In what century did Turgenev live. Ivan Sergeevich Turgenev - biography, information, personal life

Turgenev Ivan Sergeevich
Aliases:	Въ; -; I.S.T .; I.T .; L .; Nedobobov, Jeremiah; T.; T…; T. L .; T …… in; ***
Date of Birth:
Place of Birth:	Oryol city, Russian Empire
Date of death:
A place of death:	Bougival, Third French Republic
Citizenship:	Russian empire
Occupation:	Prose writer, poet, playwright, translator
Years of creativity:
Direction:
	Story, novella, novel, elegy, drama
Language of works:
	"Evening", 1838

Biography

Origins and early years

After graduation

The flowering of creativity

Dramaturgy

1850s

Last years

Death and burial

Personal life

"Turgenev girls"

Passion for hunting

The meaning and appreciation of creativity

Turgenev on stage

Foreign criticism

Bibliography

Stories 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 the Russian language and literature (1860), Honorary Doctor of the University of Oxford (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.

The artistic system he created influenced the poetics of not only the Russian, but also the Western European novel of the second half of the 19th century. Ivan Turgenev was the first in Russian literature to study the personality of the "new man" - the sixties, his moral qualities and psychological characteristics, thanks to him the term "nihilist" began to be widely used in Russian. He was a propagandist of Russian literature and drama in the West.

The study of the works of I. S. Turgenev is an obligatory part of the general education school curricula in Russia. The most famous works are the cycle of stories "Notes of a Hunter", the story "Mumu", the story "Asya", the novels "Noble Nest", "Fathers and Sons".

Biography

Origins and early years

The family of Ivan Sergeevich Turgenev came from the ancient family of the Tula nobles of the Turgenevs. In a memorable book, the mother of the future writer wrote: “ 1818 October 28, Monday, the son Ivan was born, 12 inches tall, 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 Teplova».

Ivan's father Sergei Nikolaevich Turgenev (1793-1834) served at that time in the cavalry regiment. The carefree 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, my father retired with the rank of colonel of the cuirassier regiment. 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 Nikolaevich was not happy. The father died in 1834, leaving three sons - Nikolai, Ivan and Sergei, who died early from epilepsy. The mother was a domineering and oppressive woman. She herself lost her father early, suffered from the cruel attitude of her mother (whom her 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 humiliations, 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. Serf habits coexisted in her with erudition and education, she combined concern for the upbringing of children with family despotism. Ivan was also subjected to maternal beatings, despite the fact that he was considered her favorite son. Frequently changing French and German tutors taught the boy to read and write. In the family of Varvara Petrovna, everyone spoke to each other exclusively in French, 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: she herself possessed an excellent figurative Russian speech, and Sergei Nikolaevich demanded from the children that during their father's absences they write him letters in Russian. The Turgenev family kept in touch 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 readily quoted in her letters to her son.

The love of 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 Spasskoye-Lutovinovo, 10 km from Mtsensk, Oryol province. In 1827, the Turgenevs, in order to educate their children, settled in Moscow, buying a house on Samoteok. The future writer studied first at the Weidengammer boarding school, then became a boarder with the director of the Lazarev Institute, IF Krause.

Education. The beginning of literary activity

In 1833, at the age of 15, Turgenev entered the language faculty of Moscow University. At the same time, A.I. Herzen and V.G. Belinsky studied here. A year later, after Ivan's older 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 scientist and historian of the Westernizing 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 with iambic pentameter. The young author showed these attempts at writing to his teacher, professor of Russian literature A. Pletnev. During one of the lectures, Pletnev rather strictly analyzed this poem, without revealing 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 poems, two of which Pletnev published in 1838 in the Sovremennik magazine, of which he was the editor. They were published under the caption "... ..v". The debut poems were "Evening" and "To Venus of the Medici".

The first publication of Turgenev appeared in 1836 - in the "Journal of the Ministry of Public Education" he published a detailed review "On the journey to holy places" by A. N. Muravyov. By 1837 he had already written about a hundred small poems and several poems (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 full-time student. Dreaming of scientific activity, the next year he passed the final exam and received a candidate's degree. 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 studied the grammar of ancient Greek and Latin languages. Knowledge of ancient languages ​​allowed him to freely read ancient classics. During his studies, he made friends with the Russian writer and thinker N.V. Stankevich, who had a noticeable influence on him. Turgenev attended lectures by the Hegelians, became interested in German idealism with its doctrine of world development, the "absolute spirit" and the high vocation of a philosopher and poet. In general, the whole way of life in 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 human culture can lead Russia out of the darkness in which it is immersed. In this sense, he became a staunch "Westerner".

In the 1830-1850s, an extensive circle of literary acquaintances of the writer was formed. Back in 1837, fleeting meetings with A.S. Pushkin took place. At the same time, 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 places in its form is close to Lermontov's "Testament", in the "Ballad" (1841) one can feel the influence of the "Song of the merchant Kalashnikov". But the most tangible connection with the work of Lermontov in the poem "Confession" (1845), the accusatory pathos of which brings him closer to Lermontov's poem "Duma".

In May 1839, the old house in Spasskoye burned down, and Turgenev returned to his homeland, but in 1840 he again went abroad, visiting Germany, Italy and Austria. Impressed by his 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 exam for a master's degree in 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 thesis for the Faculty of Language. But by this time the craving for scientific activity had cooled down, and more and more began to attract literary creativity. Refusing to defend his dissertation, he served until 1844 with the rank of collegiate secretary at the Ministry of the Interior.

In 1843, Turgenev wrote the poem "Parasha". Not really hoping for a positive review, he nevertheless took the copy to V.G.Belinsky. Belinsky praised "Parasha", two months later he published his review in the "Notes of the Fatherland". From that time on, 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 "Misty Morning", set in different years to music by several composers, including A. F. Gedike and G. L. Catoire. The most famous, however, is the romance version, which was originally published under the signature "Music of Abaza"; its belonging to V.V. Abaza, E.A. Abaza or Yu. F. Abaza has not been finally established. After publication, the poem was perceived as a reflection of Turgenev's love for Pauline Viardot, with whom he met at this time.

In 1844, the poem "Pop" was written, which the writer himself characterized 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 the 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 flowering of creativity

Since 1847, Ivan Turgenev took part in the reformed Sovremennik, where he became close to N. A. Nekrasov and P. V. Annenkov. The magazine published his first feuilleton "Modern Notes", began to publish the first chapters of "Notes of a Hunter". 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 enormous, and it brought

Turgenev thought to write a number of others of the same kind. According to Turgenev, "Notes of a Hunter" was the fulfillment of his Annibal's oath to fight to the end with the enemy, whom he had hated since childhood. "This enemy had a certain image, bore a well-known name: this enemy was serfdom." To implement his intention, Turgenev decided to leave Russia. “I could not,” wrote Turgenev, “breathe the same air, stay close to what I hated.

In 1847, Turgenev with Belinsky went abroad and in 1848 he lived in Paris, where he witnessed revolutionary events. As 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 Ogarev's wife N.A.Tuchkov.

Dramaturgy

The late 1840s - early 1850s were the time of Turgenev's most intensive work in the field of drama 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 "Freeloader", in 1849 - "Breakfast at the leader" and "Bachelor", in 1850 - "A month in the country", in 1851- m - "Provincial". Of these, "Freeloader", "Bachelor", "Provincial" and "A Month in the Country" enjoyed success thanks to excellent performances on stage. Especially he was dear to the success of "The Bachelor", which became possible largely thanks to the performing skills of A. Ye. Martynov, who played in four of his plays. Turgenev formulated his views on the position of the Russian theater and the tasks of drama as early as 1846. He believed that the crisis of the theatrical repertoire, which was observed at that time, could be overcome by the efforts of writers committed to Gogol's dramaturgy. Turgenev considered himself to be the followers of Gogol the playwright.

To master the literary techniques of drama, 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 contemporaries-playwrights to use Shakespeare's work as a role model, borrowing his theatrical techniques caused only irritation in Turgenev. In 1847 he wrote: “The shadow of Shakespeare hangs over all dramatic writers, they cannot get rid of their 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 his mother's large fortune and, if possible, tried to alleviate the hardships of the peasants he inherited.

In 1850-1852, he lived in Russia, then abroad, saw NV Gogol. After the death of Gogol, Turgenev wrote an obituary, which the St. Petersburg censorship did not miss. The reason for her dissatisfaction was that, as the chairman of the St. Petersburg Censorship Committee MN Musin-Pushkin put it, "it is criminal to speak so enthusiastically about such a writer." Then Ivan Sergeevich sent the article to Moscow to V.P. Botkin, who published it in Moskovskiye Vedomosti. The authorities saw a riot in the text, and the author was brought to the driveway, where he spent a month. On May 18, Turgenev was exiled 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 the seditious obituary of Gogol, but the excessive radicalism of Turgenev's views, manifested in sympathy for Belinsky, suspiciously frequent trips abroad, sympathetic stories about serfs, the laudatory review of the emigrant Herzen about Turgenev. The enthusiastic tone of the article about Gogol only overflowed the gendarme'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 did not materialize - in August 1852 the book was censored and published.

However, the censor Lvov, who allowed the Hunter's Notes to be published, was dismissed from service by personal order of Nicholas I and deprived of his pension. The Russian censorship also banned the republishing of the Hunter's Notes, explaining this step by the fact that Turgenev, on the one hand, poeticized serfs, and on the other hand, depicted “that these peasants are in oppression, that the landlords are behaving indecently and it is illegal ... finally, that the peasant is more free to live in freedom. "

During his exile in Spasskoye, Turgenev went hunting, read books, wrote novels, played chess, listened to Beethoven's Coriolanus performed by A. P. Tyutcheva and his sister, who lived in Spasskoye at that time, and from time to time was raided by the police officer ...

In 1852, while still in exile in Spassky-Lutovinovo, he wrote the textbook story "Mumu". Most of the "Notes of a Hunter" was created by the writer in Germany. The Hunter's Notes were published in Paris in a separate edition in 1854, although at the beginning of the Crimean War this publication bore the character of anti-Russian propaganda, and Turgenev was forced to publicly protest against Ernest Charrière's poor-quality French translation. After the death of Nicholas I, four of the writer's most significant works were published one after the other: Rudin (1856), 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 the Russian Bulletin 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 censorship, so they had to be published abroad. Later, Turgenev took part in the activities of the "Society for Aid 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 magazine "Library for Reading", published under the editorship of A. V. Druzhinin. But his editorship did not bring the expected success to the publication, and Turgenev, hoping in 1856 for imminent magazine success, in 1861 called the Library, which was being edited by AF Pisemsky by that time, a “dead hole”.

In the fall of 1855, Leo Tolstoy joined Turgenev's circle of friends. In September of the same year, the Sovremennik published Tolstoy's story "The felling of the forest" with a dedication to IS Turgenev.

1860s

Turgenev took an active part in the discussion of the peasant reform that was being prepared, participated in the development of various collective letters, draft addresses addressed to Tsar Alexander II, protests, and so on. From the first months of the publication of Herzen's Bell, Turgenev was his active collaborator. He himself did not write in the "Kolokol", but helped in the collection of materials and their preparation for publication. An equally important role of Turgenev consisted in mediation between Herzen and those correspondents from Russia who, for various reasons, did not want to be in direct relations with the disgraced London émigré. In addition, Turgenev sent detailed survey 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 he is already severely scolded in St. Petersburg by all the reactions, - why should he be bullied from both sides? , - so he, perhaps, will lose his spirit. "

In 1860, the Sovremennik published an article by N. A. Dobrolyubov, "When will the real day come?" Nevertheless, Turgenev was not satisfied with the far-reaching conclusions of Dobrolyubov, which he made after reading the novel. Dobrolyubov connected the concept 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 in literature there will appear a complete, sharply and vividly outlined, image of the Russian Insarov. And we will not wait long for him: that feverish, painful impatience with which we await his appearance in life guarantees this. He will finally come this day! And, in any case, the eve is not far from the day following it: only some kind of night separates them! ... ”The writer delivered an ultimatum to Nekrasov: 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 of Bazarov's image in the novel Fathers and Sons.

Turgenev gravitated towards the circle of Western writers who professed the principles of "pure art", who opposed the tendentious creativity of the commoner 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. ended in a duel and spoiled the relationship between the writers for 17 years. For some time, the writer developed difficult relations with Fet himself, as well as with some other contemporaries - F.M.Dostoevsky, I.A.Goncharov.

In 1862, good relations with the former friends of Turgenev's youth, A.I.Herzen and M.A. Bakunin, began to get complicated. From July 1, 1862 to February 15, 1863, Herzen's "Bell" published a series of articles "Ends and Beginnings" 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 trial of 32 in the case of "persons accused of having relations with London propagandists." After the authorities ordered an immediate appearance 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 to send the interrogation points to him in Paris. In the end, he was forced to leave for Russia in 1864 for a Senate interrogation, where he managed to divert all suspicions from himself. The Senate found him not guilty. Turgenev's personal appeal to Emperor Alexander II caused a bitter reaction from Herzen in The Bell. Much later, Lenin used this moment in the relationship between the two writers to illustrate the difference between the liberal vacillations of Turgenev and Herzen: “When the liberal Turgenev wrote a private letter to Alexander II with assurances of his loyal feelings and donated two gold coins for the soldiers wounded during the suppression of the Polish uprising , "The Bell" wrote about "the gray-haired Magdalene (of a masculine family), who wrote to the emperor that she did not know sleep, tormented that the emperor did not know about the repentance that had befallen her." And Turgenev immediately recognized himself. " But Turgenev's vacillations between tsarism and revolutionary democracy manifested themselves in another way.

In 1863, Turgenev settled in Baden-Baden. The writer took an active part in the cultural life of Western Europe, establishing acquaintances with the largest 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 Gaultier, Edmond Goncourt, Emile Zola, Anatole François , Guy de Maupassant, Alphonse Daudet, Gustave Flaubert. Since 1874, the famous bachelor "dinners of five" - ​​Flaubert, Edmond Goncourt, Daudet, Zola and Turgenev were held in the Parisian restaurants of Risch or Pellet. The idea belonged to Flaubert, but Turgenev was assigned the main role. Lunches were held once a month. They raised various topics - about the peculiarities of literature, about the structure of the French language, told stories and just enjoyed delicious food. Dinners were held not only at the Parisian restaurateurs, but also at the writers' homes.

I. S. Turgenev acted as a consultant and editor for 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 of 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. Juliana 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 the University of Oxford, despite the fact that the university had not given such an honor to any fiction writer before him.

Despite living abroad, all of Turgenev's thoughts were still associated 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 MN Katkov. The break did not go away easily - the writer began to persecute in the "Russian Bulletin" and in the "Moskovskiye vedomosti". The attacks intensified especially in the late 1870s, when, in response to the standing ovation that fell to Turgenev's lot, the Katkovo newspaper assured that the writer was "tumbling" in front of progressive youth.

1870th

The fruit of the writer's thoughts in the 1870s was the largest in volume of his novels - "Nov" (1877), which was also criticized. For example, M. Ye. 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 (Deputy Minister of Internal Affairs and Minister of War), N.I. Turgenev, and was closely acquainted with the Minister of Finance M. Kh. Reitern. At the end of the 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 Herman Lopatin above all, bowing to his intelligence, courage and moral strength.

In April 1878, Leo Tolstoy suggested that Turgenev forget all the misunderstandings between them, to which Turgenev gladly agreed. Friendly relations and correspondence were resumed. Turgenev explained the significance of modern Russian literature, including the work of Tolstoy, to the Western reader. In general, Ivan Turgenev played an important role in the promotion of Russian literature abroad.

However, Dostoevsky in the novel The Demons portrayed Turgenev in the form of the “great writer Karmazinov” - a loud, petty, scribbled and practically incompetent writer who considers himself a genius and sits abroad. Such an attitude towards Turgenev of the eternally needy Dostoevsky was caused, among other things, by the secure position of Turgenev in his noble life and the very high literary fees at that time: “To Turgenev for his 'Noble Nest' (I finally read. I ask for 100 rubles per page) gave 4000 rubles, that is, 400 rubles per page. My friend! I know very well that I write worse than Turgenev, but it's not too bad, 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 ME 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 timed to coincide with 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. Teng, 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 alarming in 1882 was the news of a severe exacerbation of his usual gouty pains. In the spring of 1882, the first signs of the disease were discovered, which soon turned out to be fatal for Turgenev. With a temporary relief of pain, he continued to work and a few months before his death published the first part of "Poems in Prose" - a cycle of lyrical miniatures, which became a kind of his farewell to life, homeland and art. The book was opened with a prose poem "Village", and it ended with "Russian language" - a lyrical hymn, in which the author put his faith in the great destiny of his country:

The Parisian doctors Charcot and Jaccot diagnosed the writer with angina pectoris; soon it was joined by intercostal neuralgia. The last time Turgenev was in Spassky-Lutovinovo was in the summer of 1881. The sick writer spent the winters in Paris, and in the summer he was transported to Bougival in the Viardot estate.

By January 1883, the pains increased so much that he could not sleep without morphine. He underwent surgery to remove a neuroma in the lower abdomen, but the surgery did not help much, since it did not relieve pain in the thoracic spine in any way. The disease developed, in March and April the writer was so tormented that those around him began to notice momentary clouding of mind, caused in part by the intake of morphine. The writer was fully aware of his imminent demise and resigned himself to the consequences of the illness, which made it impossible for him to walk or just stand.

Death and burial

The confrontation between " an unimaginably painful illness and an unimaginably strong organism”(PV Annenkov) ended on August 22 (September 3) 1883 in Bougival near Paris. Ivan Sergeevich Turgenev died of myxosarcoma (Muho Sarcoma) (cancerous lesions of the bones of the spine). Doctor S.P.Botkin testified that the true cause of 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).

The death of Turgenev was a great shock for his admirers, expressed in a very impressive funeral. The funeral was preceded by mourning celebrations in Paris, which were attended by over four hundred people. Among them were at least a hundred French: Edmond Abou, Jules Simon, Emile Ogier, Emile Zola, Alphonse Daudet, Juliette Adam, artist Alfred Dieudone, composer Jules Massenet. Ernest Renan addressed those who were seeing off 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 of Verzhbolovo, memorial services were served at stops. On the platform of the St. Petersburg Varshavsky 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 Volkovskoye cemetery this way:

The reception of the coffin in St. Petersburg and its passage to the Volkovo cemetery presented unusual spectacles in their beauty, stately character and complete, voluntary and unanimous observance of order. An uninterrupted chain of 176 deputations from literature, newspapers and magazines, scientists, educational and educational institutions, from zemstvos, Siberians, Poles and Bulgarians took up a space of several miles, attracting the sympathetic and often moved attention of a huge public that flooded the sidewalks - carried by deputations graceful, magnificent wreaths and banners with meaningful inscriptions. So, there was a wreath "To the author" Mumu "" from the society of patronage of animals ... a wreath with the inscription "Love is stronger than death" from pedagogical courses for women ... - AF Koni, "Turgenev's Funeral", Collected Works in Eight Volumes. T. 6. M., Legal Literature, 1968. Pp. 385-386.

Not without misunderstandings. The day after the funeral service for Turgenev's body in the Alexander Nevsky Cathedral on Rue Daru in Paris, on September 19, the well-known émigré populist P. L. Lavrov in the Paris newspaper Justice, edited by the future Socialist Prime Minister Georges Clemenceau, published a letter stating that I. S. Turgenev, on his own initiative, donated 500 francs to Lavrov annually for three years 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, used Lavrov's message for the posthumous persecution of Turgenev in the Russian Bulletin and Moskovskiye Vedomosti in order to prevent the honoring of the deceased writer in Russia, whose body "should was to arrive in the capital from Paris for burial. Following the ashes of Turgenev very much worried the Minister of Internal Affairs D.A.Tolstoy, who feared spontaneous rallies. According to the editor of Vestnik Evropy, MM Stasyulevich, who accompanied Turgenev's body, the precautions taken by officials were as inappropriate as if he accompanied the Nightingale the Robber, and not the body of the great writer.

Personal life

The first romantic hobby of young Turgenev was falling in love with the daughter of Princess Shakhovskoy - Catherine (1815-1836), a young poet. The estates of their parents in the Moscow region bordered, they often exchanged visits. He was 15, she was 19. In letters to her son, Varvara Turgeneva called Ekaterina Shakhovskaya “poet” and “villainous”, because Sergei Nikolaevich himself, Ivan Turgenev's father, 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 the heroine of the story Zinaida Zasekina with some features of Katya Shakhovskaya.

Henri Troyat, "Ivan Turgenev"

Turgenev's story at a dinner at G. Flaubert's

“My whole life is permeated with the feminine principle. Neither book nor anything else can replace a woman for me ... How to explain this? I believe that only love causes such a flourishing of the whole being, which nothing else can give. And what do you think? Listen, in my youth I had a mistress - a miller's wife from the outskirts of St. Petersburg. I met her when I went hunting. She was very pretty - blonde with radiant eyes, the kind we see quite often. She didn't want to accept anything from me. And once she said: "You must give me a gift!" - "What do you want?" - "Bring me some soap!" I brought her soap. She took it and disappeared. She returned flushed and said, stretching out her fragrant hands to me: "Kiss my hands the way you kiss them to the ladies in the 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). A romance 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, learning 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 remained 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 at the Bakunin Premukhino estate. The winter of 1841-1842 passed in close contact with the circle of brothers and sisters Bakunins. 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.

Tatiana was three years older than Ivan. Like all young Bakunins, she was fascinated by German philosophy and perceived her relations 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 the young people lived in the same house, and she also expected from Turgenev an analysis of the motives of her own actions and reciprocal feelings. “The 'philosophical' novel, - according to GA Byaly, - in the twists and turns of which the entire younger generation of the Preukhinsky nest took an active part, lasted for several months." Tatiana was in love for real. Ivan Sergeevich did not remain completely indifferent to the love he awakened. He wrote several poems (the poem "Parasha" was also inspired by communication with Bakunina) and a story dedicated to this sublime ideal, mostly literary and epistolary hobby. But he could not answer with a serious feeling.

Among the writer's other fleeting hobbies, there were two more that played a role in his work. In the 1850s, a fleeting romance broke out with a distant cousin, eighteen-year-old Olga Alexandrovna Turgeneva. Falling in love was mutual, and the writer thought about marriage in 1854, the prospect of which at the same time frightened him. Olga later served as the prototype for the image of Tatiana in the novel "Smoke". Turgenev was also indecisive with Maria Nikolaevna Tolstoy. Ivan Sergeevich wrote about Leo Tolstoy's sister, PV Annenkov: “His sister is one of the most attractive creatures that I could only meet. Mila, 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 MN Tolstaya had already left her husband, she took the writer's attention to herself for genuine love. But Turgenev this time limited himself to a platonic enthusiasm, and Maria Nikolaevna served as a prototype for Vera from the story "Faust".

In the fall 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 famous critic and art critic - Louis Viardot, and on November 1, 1843, he was introduced to Pauline herself. Among the mass of admirers, she did not particularly single out Turgenev, known more as an avid hunter, and not a writer. And when her tour ended, Turgenev, along 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 constrained 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 did not give him money for three years. During these years, his way of life reminded little of 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 the actress of the 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 played so brightly 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 really write this Vera ?!". 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 relations, for Maria he was rather a good friend. She was going to marry for another, but the marriage never took place. Savina's marriage 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 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 melancholic creative manner. In his works, there is almost no happy ending, and the last chord is 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 solid, pure, selfless, morally strong heroines in total formed a literary phenomenon “ Turgenev girl"- a typical heroine of his works. Such are Liza in the story "Diary of an Extra Man", Natalya Lasunskaya in the novel "Rudin", Asya in the novel of the same name, Vera in the story "Faust", Elizaveta Kalitina in the novel "A Noble Nest", Elena Stakhova in the novel "On the Eve", Marianna Sinetskaya in novel "Nov" and others.

LN Tolstoy, noting the writer's merits, said that Turgenev painted amazing portraits of women, and that Tolstoy himself later observed Turgenev's women in life.

A family

Turgenev never got his own family. The writer's daughter from seamstress Avdotya Ermolaevna Ivanova Pelageya Ivanovna Turgeneva, married Brewer (1842-1919), from the age of eight was brought up in the family of Pauline Viardot in France, where Turgenev changed her name from Pelageya to Polinet, which was more pleasant to his literary hearing - Polinev ... Ivan Sergeevich came to France only six years later, when his daughter was already fourteen. Polinette almost forgot Russian and spoke exclusively 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 Paulinette the governess from England, Innis, was invited.

At the age of seventeen, Polinette met a young businessman Gaston Brewer, who made a pleasant impression on Ivan Turgenev, and he agreed to the marriage of his daughter. As a dowry, my father gave a considerable sum for those times - 150 thousand francs. The girl married Brewer, who soon went bankrupt, after which Polynette, with the assistance of her father, hid from her husband in Switzerland. Since Turgenev's heiress was Pauline Viardot, his daughter after his death found herself in a difficult financial situation. She died in 1919 at the age of 76 from cancer. Pauline's children - Georges-Albert and Jeanne had no descendants. Georges-Albert died in 1924. Zhanna Brewer-Turgeneva never married; lived, earning a living by private lessons, as she was fluent in five languages. She even tried herself in poetry, wrote poetry in French. She died in 1952 at the age of 80, and with her the ancestral branch of the Turgenevs along the line of Ivan Sergeevich was cut 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 the hunting business of the future writer A.I. 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 hunters as idlers, was imbued with her son's hobby. Over the years, the hobby has grown into a passion. It happened that for whole seasons he did not let go of his rifle, he traveled thousands of miles across many provinces of the central zone of Russia. Turgenev said that hunting is generally characteristic of the Russian people, and that Russian people have loved hunting since time immemorial.

In 1837, Turgenev met the peasant hunter Afanasy Alifanov, who later became his frequent hunting companion. The writer bought it for a thousand rubles; he settled in the forest, five miles from Spassky. Afanasy 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 the Nightingales" (1854) was written down by the writer from the words of Alifanov. It was Athanasius who became the prototype for 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 fire that happened accelerated the arrival of Ivan Turgenev to Spasskoye. In the summer of 1839, he first went hunting in the Telegin swamps (on the border of the Bolkhov and Oryol districts), visited the Lebedyansk fair, which was reflected in the story "Lebedyan" (1847). Varvara Petrovna specially bought for him five pack of greyhounds, nine bows of hounds and horses with saddles.

In the summer of 1843, Ivan Sergeevich lived at his 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 actress's husband, Louis, was, like Turgenev, a passionate hunter. Ivan Sergeevich invited him more than once to hunt in the vicinity of St. Petersburg. He and his friends went hunting in the Novgorod province and Finland several times. And Pauline Viardot gave Turgenev a beautiful and expensive game bag.

In the late 1840s, the writer lived abroad and worked on "Notes of a Hunter". The writer spent 1852-1853 in Spasskoye under police supervision. But this exile did not oppress him, since the hunt again awaited him in the village, and it was quite successful. And the next year he went on hunting expeditions 150 miles away from Spasskoye, where, together with IF Yurasov, he hunted on the banks of the Desna. This expedition served as material for Turgenev to work on the story "A Trip to Polesie" (1857).

In August 1854, Turgenev, together with N.A.Nekrasov, came to hunt in 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 of counts. Leo Tolstoy's elder brother, Nikolai, also turned out to be an avid hunter and, together with Turgenev, made several hunting trips around the outskirts of Spassky and Nikolsko-Vyazemsky. Sometimes they were accompanied by MN Tolstoy's husband, Valerian Petrovich; some of his character traits 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 beautiful horses and dogs. Turgenev, on the other hand, preferred to hunt with a gun and a cop 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 tried abroad to recreate the rituals and atmosphere of Russian hunting, but all this resulted in only a distant resemblance, even when, together with Louis Viardot, he managed to rent quite decent hunting grounds. In the spring of 1880, having visited Spasskoye, Turgenev specially stopped at Yasnaya Polyana in order to persuade Leo Tolstoy to take part in the Pushkin celebrations. Tolstoy declined the invitation because he considered gala dinners and liberal toasts in the face of the starving Russian peasantry inappropriate. Nevertheless, Turgenev made his old dream come true - 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. Tolstoy, artist P. P. Sokolov (illustrator of "Notes of a Hunter") ... In addition, he had a chance to hunt together with the German writer Karl Müller, as well as with representatives of the reigning houses of Russia and Germany - Grand Duke Nikolai Nikolaevich and Prince of Hesse.

Ivan Turgenev walked with a gun behind his shoulders in the 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 a Gun Hunter in the Orenburg Province, ST Aksakov,"

Character traits and literary life

Turgenev's biographers noted the unique features of his literary life. From his youth, he combined intelligence, education, artistic talent with passivity, a tendency to introspection, indecision. All together, in a bizarre way, it was combined with the habits of the barchon, who was for a long time dependent on a domineering, despotic mother. Turgenev recalled that at the University of Berlin, while studying Hegel, he could drop out when he needed to train his dog or set it on rats. T.N. Granovsky, who came to his apartment, found a student-philosopher playing card soldiers with a serf (Porfiry Kudryashov). Childishness smoothed over the years, but the inner duality and immaturity of views for a long time made themselves felt: according to A. Ya. Panaeva, young Ivan wanted to be accepted both in literary society and in secular living rooms, while in secular society Turgenev was ashamed to admit about his literary earnings, which spoke of his false and frivolous attitude towards literature and the title of a writer at that time.

The faint-heartedness 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 away from the lifeboats. Fortunately, the shore was not far away. Once on the shore, the young man was ashamed of his cowardice. Rumors of his cowardice penetrated 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 one more character trait of Turgenev, which brought him and those around him a lot of trouble - his non-obligation, "all-Russian negligence" or "Oblomovism", as E. A. Solovyov writes. Ivan Sergeevich could invite guests to his place and soon forget about it, going somewhere on his own business; he could promise a story to NA Nekrasov for the next issue of Sovremennik, or even take an advance from AA Kraevsky and not give the promised manuscript on time. Ivan Sergeevich himself later warned the younger generation against such annoying little things. The victim of this non-binding was the Polish-Russian revolutionary Arthur Benny, who was 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 convey it with an opportunity to I.S.Turgenev in London. Turgenev forgot about the letter, which had not been sent from him for over two months. During this time, rumors of Benny's betrayal reached catastrophic proportions. The letter, which came to Herzen with a great delay, could no longer change anything in Benny's reputation.

The reverse side of these flaws was spiritual softness, breadth of nature, a certain generosity, gentleness, but his kindness had its limits. When, during his last visit to Spasskoye, he saw that his mother, who did not know how to please her beloved son, had lined up all the serfs along the alley in order to welcome the barchuk " loud and happy”, Ivan was angry with his mother, immediately turned around and went back to 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 the character traits of Turgenev. 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 crops and crops. Unlike Leo Tolstoy, he had no mastery in himself.

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 completely 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 the broad 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 meaning 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, Eugene Onegin A. S. Pushkina, Pechorin M. Yu. Lermontova, Beltov A. I. Herzen, Aduev Jr. in "Ordinary history" I.A.Goncharova), Turgenev has priority in defining this type of literary characters. The name "Superfluous person" was fixed after the publication in 1850 of Turgenev's story "The Diary of an Extra Person". "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, discrepancy between word and deed. Turgenev created a whole gallery of similar images: Chulkaturin (Diary of an Extra Man, 1850), Rudin (Rudin, 1856), Lavretsky (Noble Nest, 1859), Nezhdanov (Nov, 1877). Turgenev's stories and stories “Asya”, “Yakov Pasynkov”, “Correspondence” and others are also devoted to the problem of the “superfluous person”.

The protagonist of the "Diary of an Extra 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 analyzed myself to the last thread, compared myself with others, recalled the slightest glances, smiles, words of people ... Whole days passed in this painful, fruitless work". Introspection that corrodes the soul 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 contemplating his own misfortune.". The inconsistency of the apathetic and reflective characters was further emphasized by the images of the whole and strong Turgenev heroines.

The result of Turgenev's reflections on the heroes of the Rudinsky and Chulkaturinsky 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. One of its main characters, Alexei Dmitrievich Nezhdanov, is named "Russian Hamlet" in the novel "Nov".

Simultaneously with Turgenev, the phenomenon of "superfluous man" continued to be developed by IA Goncharov in his novel Oblomov (1859), NA Nekrasov - Agarin (Sasha, 1856), AF Pisemsky and many others. But, unlike the character of Goncharov, the heroes of Turgenev were subjected to greater typification. According to the Soviet literary critic A. Lavretsky (I. M. Frenkel), “If we had all the sources for the study of the 40s. there was only one "Rudin" or one "Noble nest", 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 by A. P. Chekhov. The character of his story "Duel" Laevsky is a reduced and parody version of Turgenev's superfluous person. He says to his friend von Koren: “ I'm a loser, a superfluous person". Von Koren agrees that Laevsky is “ splinter from Rudin". At the same time, he speaks of Laevsky's claim to be a “superfluous person” in a mocking tone: “ Understand this, they say, that he is not to blame for the fact that government packages are not unopened for weeks and that he himself drinks and solders others, but Onegin, Pechorin and Turgenev are to blame for this, who invented a loser and an extra person". Later, critics brought Rudin's character closer to that of Turgenev himself.

Turgenev on stage

By the mid-1850s, Turgenev became disillusioned with his vocation as a playwright. Critics denounced his plays as invaluable. The author seemed to agree with the opinion of the critics and stopped writing for the Russian stage, but in 1868-1869 he wrote four French operetta librettos for Pauline Viardot, intended for staging in the Baden-Baden theater. L.P. Grossman noted the validity of many criticisms of the plays of Turgenev for the lack of movement in them and the predominance of the spoken element. Nevertheless, he pointed to the paradoxical vitality of Turgenev's performances on stage. Plays by Ivan Sergeevich for over one hundred and sixty years have not left the repertoire of European and Russian theaters. The famous Russian performers played in them: P.A.Karatygin, V.V.Samoilov, V.V.Samoilova (Samoilova 2nd), A.E. Martynov, V.I. 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 Burgtheater in Vienna, the Munich Chamber Theater, Berlin, Königsberg and other German theaters. Turgenev's drama was in the selected repertoire of prominent Italian tragedians: Ermete Novelli, Tommaso Salvini, Ernesto Rossi, Ermete Zacconi, Austrian, German and French actors Adolphe von Sonnental, Andre Antoine, Charlotte Voltaire and Francis Elmenreich.

Of all his plays, The Month in the Country has been the most successful. The debut of the performance took place in 1872. At the beginning of the 20th century, the play was staged by KS Stanislavsky and IM Moskvin at the Moscow Art Theater. The artist-decorator of the production and the author of the sketches of the costumes of the characters was the world-class artist M.V.Dobuzhinsky. This play has not left the stage of Russian theaters to this day. Even during the life of the author, theaters began with varying degrees of success to stage his novels and stories: "The Noble's Nest", "King Lear of the Steppe", "Spring Waters". This tradition is continued by modern theaters.

XIX century. Turgenev in the assessments of his contemporaries

Contemporaries gave the creativity of Turgenev a very high assessment. The critics V.G.Belinsky, N.A. Dobrolyubov, D.I. Pisarev, A.V.Druzhinin, P.V. Annenkov, Apollon Grigoriev, V.P. Botkin, N.N. Strakhov, V. 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. Soloviev, M. A. Antonovich, M. N. Longinov, M. F. De-Poulet, N. V. Shelgunov, N. G. Chernyshevsky and many others.

Thus, V.G.Belinsky noted the writer's extraordinary skill in depicting Russian nature. According to N.V. Gogol, in Russian literature of that time, Turgenev had the most talent. N.A. Dobrolyubov wrote that as soon as Turgenev touched in his story any issue or a new side of social relations, these problems were raised in the minds of an educated society, appearing before everyone's eyes. ME Saltykov-Shchedrin stated that Turgenev's literary activity was of equal importance for society to the activities of Nekrasov, Belinsky and Dobrolyubov. According to the Russian literary critic of the late 19th and early 20th century S.A. Vengerov, the writer managed to write so realistically that it was difficult to grasp the line between literary fiction and real life. His novels were not only read - his heroes were imitated in life. In each of his major works there is a character, in whose mouth the subtle and well-aimed wit of the writer himself is put.

Turgenev was well known in contemporary Western Europe. His works were translated into German as early as the 1850s, and in the 1870s and 1880s he became the most beloved and most widely read Russian writer in Germany, and was rated by German critics as one of the most significant contemporary novelists. The first translators of Turgenev were August Wiedert, August Boltz and Paul Fuchs. The German writer F. Bodenstedt, who translated many of Turgenev's works into German, in his introduction to Russian Fragments (1861), argued that Turgenev's works were equal to the works of the best contemporary novelists in England, Germany and France. Chancellor of the German Empire Clovis Hohenlohe (1894-1900), who called Ivan Turgenev the best candidate for the post of Prime Minister of Russia, said about the writer: “ Today I spoke with the smartest man in Russia».

In France, Turgenev's "Notes of a Hunter" were popular. Guy de Maupassant called the writer “ great man" and " genius novelist", And Georges Sand wrote to Turgenev:" Teacher! We all have to go through your school". His work was well known in English literary circles - "Notes of a Hunter", "Noble Nest", "On the Eve" and "Nov" were translated in England. The Western reader was captivated by moral purity in the depiction of love, the image of a Russian woman (Elena Stakhova); the figure of the militant democrat Bazarov was striking. The writer managed to show genuine Russia to European society, he introduced foreign readers to the Russian peasant, to Russian commoners 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.

Lev Tolstoy gave the following characterization to the writer in a letter to A. N. Pypin (January 1884): “Turgenev is a wonderful person (not very deep, very weak, but kind, good person) who always says what he thinks and feels. "

Turgenev in the encyclopedic dictionary of Brockhaus and Efron

According to the encyclopedia of Brockhaus and Efron, "Notes of a Hunter", in addition to the usual reader's 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 Hunter's Notes with restraint and caution. The content of the book was not fictional, it convinced readers that people should not be deprived of the most basic human rights. But, besides 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 the best qualities of Turgenev's talent were vividly expressed in the essays. " Great, mighty, truthful and fluent Russian language", To which the last of his" Poems in Prose "(1878-1882) is dedicated, received its most noble and graceful expression in the" Notes ".

In the novel "Rudin" the author was able 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 person “ with blush on the cheeks and no blood in the heart... Rudin appeared in an era when society dreamed of "business." The author's version of the novel was not missed by the censor because of the episode of Rudin's death on the June barricades, therefore it was understood by the critics in a very one-sided way. As conceived by the author, Rudin was a richly gifted man with noble intentions, but at the same time he was completely lost in front of reality; he knew how to appeal passionately and captivate others, but 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 passivity and lethargy in their characters, as well as traits of moral helplessness. This showed the realism of the writer, who portrayed life as it is.

But if in "Rudin" Turgenev spoke only against idly chatting people of the generation of the forties, then in "The Noble Nest" his criticism fell against his entire generation; without the slightest bitterness he gave preference to young forces. In the person 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, having failed in which, the 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. Russian society of that time lived on the eve of fundamental social and state changes. And the heroine of Turgenev's novel "On the Eve" Elena became the personification of the indefinite striving for something good and new, characteristic of the first years of the reform era, without a clear idea of ​​this 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 people be born in our country?"To which his interlocutor expresses hope for the best:" Give time, - answered Uvar Ivanovich, - there will be". On the pages of Sovremennik, the novel received an enthusiastic assessment in Dobrolyubov's article "When the Present 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 public sentiment, was most fully expressed. Turgenev succeeded better than other writers in capturing the moment of unanimity of public consciousness, which buried in the second half of the 1850s the old Nikolayev era with its lifeless reactionary isolation, and the turning point of the era: the subsequent confusion of innovators who singled out moderate representatives of the older generation from their midst with their vague hopes for a better future - "fathers", and thirsty for radical changes in the social structure of the young generation - "children". The journal "Russkoe slovo", represented by DI Pisarev, even recognized the hero of the novel, a radical Bazarov, as its ideal. At the same time, if you 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 it is rather not fully disclosed, since socio-political radicalism, which was quite strong at that time, is almost not in the novel. was affected.

While living abroad, in Paris, the writer became close with many emigrants and with 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 his typical weak-willed people, who may have been characteristic of the generation of the 1840s, but not the 1870s. The novel did not receive high praise from critics. Of the later works of the writer, the greatest attention was paid to the "Song of Triumphant Love" and "Poems in Prose".

XIX-XX century

In the late 19th - early 20th centuries, critics and literary critics S.A. Vengerov, Yu.I. Aikhenvald, D.S. Merezhkovsky, D.S. N. Ovsyaniko-Kulikovsky, A. I. Nezelenov, Yu. N. Govorukha-Otrok, V. V. Rozanov, A. E. Gruzinsky, E. A. Soloviev-Andreevich, L. A. Tikhomirov, V. Ye. 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 theatrical critic Yu. I. Eikhenvald, who gave his assessment to 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 the passions, possibilities and depths of human consciousness, the writer, however, did not have true seriousness: “ A tourist of life, he visits everything, looks everywhere, does not stop for a long time and at the end of his road complains that the path is over, that there is nowhere to go further. Rich, meaningful, varied, he does not, however, have pathos and genuine seriousness. His softness is his weakness. He showed reality, but first took out its tragic core from it". According to Eichenwald, 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. Also, the critic reproached the writer for the monotony in the use of artistic techniques. But at the same time he called Turgenev “ patriot of Russian nature"For his famous landscapes of his native land.

The author of an article about I. S. Turgenev in the six-volume History of Russian Literature of the 19th Century, edited by Professor D. N. Ovsyaniko-Kulikovsky (1911), A. E. Gruzinsky, explains the criticism of Turgenev as follows. In his opinion, in the work of Turgenev, most of all they were looking for answers to the living questions of our time, the formulation of new social tasks. " This element of his novels and novellas was, in fact, taken into account seriously and attentively by the leading criticism of the 1950s and 1960s; he was considered, as it were, obligatory in Turgenev's work". Not having received answers to their questions in new works, the criticism was unhappy and reprimanded the author “ for failure to fulfill his public duties". As a result, the author was declared to have written out and wasted 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 connected 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 was, rather, a character of careful 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. " Let us note that no one was better adapted to this lofty and difficult task than Turgenev. By the very essence of his talent, he was not only Russian, but also a European, world writer", - writes E. A. Solovyov. Dwelling on the method of depicting the love of Turgenev 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 poor Azdra, for whom love and death were the same as 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 portrayed in his hero Rudin: “ Undoubted chivalry and not particularly high vanity, idealism and a penchant for melancholy, a huge mind and a broken will».

Dmitry Merezhkovsky, a representative of decadent criticism in Russia, was ambivalent about Turgenev's work. He did not appreciate Turgenev's novels, preferring to them "small prose", especially the so-called "mysterious stories and stories" of the writer. According to Merezhkovsky, Ivan Turgenev is the first impressionist painter, the forerunner of the later Symbolists: “ The value of Turgenev as an artist for the literature of the future in the creation of an impressionistic style, which is an artistic education that is not related to the work of this writer as a whole».

A.P. Chekhov also had a contradictory attitude to Turgenev. In 1902, in a letter to Olga Knipper-Chekhova, he wrote: “ I am reading Turgenev. After that, the writer will be left with one eighth or one tenth of what he wrote. Everything else will be archived in 25-35 years.". However, the very next year he told her: “ Never before have I been so attracted to Turgenev as now».

Symbolist poet and critic Maximilian Voloshin wrote that Turgenev, thanks to his artistic sophistication, which he learned from French writers, occupies a special place in Russian literature. But unlike French literature with its fragrant and fresh sensuality, a sense of living and in love 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 Leo Tolstoy, according to the memoirs of the pianist A.B. Goldenveiser, said about the description of nature in Bunin's story: "it is raining, - and it is written so that Turgenev would not have written like that, and there is 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, according to the literary critic Fyodor Stepun, the singer of "the sad poetry of the ruining noble nests" Bunin, "as an artist is much more sensual than Turgenev." “The nature of Bunin, with 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 fragile, more musical, psychic and, perhaps, even more mystical than the nature of Tolstoy and Turgenev. " The nature in the image of Turgenev is more static than that of Bunin, - believes 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 the days of doubt, in the days of painful thoughts about the fate of my homeland - you alone are my support and support, oh great, mighty, truthful and free Russian language! If it weren't for you, how not to fall into despair at the sight of everything that is happening at home? But one cannot believe that such a language was not given to a great people!

June 1882

In the Soviet Union, not only critics and literary scholars paid attention to Turgenev's work, but also 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 "party" literary criticism. Among those who contributed to Turgenev studies, G. N. Pospelov, N. L. Brodsky, B. L. Modzalevsky, V. E. Evgeniev-Maksimov, M. B. Khrapchenko, G. A. Byaly, S. M. Petrov, A. I. Batuto, G.B. Kurlyandskaya, N. I. Prutskov, Yu. V. Mann, Priyma F. Ya., A.B. Muratov, V. I. Kuleshov, V.M. Markovich, V.G. Fridlyand, K.I. Chukovsky, B.V. Tomashevsky, B.M. 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 powerful"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 the serf peasant 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 founders of Russian literature. According to A. M. Gorky, Turgenev left Russian literature "an excellent legacy."

According to the 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 Leo Tolstoy and FM Dostoevsky, in which the fate of the central characters depends on their solution to an important philosophical issue of universal human significance. The literary principles laid down by the writer 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 scholars paid great attention to the creative heritage of Turgenev - many works were published devoted to 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. Turgenev's museums were opened in the city of Orel and the former estate of his mother Spassky-Lutovinov.

According to the academic History of Russian Literature, Turgenev was the first in Russian literature who managed in his work, through pictures of everyday village life and various images of ordinary peasants, to express the idea that the enslaved people constitute 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 of the national character without embellishment, and he also showed the same people for the first time worthy of admiration, admiration and love.

The Soviet literary critic GN Pospelov wrote that the literary style of Turgenev can be called, despite his emotional and romantic upbeat, realistic. Turgenev saw the social weakness of the advanced people from the nobility and was looking for another force capable of leading the Russian liberation movement; he later saw such a force in the Russian democrats of 1860-1870.

Foreign criticism

Among the writers and literary critics-emigrants, VV Nabokov, BK Zaitsev, DP Svyatopolk-Mirsky turned to the work of Turgenev. Many foreign writers and critics also left their comments on Turgenev's work: Friedrich Bodenstedt, Emile Oman, Ernest Renan, Melchior Vogue, Saint-Beuve, Gustave Flaubert, Guy de Maupassant, Edmond Goncourt, Emile Zola, Henry James, John Galsworthy, Georges , Virginia Wolfe, Anatole France, James Joyce, William Rolston, Alphonse Daudet, Theodore Storm, Hippolyte Teng, Georg Brandes, Thomas Carlyle and so on.

The English novelist and Nobel Prize winner in literature John Galsworthy considered Turgenev's novels the greatest example of prose art and noted that Turgenev helped " bring the proportions of the novel to perfection". For him, Turgenev was “ the most sophisticated poet who has ever written a novel”, And the Turgenev tradition was of great importance for Galsworthy.

Virginia Wolfe, another British writer, literary critic and representative of modernist literature of the first half of the 20th century, noted that Turgenev's books not only touch with their poetry, but also seem to belong to today's time, so much they have not lost their 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 made the reservation that this symmetry triumphs not at all because he is such a great storyteller. On the contrary, Wolfe believed that some of his things were rather poorly told, as they contain loops and digressions, confusing unintelligible information about great-grandfathers and great-grandmothers (as in "The Noble's 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, 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, and he spoke approvingly of the musicality of Turgenev's prose. And he called the novel "Fathers and Sons" one of the most brilliant works of the 19th century. But he also pointed out the shortcomings of the writer, saying that he “ gets bogged down in disgusting sugary". According to Nabokov, Turgenev was often too straightforward and did not trust the reader's intuition, trying to dot the i himself. Another modernist, Irish writer James Joyce, singled out from all the works 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 was amazed in Turgenev's work “ narrative style ... 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 - 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 Goslitmuseum 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. Within the framework of the "Turgenev Autumn" project, the Museum annually hosts Turgenev Readings, in which researchers of the writer's work from Russia and abroad take part. Turgenev's anniversaries are also celebrated in other cities of Russia. In addition, his memory is also 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 musical salons are held annually, where the music of the composers of the times of Ivan Turgenev and Pauline Viardot sounds.

Bibliography

Novels

• Rudin (1855)
• Noble's Nest (1858)
• The Eve (1860)
• Fathers and Sons (1862)
• Smoke (1867)
• Nov (1877)

Stories and stories

• Andrey Kolosov (1844)
• Three portraits (1845)
• Gide (1846)
• Brether (1847)
• Petushkov (1848)
• The Diary of a Superfluous Person (1849)
• Mumu (1852)
• Inn (1852)
• The Hunter's Notes (collection of stories) (1852)
• Yakov Pasynkov (1855)
• Faust (1855)
• Lull (1856)
• Trip to Polesie (1857)
• Asya (1858)
• First love (1860)
• Ghosts (1864)
• Brigadier (1866)
• Unhappy (1868)
• A Strange Story (1870)
• Steppe King Lear (1870)
• Dog (1870)
• Knock ... knock ... knock! .. (1871)
• Spring Waters (1872)
• Punin and Baburin (1874)
• Watches (1876)
• Sleep (1877)
• Father Alexei's story (1877)
• Song of Triumphant Love (1881)
• Own master's office (1881)

Plays

• Where it is thin, there it breaks (1848)
• Freeloader (1848)
• Breakfast at the Leader's (1849)
• Bachelor (1849)
• A 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. Stroyev, N. A. Benois, B. M. Kustodiev, K. V. Lebedev and others. The imposing figure of Turgenev is captured in the sculpture of A.N.Belyaev, M.M. Antokolsky, Zh.A. Polonskaya, S.A. I. N. Kramskoy, Adolphe Menzel, Polina Viardot, Ludwig Picch, M. M. Antokolsky, K. Shamro, in cartoons by N. A. Stepanov, A. I. Lebedev, V. I. Porfiriev, A. M. Volkov , on the engraving by Y.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. Kharlamov, V. A. Bobrov. Known for the work of many painters "based on Turgenev": Ya. P. Polonsky (plots of Spassky-Lutovinov), S. Yu. Zhukovsky ("Poetry of an old noble nest", "Night"), V. G. Perov, ("Old men parents on the grave of his son "). Ivan Sergeevich drew well himself and was an auto illustrator of his own works.

Screen adaptations

Many films and television films have been shot based on the works of Ivan Turgenev. 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 "Freeloader" was shot twice in Italy (1913 and 1924). In 1915, the films “Noble Nest”, “After Death” (based on the story “Clara Milich”) and “Song of Triumphant Love” (with the participation of V. V. Kholodnaya and V. A. Polonsky) were shot in the Russian Empire. The novel "Spring Waters" was filmed 8 times in different countries. 4 films were shot based on the novel "Noble Nest"; based on stories from The Hunter's Notes - 4 films; on the comedy "A Month in the Country" - 10 TV films; based on the story "Mumu" - 2 feature films and a cartoon; based on the play "Freeloader" - 5 pictures. 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 and television films.

The image of Turgenev in the cinema was used by the director Vladimir Khotinenko. In the 2011 television series Dostoevsky, 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 actor Igor Litovkin, and in the film "Tchaikovsky" directed by Igor Talankin (1969), the writer was played by the actor Bruno Freundlich.

Addresses

In Moscow

Biographers in Moscow have over fifty addresses and memorial sites associated with Turgenev.

• 1824 - the house of the state councilor A. V. Kopteva on B. Nikitskaya (not preserved);
• 1827 - city estate, property of Valuev - Sadovaya-Samotyochnaya street, 12/2 (not preserved - rebuilt);
• 1829 - boarding house Krause, Armenian Institute - Armenian lane, 2;
• 1830 - Steingel House - Gagarinsky Lane, 15/7;
• 1830s - House of General NF Alekseeva - Sivtsev Vrazhek (corner of Kaloshin Lane), house 24/2;
• 1830s - House of M. A. Smirnov (not preserved, now - a building built in 1903) - Upper 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 was visiting Moscow, belonged to his mother, but the researcher of the life and work of Turgenev N.M. Chernov indicates that the house was rented from the surveyor N.V. Loshakovsky;
• 1850s - the house of Nikolai Sergeevich Turgenev's brother - Prechistenka, 26 (not preserved)
• 1860s - House where I. Turgenev repeatedly visited the apartment of his friend, manager of the Moscow specific 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

• Oryol State Academic Theater.
• Library-reading room named after I. S. Turgenev in Moscow.
• School of Russian Language and Russian Culture named after Turgenev (Turin, Italy).
• Russian public library named after I. Turgenev (Paris, France).

Museums

• I. S. Turgenev Museum (" Mumu's house") - (Moscow, Ostozhenka st., 37).
• State Literary Museum named after I. Turgenev (Orel).
• Museum-reserve "Spasskoye-Lutovinovo" estate of I. Turgenev (Oryol region).
• Street and Museum "Dacha Turgenev" in Bougival, France.

Monuments

In honor of I.S.Turgenev, monuments were erected in the cities:

• Moscow (in Bobrovy Lane).
• St. Petersburg (on Italian street).
• Eagle:
• Monument in Oryol;
• Bust of Turgenev at the "Noble Nest".

Other objects

The name of Turgenev is the branded train of Russian Railways Moscow - Simferopol - Moscow (No. 029/030) and Moscow - Oryol - Moscow (No. 33/34)

Russian writer, corresponding member of the Puturburg Academy of Sciences (1880). In the cycle of stories "Notes of a Hunter" (1847 - 52) he showed high spiritual qualities and giftedness of the Russian peasant, the poetry of nature. In the socio-psychological novels "Rudin" (1856), "Noble's Nest" (1859), "On the Eve" (1860), "Fathers and Sons" (1862), the stories "Asya" (1858), "Spring Waters" (1872 ) created images of the outgoing noble culture and new heroes of the era - commoners and democrats, images of selfless Russian women. In the novel "Smoke" (1867) and "Nov" (1877) he depicted the life of Russian peasants abroad, the populist movement in Russia. At the end of his life he created the lyric and philosophical "Poems in Prose" (1882). Master of Language and Psychological Analysis. Turgenev had a significant impact on the development of Russian and world literature.

Biography

Born on October 28 (November 9 NS) in Orel in a noble family. Father, Sergei Nikolaevich, a retired hussar officer, came from an old noble family; mother, Varvara Petrovna, is from a wealthy landowner family of the Lutovinovs. Turgenev's childhood passed in the family estate Spasskoye-Lutovinovo. He grew up in the care of "tutors and teachers, Swiss and Germans, home-grown uncles and serf nannies."

With the family moved to Moscow in 1827, the future writer was sent to a boarding school, spent about two and a half years there. He continued his further education under the guidance of private teachers. Since childhood, he knew French, German, English.

In the fall of 1833, before reaching the age of fifteen, he entered Moscow University, and the next year he transferred to St. Petersburg University, from which he graduated in 1936 in the verbal department of the Faculty of Philosophy.

In May 1838 he went to Berlin to listen to lectures on classical philology and philosophy. He met and became friends with N. Stankevich and M. Bakunin, meetings with whom were of much greater importance than the lectures of the Berlin professors. He spent more than two academic years abroad, combining studies with long travels: he traveled to Germany, visited Holland and France, and lived in Italy for several months.

Returning to his homeland in 1841, he settled in Moscow, where he prepared for master's exams and attended literary circles and salons: he met Gogol, Aksakov, Khomyakov. On one of the trips to St. Petersburg - with Herzen.

In 1842 he successfully passed his master's examinations, hoping to get a professor's place at Moscow University, but since philosophy was taken under suspicion by the Nikolaev government, the departments of philosophy were abolished in Russian universities, it was not possible to become a professor.

In 1843, Turgenev entered the service of an official in the "special office" of the Minister of Internal Affairs, where he served for two years. In the same year, an acquaintance with Belinsky and his entourage took place. Public and literary views of Turgenev were determined during this period mainly by the influence of Belinsky. Turgenev published his poems, poems, dramatic works, stories. The critic guided his work with his grades and friendly advice.

In 1847, Turgenev went abroad for a long time: his love for the famous French singer Pauline Viardot, whom he met in 1843 during her tour in St. Petersburg, took him away from Russia. He lived for three years in Germany, then in Paris and on the estate of the Viardot family. Even before leaving, he gave the essay "Khor and Kalinich" to Sovremennik, which was a resounding success. The following essays from the life of the people were published in the same magazine for five years. In 1852 they published a separate book entitled "Notes of a Hunter".

In 1850 the writer returned to Russia, collaborated as an author and critic at Sovremennik, which became a kind of center of Russian literary life.

Impressed by Gogol's death in 1852, he published an obituary banned by the censorship. For this he was arrested for a month, and then sent to his estate under the supervision of the police without the right to leave the Oryol province.

In 1853 it was allowed to come to St. Petersburg, but the right to travel abroad was returned only in 1856.

Along with the "hunting" stories, Turgenev wrote several plays: "Freeloader" (1848), "Bachelor" (1849), "A Month in the Country" (1850), "Provincial" (1850). During his arrest and exile, he created the stories "Mumu" (1852) and "Inn" (1852) on the "peasant" theme. However, he was more and more interested in the life of the Russian intelligentsia, to whom the story "Diary of an Extra Man" (1850) is dedicated; "Yakov Pasynkov" (1855); "Correspondence" (1856). The work on the novels made the transition to the novel easier.

In the summer of 1855, the novel "Rudin" was written in Spasskoye, and in subsequent years the novels: in 1859 - "The Noble Nest"; in 1860 - "On the Eve", in 1862 - "Fathers and Sons".

The situation in Russia was changing rapidly: the government announced its intention to free the peasants from serfdom, preparations for a reform began, giving rise to numerous plans for the upcoming reorganization. Turgenev took an active part in this process, became an unofficial collaborator of Herzen, sending incriminating material to the Kolokol magazine, and collaborated with Sovremennik, which gathered around itself the main forces of progressive literature and journalism. At first, writers from different directions acted as a united front, but sharp disagreements soon arose. Turgenev broke with the Sovremennik magazine, the reason for which was Dobrolyubov's article "When Will the Present Day Come?" Turgenev did not accept this interpretation of the novel and asked Nekrasov not to publish this article. Nekrasov took the side of Dobrolyubov and Chernyshevsky, and Turgenev left Sovremennik. From 1862 to 1863, his polemic with Herzen on the further development of Russia, which led to a divergence between them, dates back to 1863. Putting his hopes on reforms "from above", Turgenev considered Herzen's belief in the revolutionary and socialist aspirations of the peasantry to be unfounded.

Since 1863, the writer settled with the Viardot family in Baden-Baden. Then he began to cooperate with the liberal-bourgeois "Bulletin of Europe", in which all his subsequent major works were published, including the last novel "Nov" (1876).

Following the Viardot family, Turgenev moved to Paris. During the days of the Paris Commune he lived in London, after its defeat he returned to France, where he remained until the end of his life, spending winters in Paris, and summer months outside the city, in Bougival, and making short trips to Russia every spring.

The social upsurge of the 1870s in Russia, associated with the Narodniks' attempts to find a revolutionary way out of the crisis, the writer met with interest, became close to the leaders of the movement, provided material assistance in publishing the collection "Vperyod". His long-standing interest in the folk theme reawakened, returned to the "Hunter's Notes", supplementing them with new sketches, wrote the stories "Punin and Baburin" (1874), "Clock" (1875), etc.

Social revival began among the students, among the broad strata of society. Turgenev's popularity, once shaken by his break with Sovremennik, has now recovered and began to grow rapidly. In February 1879, when he arrived in Russia, he was honored at literary evenings and gala dinners, strenuously inviting him to stay at home. Turgenev was even inclined to stop voluntary exile, but this intention was not carried out. In the spring of 1882, the first signs of a serious illness appeared, which deprived the writer of the ability to move (cancer of the spine).

August 22 (September 3 NS) 1883 Turgenev died in Bougival. According to the writer's will, his body was transported to Russia and buried in St. Petersburg.

Ivan Sergeevich Turgenev was born on October 28 (November 9) 1818 in the city of Orel. His family, both maternal and paternal, belonged to the noble class.

The first education in the biography of Turgenev was received at the estate of Spassky-Lutovinov. The boy was taught literacy by German and French teachers. Since 1827, the family moved to Moscow. Then Turgenev's training took place in private boarding schools in Moscow, after which - at Moscow University. Without completing it, Turgenev transferred to the philosophy department of St. Petersburg University. He also studied abroad, after which he traveled around Europe.

The beginning of the literary path

Studying in the third year of the institute, in 1834 Turgenev wrote his first poem called "Steno". And in 1838 two of his first poems were published: "Evening" and "To Venus of Medici".

In 1841, returning to Russia, he was engaged in scientific activities, wrote a dissertation and received a master's degree in philology. Then, when the craving for science cooled down, Ivan Sergeevich Turgenev served as an official in the Ministry of Internal Affairs until 1844.

In 1843, Turgenev met Belinsky, they struck up friendly relations. Under the influence of Belinsky, new poems by Turgenev, poems, stories were created, published, among which: "Parasha", "Pop", "Breter" and "Three portraits".

The flowering of creativity

Other famous works of the writer include: the novels "Smoke" (1867) and "Nov" (1877), stories and stories "Diary of a superfluous person" (1849), "Bezhin meadow" (1851), "Asya" (1858), "Spring Waters" (1872) and many others.

In the fall of 1855, Turgenev met Leo Tolstoy, who soon published the story "Cutting the Forest" with a dedication to I. S. Turgenev.

Last years

In 1863 he left for Germany, where he met the outstanding writers of Western Europe, and promoted Russian literature. He works as an editor and consultant, he himself is engaged in translations from Russian into German and French and vice versa. He becomes the most popular and widely read Russian writer in Europe. And in 1879 he received the title of Honorary Doctor of Oxford University.

It was thanks to the efforts of Ivan Sergeevich Turgenev that the best works of Pushkin, Gogol, Lermontov, Dostoevsky, Tolstoy were translated.

It should be noted briefly that in the biography of Ivan Turgenev in the late 1870s - early 1880s, his popularity grew rapidly, both at home and abroad. And critics began to rank him among the best writers of the century.

Since 1882, the writer began to be overcome by diseases: gout, angina pectoris, neuralgia. As a result of a painful illness (sarcoma), he dies on August 22 (September 3), 1883 in Bougival (a suburb of Paris). His body was brought to St. Petersburg and buried at the Volkovskoye cemetery.

Chronological table

Other biography options

• In his youth, Turgenev was frivolous, spending a lot of parental money on entertainment. For this, his mother once taught him a lesson, sending bricks instead of money in a parcel.
• The personal life of the writer was not very successful. He had many novels, but none of them ended in marriage. The greatest love in his life was the opera singer Pauline Viardot. For 38 years, Turgenev knew her and her husband Louis. For their family, he traveled around the world, lived with them in different countries. Louis Viardot and Ivan Turgenev died in the same year.
• Turgenev was a clean man, dressed neatly. The writer loved to work in cleanliness and order - without this he never began to create.
• see all

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Turgenev Ivan Sergeevich (1818-1883) is one of the greatest classics of world literature. He wrote many wonderful works. Among them are "Spring Waters", "First Love", "Asya", "Fathers and Sons", "On the Eve", "Noble Nest". All of them are very popular today. It was with the light hand of the great classic that such a term as "Turgenev's girl" appeared, personifying purity and innocence.

However, the very personality of Turgenev did not always correspond to those moral heights that were glorified in his novels. What is remarkable here is that the writer often showed striking irresponsibility towards his colleagues. It got to the point that he let people down and, thereby, put himself in a very uncomfortable position. But let's take a closer look at these unsightly character traits of the beloved classic. It is also worth noting that they in no way detract from Ivan Sergeevich's merits to world literature.

It should be immediately clarified that the imperishable masterpieces of the talented author were published by the Sovremennik magazine. The royalties came from the sales of publications. The magazine was headed by Nikolai Alekseevich Nekrasov and Ivan Ivanovich Panaev. Nekrasov had a real commercial acumen, but over the years various debts accumulated, and difficulties arose with money.

Avdotya Yakovlevna Panaeva (common-law wife of Nekrasov) recalled:
“In 1850, an extremely large amount of debts accumulated from Sovremennik. And here Ivan Sergeevich Turgenev urgently needed 2,000 rubles. The money was considerable, and it was extremely difficult to collect such a sum. But we were given an ultimatum - either we issue money, or the gifted writer leaves in “Otechestvennye zapiski.” Nekrasov and Panin got scared and borrowed the required amount at a high interest rate.

Six months passed, and again there was an embarrassment because of Ivan Sergeevich. A story was expected from him to be published in the next issue of the magazine. But there was no story, and the author himself did not appear in the editorial office for more than a week. This was surprising, since he always came to dinner, and if not to lunch, then to dinner. Nekrasov, of course, was worried, went several times to his apartment, but could not find him at home.

However, soon the writer himself appeared and said: "Scold me, gentlemen, scold me, but a bad thing happened. I cannot give a story, but I will write another in the next issue." This statement made Nekrasov into a state of excitement. He started asking what was the reason for what had happened. To which Ivan Sergeevich replied: “I sold my story to Otechestvennye Zapiski and received money for it. You see, I urgently needed 500 rubles. I could not ask you for this money, since I had already taken 2 thousand. competitors. They have already given me the required amount. "

Nekrasov and Panaev immediately stated that they would always find 500 rubles. They offered the writer to return the money taken and get the required amount from them. The matter was simplified by the fact that the story had not yet been submitted to the editorial board of Otechestvennye zapiski.

As a result of long persuasion, Turgenev agreed to receive money and give the story to Sovremennik. He lamented for a long time about this, and said that now he would have to cross to the other side of the street if he saw Andrei Aleksandrovich Kraevsky (editor-publisher of Otechestvennye zapiski). After this incident, an unlimited loan was opened to Ivan Sergeevich in the journal of Nekrasov and Panaev. "

The personality of Turgenev is characterized by another remarkable case. In 1838, the future writer was in Germany. He was traveling on a ship and there was a fire on it. The passengers were rescued and no one was hurt. But during the fire, when everything was on fire around, Ivan Sergeevich showed amazing cowardice.

He rushed to the sailors who were putting children and women in the boats, and began to beg them to put him in the boat out of turn. At the same time, he pushed other passengers away, promised the sailors a lot of money and kept repeating plaintively: "I don't want to die young, save me!"

Once on the safe shore, the future great classic felt a great shame. And rumors about his cowardice and cowardice very quickly became known in society. The young man became the subject of stinging jokes and ridicule. Some of his good acquaintances simply turned away from him. Over time, however, the story was forgotten. The writer himself, over the years, reflected it in a short story, which he called "Fire at Sea".