (1855)
- Faust (1855)
- Calm (1856)
- Trip to Polissya (1857)
- Asya (1858)
- First Love (1860)
- Ghosts (1864)
- Brigadier (1866)
- Unfortunate (1868)
- Strange story (1870)
- Steppe King Lear (1870)
- Dog (1870)
- Knock...knock...knock!.. (1871)
- Spring Waters (1872)
- Punin and Baburin (1874)
- Clock (1876)
- Sleep (1877)
- The story of Father Alexei (1877)
- Song of Triumphant Love (1881)
- Own master's office (1881)
Plays
- Where it is thin, it breaks there (1848)
- Freeloader (1848)
- Breakfast at the Leader's (1849)
- Bachelor (1849)
- Month in the Country (1850)
- Provincial (1851)
Turgenev in illustrations
Over the years, the works of I. S. Turgenev were illustrated by illustrators and graphic artists P. M. Boklevsky, N. D. Dmitriev-Orenburgsky, A. A. Kharlamov, V. V. Pukirev, P. P. Sokolov, V. M. Vasnetsov, D. N. Kardovsky, V. A. Taburin, K. I. Rudakov, V. A. Sveshnikov, P. F. Stroev, N. A. Benois, B. M. Kustodiev, K. V. Lebedev and others. The imposing figure of Turgenev is depicted in the sculptures of A. N. Belyaev, M. M. Antokolsky, Zh. I. N. Kramskoy, Adolf Menzel, Pauline Viardot, Ludwig Pich, M. M. Antokolsky, K. Shamro, in the cartoons of N. A. Stepanov, A. I. Lebedev, V. I. Porfiriev, A. M. Volkov , on the engraving by Yu. S. Baranovsky, on the portraits of E. Lamy, A. P. Nikitin, V. G. Perov, I. E. Repin, Ya. P. Polonsky, V. V. Vereshchagin, V. V. Mate , E. K. Lipgart, A. A. Kharlamova, V. A. Bobrov. The works of many painters “based on Turgenev” are known: Ya. P. Polonsky (plots of Spassky-Lutovinov), S. Yu. on his son's grave). Ivan Sergeevich himself drew well and was an auto-illustrator of his own works.
Screen adaptations
Based on the works of Ivan Turgenev, many films and television films have been shot. His works formed the basis of paintings created in different countries of the world. The first film adaptations appeared at the beginning of the 20th century (the era of silent films). The film The Freeloader was filmed twice in Italy (1913 and 1924). In 1915, the films The Nest of Nobles, After Death (based on the story Clara Milic) and Song of Triumphant Love (with the participation of V. V. Kholodnaya and V. A. Polonsky) were filmed in the Russian Empire. The story "Spring Waters" was filmed 8 times in different countries. Based on the novel "The Nest of Nobles", 4 films were made; based on stories from the "Hunter's Notes" - 4 films; based on the comedy "A Month in the Country" - 10 television films; based on the story "Mumu" - 2 feature films and a cartoon; based on the play "Freeloader" - 5 paintings. The novel "Fathers and Sons" served as the basis for 4 films and a television series, the story "First Love" formed the basis for nine feature films and television films.
The image of Turgenev in the cinema was used by director Vladimir Khotinenko. In the television series "Dostoevsky" in 2011, the role of the writer was played by actor Vladimir Simonov. In the film "Belinsky" by Grigory Kozintsev (1951), the role of Turgenev was played by the actor Igor Litovkin, and in the film "Tchaikovsky" directed by Igor Talankin (1969), the actor Bruno Freindlich played the writer.
Addresses
In Moscow
Biographers in Moscow count over fifty addresses and memorable places associated with Turgenev.
- 1824 - the house of state councilor A. V. Kopteva on B. Nikitskaya (not preserved);
- 1827 - city estate, Valuev's property - Sadovaya-Samotechnaya street, 12/2 (not preserved - rebuilt);
- 1829 - pension Krause, Armenian Institute - Armenian lane, 2;
- 1830 - Shteingel's house - Gagarinsky lane, house 15/7;
- 1830s - House of General N. F. Alekseeva - Sivtsev Vrazhek (corner of Kaloshin lane), house 24/2;
- 1830s - House of M. A. Smirnov (not preserved, now - a building built in 1903) - Verkhnyaya Kislovka;
- 1830s - House of M. N. Bulgakova - in Maly Uspensky Lane;
- 1830s - House on Malaya Bronnaya Street (not preserved);
- 1839-1850 - Ostozhenka, 37 (corner of the 2nd Ushakovsky lane, now Khilkov lane). It is generally accepted that the house where I. S. Turgenev visited Moscow belonged to his mother, but N. M. Chernov, a researcher of Turgenev’s life and work, indicates that the house was rented from mine surveyor N. V. Loshakovsky;
- 1850s - the house of brother Nikolai Sergeevich Turgenev - Prechistenka, 26 (not preserved)
- 1860s - The house where I. S. Turgenev repeatedly visited the apartment of his friend, the manager of the Moscow appanage office, I. I. Maslov - Prechistensky Boulevard, 10;
In St. Petersburg
Memory
Named after Turgenev:
Toponymy
- Streets and squares of Turgenev in many cities of Russia, Ukraine, Belarus, Latvia.
- Moscow metro station "Turgenevskaya"
Public institutions
- Orel State Academic Theatre.
- Library-reading room named after I. S. Turgenev in Moscow.
- Turgenev School of Russian Language and Russian Culture (Turin, Italy).
- Russian Public Library named after I. S. Turgenev (Paris, France).
Museums
- Museum of I. S. Turgenev (“ Mumu's house”) - (Moscow, Ostozhenka st., 37).
- State literary museum named after I. S. Turgenev (Orel).
- Spasskoye-Lutovinovo Museum-Reserve, the estate of I. S. Turgenev (Oryol region).
- Street and museum "Turgenev's Dacha" in Bougival, France.
monuments
In honor of I. S. Turgenev, monuments were erected in the cities:
- Moscow (in Bobrov lane).
- St. Petersburg (on Italianskaya street).
- Eagle:
- Monument in Orel;
- Bust of Turgenev at the Noble Nest.
Other objects
The name of Turgenev is carried by the branded train of Russian Railways Moscow - Simferopol - Moscow (No. 029/030) and Moscow - Oryol - Moscow (No. 33/34)
What features of Turgenev-man do you remember? How did you imagine the writer when you first read his story "Mumu" or other works? What has changed in this view now?
When we read "Muma", "Bezhin Meadow", "Russian Language", "Poems in Prose", independently "Notes of a Hunter", we imagined Ivan Sergeevich Turgenev as soft, kind person who loves nature, peasants, children, subtly feeling the shades of the Russian language, brilliantly owning the artistic style of speech. This man hated violence against the person, sympathized with the disadvantaged and denounced the tyranny of the feudal lords.
Having read in the anthology an essay about Turgenev, remarkable in its emotional strength and saturation with biographical facts, as well as the story “First Love”, we learned a lot about the personality of the writer. First of all, that such a work could be written by a person with subtle emotional experiences, very amorous, understanding feminine beauty, sincerity, eccentricity. We learn that in his youth Turgenev wanted to give the impression of a rich and noble person, he liked to dress fashionably, to joke with his friends, but all these were harmless weaknesses. The main thing is that Turgenev loved his homeland, loved Russian literature, worried about its future, although he lived many years of his life abroad. Already seriously ill, with no hope of recovery, he wrote a letter to Leo Tolstoy asking him not to leave his literary work.
One journalist wrote that, in his opinion, the fate of the writer among the readers is determined by the “crowd of heroes” that left the pages of his works and lives in their memory. Who could you remember to create Turgenev's "crowd of heroes"?
I remember Khor and Kalinich, Pavlusha, Ilyusha, Kasyan with the Beautiful Sword, Zinaida, Vladimir, Gerasim, the mistress, Kapiton, Tatiana, Yermolai, Melnikha, Bazarov, Arkady, Pavel Petrovich and Nikolai Petrovich Kirsanov, Lisa Kalitina and Lavretsky, Elena Stakhova and Insarov (I. S. Turgenev's novels "Fathers and Sons", "On the Eve", "The Nest of Nobles" we read with friends on our own and now we look forward to discussing them in class 10).
Turgenev's biographies often use itinerary (an index of places visited by the writer). What do you think, what gives the reader an acquaintance with Turgenev's itinerary? Remember which of the Russian writers had the richest itineraries?
Turgenev's itinerary shows the richness of the impressions that he received during his travels.
So, in 1857 Turgenev visited Dipon, Paris, London, Paris, Berlin, Dresden, Sinzig, Baden-Baden, Paris, Boulogne, Paris, Courtavnel, Paris, Courtavnel, Paris, Marseille, Nice, Genoa, Rome.
And in 1858 - Rome, Naples, Rome, Florence, Milan, Trieste, Vienna, Dresden, Paris, London, Paris, Berlin, St. Petersburg, Moscow, the village of Spasskoye, Orel, the village of Spasskoye, Moscow, St. Petersburg.
Among the writers who had rich itineraries, we can name Pushkin, Zhukovsky, Gogol, Dostoevsky, Bunin.
- New!
Interest in Ukraine, its people, history and culture was highly characteristic of Turgenev. This interest was reflected in his artistic creativity, enriching the great Russian writer with new images and motives, contributing to a wider coverage ...
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I. S. Turgenev was born in Orel, into a noble family. He received an excellent education: he studied at Moscow University, then at St. Petersburg; then for several years (1838-1840) he listened to lectures at the University of Berlin. Returning to Russia, Turgenev at first ...
Youth of Turgenev In 1837, Turgenev successfully, with a Ph.D., graduated from the Philological Department of the Faculty of Philosophy of St. Petersburg University. Here, the professor of Russian literature P. A. Pletnev drew attention to the young Turgenev and approved ...
We met "superfluous people" in Pushkin and Lermontov. Let's remember Onegin and Pechorin, their sense of the meaninglessness of life. These people were unhappy because they were "superfluous" in the world, living "without a goal, without labor." The theme of the "extra person" was continued by Turegenev....
