Who is Turgenev. Ivan Turgenev: an interesting and short biography of the writer

Ivan Sergeevich Turgenev. Born October 28 (November 9), 1818 in Orel - died August 22 (September 3), 1883 in Bougival (France). Russian realist writer, poet, publicist, playwright, translator. One of the classics of Russian literature, who made the most significant contribution to its development in the second half of the 19th century. Corresponding member of the Imperial Academy of Sciences in the category of Russian language and literature (1860), honorary doctor of Oxford University (1879).

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

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

The family of Ivan Sergeevich Turgenev came from an ancient family of Tula nobles, the Turgenevs. In a memorial book, the mother of the future writer wrote: “On October 28, 1818, on 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 Teplovoy.

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, with the rank of colonel of the cuirassier regiment, my father retired. Ivan was the second son in the family.

The mother of the future writer, Varvara Petrovna, came from a wealthy noble family. Her marriage to Sergei Nikolayevich was not happy.

The father died in 1834, leaving three sons - Nikolai, Ivan and Sergei, who died early from epilepsy. Mother was a domineering and despotic woman. She herself lost her father early, suffered from the cruel attitude of her mother (whom the grandson later portrayed as an old woman in the essay "Death"), and from a violent, drinking stepfather, who often beat her. Due to constant beatings and humiliation, she later moved in with her uncle, after whose death she became the owner of a magnificent estate and 5,000 souls.

In the family of Varvara Petrovna, everyone spoke exclusively in French among themselves, even prayers in the house were pronounced in French. She traveled a lot and was an enlightened woman, she read a lot, but also mostly in French. But also native language and literature were not alien to her: she herself possessed excellent figurative Russian speech, and Sergei Nikolayevich demanded from the children that during their father's absences they write letters to him in Russian.

The Turgenev family maintained ties with V. A. Zhukovsky and M. N. Zagoskin. Varvara Petrovna followed the latest in literature, was well aware of the work of N. M. Karamzin, V. A. Zhukovsky, and whom she willingly quoted in letters to her son.

In 1827, the Turgenevs, in order to educate their children, settled in Moscow, buying a house on Samotyok. The future writer studied first at the boarding house of Weidenhammer, then became a boarder with the director of the Lazarev Institute, I. F. Krause.

In 1833, at the age of 15, Turgenev entered the verbal department of Moscow University. At the same time, they 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 historian of the Western school, became his friend.

At first, Turgenev wanted to become a poet. In 1834, as a third-year student, he wrote a dramatic poem in iambic pentameter "Wall". The young author showed these tests of the pen to his teacher, professor of Russian literature P. A. Pletnev. During one of the lectures, Pletnev analyzed this poem quite strictly, without disclosing its authorship, but at the same time he also admitted that “there is something” in the writer.

These words prompted the young poet to write a number of more poems, two of which Pletnev published in 1838 in the Sovremennik magazine, of which he was the editor. They were published under the signature "....v". The debut poems were "Evening" and "To Venus Mediciy". Turgenev's first publication appeared in 1836 - in the "Journal of the Ministry of Public Education" he published a detailed review "On a Journey to Holy Places" by A. N. Muravyov.

By 1837, he had already written about a hundred short poems and several poems (the unfinished "The Old Man's Tale", "Calm at Sea", "Phantasmagoria in moonlit night", "Dream").

In 1836 Turgenev graduated from the university with the degree of a real student. dreaming about scientific activity, the following year he passed the final examination and received the degree of candidate.

In 1838 he went to Germany, where he settled in Berlin and took up his studies in earnest. At the University of Berlin he attended lectures on the history of Roman and Greek literature, and at home he studied the grammar of ancient Greek and Latin. Knowledge of ancient languages allowed him to freely read the ancient classics.

In May 1839, the old house in Spassky burned down, and Turgenev returned to his homeland, but already in 1840 he again went abroad, visiting Germany, Italy and Austria. Impressed by a meeting with a girl in Frankfurt am Main, Turgenev later wrote a story "Spring Waters".

In 1841 Ivan returned to Lutovinovo.

In early 1842, he applied to Moscow University for admission to the examination for the degree of Master of Philosophy, but at that time there was no full-time professor of philosophy at the university, and his request was rejected. Not settled in Moscow, Turgenev satisfactorily passed the exam for a master's degree in Greek and Latin philology in Latin at St. Petersburg University and wrote a dissertation for the verbal department. But by this time, the craving for scientific activity had cooled down, more and more began to attract literary creativity.

Refusing to defend his dissertation, he served until 1844 as a collegiate secretary in the Ministry of the Interior.

In 1843 Turgenev wrote the poem Parasha. not really hoping for positive feedback, he nevertheless took a copy to V. G. Belinsky. Belinsky highly appreciated Parasha, publishing his review in Fatherland Notes two months later. Since that time, their acquaintance began, which later grew into a strong friendship. Turgenev was even godfather to Belinsky's son, Vladimir.

In November 1843, Turgenev wrote a 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 title "Music of Abaza". Its belonging to V. V. Abaza, E. A. Abaza or Yu. F. Abaza has not been finally established. Upon publication, the poem was seen as a reflection of Turgenev's love for Pauline Viardot, whom he met during this time.

A poem was written in 1844 "Pop", which the writer himself described rather as fun, devoid of any "deep and significant ideas." Nevertheless, the poem attracted public interest for its anti-clerical orientation. The poem was curtailed by Russian censorship, but it was printed in its entirety abroad.

In 1846, the novels Breter and Three Portraits were published. In Breter, which became Turgenev's second story, the writer tried to present the struggle between Lermontov's influence and the desire to discredit posturing. The plot for his third story, Three Portraits, was drawn from the Lutovinov family chronicle.

In 1847, Turgenev went abroad with Belinsky and in 1848 lived in Paris, where he witnessed revolutionary events.

Being an eyewitness to the killing of hostages, many attacks, the construction and fall of the barricades of the February french revolution, he endured forever a deep loathing for revolutions in general. A little later, he became close to A. I. Herzen, fell in love with Ogaryov's wife N. A. Tuchkova.

In 1848 he wrote such plays as "Where it is thin, there it breaks" and "The Freeloader", in 1849 - "Breakfast at the Leader" and "The Bachelor", in 1850 - "A Month in the Country", in 1851 -m - "Provincial". Of these, "The Freeloader", "The Bachelor", "Provincial Woman" and "A Month in the Country" were successful due to excellent productions on stage.

To master the literary techniques of dramaturgy, the writer also worked on translations of Shakespeare. At the same time, he did not try to copy Shakespeare's dramatic techniques, he only interpreted his images, and all attempts by his contemporary playwrights to use Shakespeare's work as a role model, to borrow his theatrical techniques only caused Turgenev's irritation. In 1847 he wrote: “The shadow of Shakespeare hangs over all dramatic writers, they cannot get rid of memories; these unfortunates read too much and lived too little.

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.

After Gogol's death, Turgenev wrote an obituary, which the St. Petersburg censors did not let through. The reason for her dissatisfaction was that, as the chairman of the St. Petersburg Censorship Committee M. N. Musin-Pushkin put it, “it is criminal to speak so enthusiastically about such a writer.” Then Ivan Sergeevich sent the article to Moscow, V.P. Botkin, who published it in Moskovskie Vedomosti. The authorities saw a rebellion in the text, and the author was placed on the exit, where he spent a month. On May 18, Turgenev was sent to his native village, and only thanks to the efforts of Count A.K. Tolstoy, two years later, the writer again received the right to live in the capitals.

The censor Lvov, who let the "Notes of a Hunter" go to print, was dismissed from service by personal order of Nicholas I and deprived of his pension.

Russian censorship has also imposed a ban on the re-publication of the "Hunter's Notes", explaining this step by the fact that Turgenev, on the one hand, poeticized the serfs, and on the other hand, depicted “that these peasants are oppressed, that the landowners behave indecently and illegally ... finally, that the peasant lives more freely ".

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

Most of the "Notes of a Hunter" was created by the writer in Germany.

"Notes of a Hunter" in 1854 was published in Paris as a separate publication, although at the beginning of the Crimean War this publication was in the nature of anti-Russian propaganda, and Turgenev was forced to publicly protest against the poor quality French translation by Ernest Charrière. After the death of Nicholas I, four of the most significant works of the writer were published one after another: Rudin (1856), The Noble Nest (1859), On the Eve (1860) and Fathers and Sons (1862).

In the autumn of 1855, Turgenev's circle of friends expanded. In September of the same year, Tolstoy's story "The Cutting of the Forest" was published in Sovremennik with a dedication to I. S. Turgenev.

Turgenev took an ardent part in the discussion of the upcoming Peasant Reform, participated in the development of various collective letters, draft addresses addressed to the sovereign, protests, and so on.

In 1860, Sovremennik published an article “When will the real day come?” In which the critic spoke very flatteringly about the new novel “On the Eve” and Turgenev’s work in general. Nevertheless, Turgenev was not satisfied with the far-reaching conclusions of Dobrolyubov, made by him after reading the novel. Dobrolyubov connected the idea of Turgenev's work with the events of the approaching revolutionary transformation of Russia, with which the liberal Turgenev could not come to terms.

In 1863 Turgenev settled in Baden-Baden. The writer actively participated in the cultural life of Western Europe, establishing acquaintances with the leading writers of Germany, France and England, promoting Russian literature abroad and acquainting Russian readers with the best works of contemporary Western authors. Among his acquaintances or correspondents were Friedrich Bodenstedt, William Thackeray, Henry James, Charles Saint-Beuve, Hippolyte Taine, Prosper Merimee, Ernest Renan, Theophile Gauthier, Edmond Goncourt, Alphonse Daudet,.

Despite living abroad, all Turgenev's thoughts were still connected with Russia. He wrote a novel "Smoke"(1867), which caused a lot of controversy in Russian society. According to the author, everyone scolded the novel: "both red and white, and from above, and from below, and from the side - especially from the side."

In 1868, Turgenev became a permanent contributor to the liberal journal Vestnik Evropy and severed ties with M. N. Katkov.

Since 1874, famous bachelor's "dinners of five" - Flaubert, Edmond Goncourt, Daudet, Zola and Turgenev. The idea belonged to Flaubert, but Turgenev played the main role in them. Lunches were held once a month. They raised various topics - about the features of literature, about the structure of the French language, told stories and simply enjoyed delicious food. Lunches were held not only at the Parisian restaurateurs, but also at the writers' houses.

In 1878, at the international literary congress in Paris, the writer was elected vice-president.

On June 18, 1879, he was awarded an honorary doctorate from Oxford University, despite the fact that the university had not given such an honor to any novelist before him.

The fruit of the writer's reflections in the 1870s was the largest of his novels in terms of volume - "Nov"(1877), which was also criticized. So, for example, he regarded this novel as a service to the autocracy.

In April 1878, Leo Tolstoy invited Turgenev to forget all the misunderstandings between them, to which Turgenev gladly agreed. Friendship and correspondence resumed. Turgenev explained the meaning of modern Russian literature, including Tolstoy's work, to the Western reader. In general, Ivan Turgenev played a big role in promoting Russian literature abroad.

However, in the novel "Demons" he portrayed Turgenev in the form of "the great writer Karmazinov" - a noisy, small, scribbled and practically mediocre writer who considers himself a genius and sits out abroad. A similar attitude towards Turgenev by the ever-needy Dostoevsky was caused, among other things, by Turgenev’s secure position in his noble life and the highest literary fees at that time: “To Turgenev for his“ Noble Nest ”(I finally read it. Extremely well) Katkov himself (whose I ask for 100 rubles per sheet) gave 4,000 rubles, that is, 400 rubles per sheet. My friend! I know very well that I write worse than Turgenev, but not too worse, and finally, I hope to write not worse at all. Why am I, with my needs, taking only 100 rubles, and Turgenev, who has 2,000 souls, 400 each?

Turgenev, not hiding his dislike for Dostoevsky, in a letter to M. E. Saltykov-Shchedrin in 1882 (after Dostoevsky's death) also did not spare his opponent, calling him "the Russian Marquis de Sade."

His visits to Russia in 1878-1881 were real triumphs. All the more disturbing in 1882 were the reports of a severe exacerbation of his usual gouty pains.

In the spring of 1882, the first signs of the disease appeared, which soon turned out to be fatal for Turgenev. With temporary relief of pain, he continued to work and a few months before his death he published the first part of "Poems in Prose" - a cycle of lyrical miniatures, which became his kind of farewell to life, homeland and art.

The Parisian doctors Charcot and Jacquet diagnosed the writer with angina pectoris. Soon she was joined by intercostal neuralgia. The last time Turgenev was in Spasskoye-Lutovinovo was in the summer of 1881. The sick writer spent the winters in Paris, and for the summer he was transported to Bougival, on the estate of Viardot.

By January 1883, the pains had intensified so much that he could not sleep without morphine. He underwent surgery to remove a neuroma in the lower part of the abdominal cavity, but the operation did not help much, since it did not alleviate the pain in the thoracic region of the spine. The disease developed, in March and April the writer was so tormented that those around him began to notice momentary clouding of reason, caused in part by morphine.

The writer was fully aware of his imminent death and resigned himself to the consequences of the disease, which made it impossible for him to walk or just stand.

The confrontation between "an unimaginably painful illness and an unimaginably strong organism" (P. V. Annenkov) ended on August 22 (September 3), 1883 in Bougival near Paris. Ivan Sergeevich Turgenev died of myxosarcoma (a malignant tumor of the bones of the spine). Doctor S. P. Botkin testified that true reason death was clarified only after an autopsy, during which physiologists also weighed his brain. As it turned out, among those whose brains were weighed, Ivan Sergeevich Turgenev had the largest brain (2012 grams, which is almost 600 grams more than the average weight).

Turgenev's death was a great shock to his admirers, expressed in a very impressive funeral. The funeral was preceded by mourning celebrations in Paris, in which over four hundred people took part. Among them were at least a hundred Frenchmen: Edmond Abu, Jules Simon, Emile Ogier, Emile Zola, Alphonse Daudet, Juliette Adam, artist Alfred Diedone, composer Jules Massenet. Ernest Renan addressed the mourners with a heartfelt speech.

Even from the border station Verzhbolovo, funeral services were served at stops. On the platform of the St. Petersburg Warsaw railway station, a solemn meeting of the coffin with the body of the writer took place.

There were no misunderstandings either. The day after the funeral of Turgenev's body in the Alexander Nevsky Cathedral on the Rue Daru in Paris, on September 19, the well-known emigrant populist P. L. Lavrov published a letter in the Parisian newspaper Justice, edited by the future socialist prime minister, in which he reported that And S. Turgenev, on his own initiative, transferred to Lavrov annually for three years 500 francs to assist in the publication of the revolutionary émigré newspaper Vperyod.

The following of the ashes of Turgenev was very worried about the Minister of the Interior D. A. Tolstoy, who was afraid of spontaneous rallies. According to the editor of Vestnik Evropy, M. M. Stasyulevich, who accompanied the body of Turgenev, the precautions taken by the officials were as inappropriate as if he had accompanied the Nightingale the Robber, and not the body of the great writer.

Personal life of Ivan Sergeevich Turgenev:

The first romantic passion of young Turgenev was falling in love with the daughter of Princess Shakhovskaya - Ekaterina Shakhovskaya(1815-1836), young poetess. The estates of their parents in the suburbs bordered, they often exchanged visits. He was 15, she was 19.

In letters to her son, Varvara Turgeneva called Ekaterina Shakhovskaya a “poet” and a “villain”, since Sergei Nikolayevich himself, 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 some features of Katya Shakhovskaya with the heroine of the story, Zinaida Zasekina.

In 1841, during his return to Lutovinovo, Ivan became interested in the seamstress Dunyasha ( Avdotya Ermolaevna Ivanova). An affair began between the young, which ended in the girl's pregnancy. Ivan Sergeevich immediately expressed a desire to marry her. However, his mother made a serious scandal about this, after which he went to St. Petersburg. Turgenev's mother, having learned about Avdotya's pregnancy, hastily sent her to Moscow to her parents, where Pelageya was born on April 26, 1842. Dunyasha was given in marriage, the daughter was left in an ambiguous position. Turgenev officially recognized the child only in 1857.

Shortly after the episode with Avdotya Ivanova, Turgenev met Tatyana Bakunina(1815-1871), the sister of the future revolutionary emigrant M. A. Bakunin. Returning to Moscow after his stay in Spasskoye, he stopped by the Bakunin estate Premukhino. The winter of 1841-1842 passed in close contact with the circle of Bakunin brothers and sisters.

All of Turgenev's friends - N.V. Stankevich, V.G. Belinsky and V.P. Botkin - were in love with Mikhail Bakunin's sisters, Lyubov, Varvara and Alexandra.

Tatyana was three years older than Ivan. Like all young Bakunins, she was fascinated by German philosophy and perceived her relationships with others through the prism of Fichte's idealistic concept. She wrote letters to Turgenev in German, full of lengthy reasoning and introspection, despite the fact that young people lived in the same house, and she also expected Turgenev to analyze the motives of her own actions and reciprocal feelings. “The ‘philosophical’ novel,” according to G. A. Byaly, “in the vicissitudes of which the entire younger generation of the Premukhin’s nest took a lively part, lasted several months.” Tatyana was truly in love. Ivan Sergeevich did not remain completely indifferent to the love awakened by him. He wrote several poems (the poem "Parasha" was also inspired by communication with Bakunina) and a story dedicated to this sublimely ideal, mostly literary and epistolary passion. But he could not answer with a serious feeling.

Among other fleeting hobbies of the writer, there were two more that played a certain role in his work. In the 1850s, a fleeting romance broke out with a distant cousin, eighteen Olga Alexandrovna Turgeneva. The love was mutual, and the writer was thinking about marriage in 1854, the prospect of which at the same time frightened him. Olga later served as a prototype for the image of Tatiana in the novel "Smoke".

Also indecisive was Turgenev with Maria Nikolaevna Tolstaya. Ivan Sergeevich wrote about Leo Tolstoy's sister P. V. Annenkov: “His sister is one of the most attractive creatures that I have ever been able to meet. Sweet, smart, simple - I would not take my eyes off. In my old age (I turned 36 on the fourth day) - I almost fell in love.

For the sake of Turgenev, twenty-four-year-old M. N. Tolstaya had already left her husband, she took the writer's attention to herself for true love. But Turgenev limited himself to a Platonic hobby, and Maria Nikolaevna served him as a prototype of Verochka from the story Faust.

In the autumn of 1843, Turgenev first saw on stage opera house when the great singer came on tour to St. Petersburg. Turgenev was 25 years old, Viardot - 22 years old. Then, while hunting, he met Pauline's husband, the director of the Italian Theater in Paris, a well-known critic and art critic, Louis Viardot, and on November 1, 1843, he was introduced to Pauline herself.

Among the mass of fans, she did not particularly single out Turgenev, known more as an avid hunter, and not a writer. And when her tour ended, Turgenev, together with the Viardot family, left for Paris against the will of his mother, still unknown to Europe and without money. And this despite the fact that everyone considered him a rich man. But this time, his extremely cramped financial situation was explained precisely by his disagreement with his mother, one of the richest women in Russia and the owner of a huge agricultural and industrial empire.

For attachment to the “damned gypsy”, his mother did not give him money for three years. During these years, his lifestyle did not much resemble 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 true nature of the relationship between Pauline Viardot and Turgenev is still the subject of debate. There is an opinion that after Louis Viardot was paralyzed as a result of a stroke, Polina and Turgenev actually entered into a marital relationship. Louis Viardot was twenty years older than Polina, he died the same year as I. S. Turgenev.

The last love of the writer was the actress of the Alexandrinsky Theater. Their meeting took place in 1879, when the young actress was 25 years old, and Turgenev was 61 years old. The actress at that time played the role of Verochka in Turgenev's play A Month in the Country. The role was so vividly played that the writer himself was amazed. After this performance, he went to the actress backstage with a large bouquet of roses and exclaimed: “Did I really write this Verochka ?!”.

Ivan Turgenev fell in love with her, which he openly admitted. The rarity of their meetings was made up for by regular correspondence, which lasted four years. Despite Turgenev's sincere relationship, for Maria he was rather a good friend. She was going to marry another, but the marriage never took place. The marriage of Savina with Turgenev was also not destined to come true - the writer died in the circle of the Viardot family.

Turgenev's personal life was not entirely successful. Having lived for 38 years in close contact with the Viardot family, the writer felt deeply alone. Under these conditions, Turgenev's image of love was formed, but love is not quite characteristic of his melancholy creative manner. There is almost no happy ending in his works, and the last chord is more often sad. But nevertheless, almost none of the Russian writers paid so much attention to the depiction of love, no one idealized a woman to such an extent as Ivan Turgenev.

Turgenev never got his own family. The writer's daughter from the seamstress Avdotya Ermolaevna Ivanova, married Brewer (1842-1919), from the age of eight she was brought up in the family of Pauline Viardot in France, where Turgenev changed her name from Pelageya to Polina (Polinet, Paulinette), which seemed to him more harmonious.

Ivan Sergeevich arrived in France only six years later, when his daughter was already fourteen. Polinet almost forgot Russian and spoke only French, which touched her father. At the same time, he was upset that the girl had a difficult relationship with Viardot herself. The girl was hostile towards her father's beloved, and soon this led to the fact that the girl was sent to a private boarding school. When Turgenev next came to France, he took his daughter from the boarding house, and they settled together, and for Polinet a governess from England, Innis, was invited.

At the age of seventeen, Polinet met the young businessman Gaston Brewer, who made a good impression on Ivan Turgenev, and he agreed to marry his daughter. As a dowry, the father gave a considerable amount for those times - 150 thousand francs. The girl married Brewer, who soon went bankrupt, after which Polinet, with the assistance of her father, hid from her husband in Switzerland.

Since Turgenev's heiress was Pauline Viardot, his daughter found herself in a difficult financial situation after his death. She died in 1919 at the age of 76 from cancer. Polinet's children - Georges-Albert and Jeanne - had no descendants.

Georges Albert died in 1924. Zhanna Brewer-Turgeneva never married - she lived, earning a living by private lessons, as she was fluent in five languages. She even dabbled in poetry, writing poetry in French. She died in 1952 at the age of 80, and with her the family branch of the Turgenevs along the line of Ivan Sergeevich broke off.

Bibliography of Turgenev:

1855 - "Rudin" (novel)
1858 - "The Noble Nest" (novel)
1860 - "On the Eve" (novel)
1862 - "Fathers and Sons" (novel)
1867 - "Smoke" (novel)
1877 - "Nov" (novel)
1844 - "Andrey Kolosov" (story)
1845 - "Three portraits" (story)
1846 - "The Gide" (story)
1847 - "Breter" (story)
1848 - "Petushkov" (story)
1849 - "The Diary of a Superfluous Man" (story)
1852 - "Mumu" (story)
1852 - "Inn" (story)

"Notes of a hunter": a collection of short stories

1851 - "Bezhin Meadow"
1847 - "Biryuk"
1847 - Burmister
1848 - "Hamlet of the Shchigrovsky district"
1847 - "Two landowners"
1847 - Yermolai and the Miller's Woman
1874 - "Living relics"
1851 - "Kasyan with Beautiful Swords"
1871-72 - "The End of Chertopkhanov"
1847 - "Office"
1847 - "Swan"
1848 - "Forest and steppe"
1847 - "Lgov"
1847 - "Raspberry Water"
1847 - "My neighbor Radilov"
1847 - Ovsyannikov's Odnodvorets
1850 - "The Singers"
1864 - "Pyotr Petrovich Karataev"
1850 - "Date"
1847 - "Death"
1873-74 - "Knocks!"
1847 - "Tatyana Borisovna and her nephew"
1847 - "County Doctor"
1846-47 - "Khor and Kalinich"
1848 - "Chertop-hanov and Nedopyuskin"

1855 - "Yakov Pasynkov" (story)
1855 - "Faust" (story)
1856 - "Calm" (story)
1857 - "Trip to Polissya" (story)
1858 - "Asya" (story)
1860 - "First Love" (story)
1864 - "Ghosts" (story)
1866 - "The Brigadier" (story)
1868 - "Unfortunate" (story)
1870 - "A Strange Story" (story)
1870 - "The Steppe King Lear" (story)
1870 - "Dog" (story)
1871 - “Knock ... knock ... knock! ..” (story)
1872 - "Spring Waters" (story)
1874 - "Punin and Baburin" (story)
1876 - "Hours" (story)
1877 - "Dream" (story)
1877 - "The Story of Father Alexei" (story)
1881 - "The Song of Triumphant Love" (story)
1881 - "Own master's office" (story)
1883 - "After death (Clara Milic)" (novel)
1878 - "In memory of Yu. P. Vrevskaya" (prose poem)
1882 - “How good, how fresh the roses were ...” (poem in prose)
eighteen?? - "Museum" (story)
eighteen?? - "Farewell" (story)
eighteen?? - "Kiss" (story)
1848 - “Where it is thin, it breaks there” (play)
1848 - "Freeloader" (play)
1849 - "Breakfast at the leader" (play)
1849 - "The Bachelor" (play)
1850 - "A Month in the Country" (play)
1851 - "Provincial" (play)
1854 - “A few words about the poems of F. I. Tyutchev” (article)
1860 - "Hamlet and Don Quixote" (article)
1864 - "Speech on Shakespeare" (article)

Very short biography (in a nutshell)

Born November 9, 1818 in Orel. Father - Sergei Nikolayevich Turgenev (1793-1834), military man. Mother - Varvara Petrovna Lutovinova (1787-1850), a noblewoman. In 1836 he graduated from the philosophical faculty of St. Petersburg University. From 1836 to 1839 he lived and studied in Germany. In 1852 he was exiled to his village for two years. He moved to Germany in 1863. In 1879 he received an honorary doctorate from Oxford University. Was not married. Had an illegitimate daughter. Was fond of hunting. He died on September 3, 1883 at the age of 64 in Paris. He was buried at the Volkovskoye cemetery in St. Petersburg. Main works: “Fathers and Sons”, “Mumu”, “Noble Nest”, “Rudin”, “Asya”, “On the Eve” and others.

Brief biography (detailed)

Ivan Sergeevich Turgenev is a 19th-century Russian realist writer, poet, translator and corresponding member of the St. Petersburg Academy of Sciences. Turgenev was born on October 28 (November 9), 1818 in the city of Oryol in a noble family. The writer's father was a retired officer, and his mother was a hereditary noblewoman. Turgenev's childhood passed in the family estate, where he had personal teachers, tutors, serf nannies. In 1827, the Turgenev family moved to Moscow in order to give their children a decent education. There he studied at a boarding school, then studied with private teachers. The writer has been fluent in several foreign languages since childhood, including English, French and German.

In 1833, Ivan entered Moscow University, and a year later he transferred to St. Petersburg to the verbal department. In 1838 he went to Berlin for lectures in classical philology. There he met Bakunin and Stankevich, meetings with whom were of great importance for the writer. For two years spent abroad, he managed to visit France, Italy, Germany and Holland. The return home took place in 1841. At the same time, he began to actively attend literary circles, where he met Gogol, Herzen, Aksakov, etc.

In 1843, Turgenev joined the office of the Minister of the Interior. In the same year, he met Belinsky, who had a considerable influence on the formation of the literary and social views of the young writer. In 1846, Turgenev wrote several works: Breter, Three Portraits, Freeloader, Provincial Woman, etc. In 1852, one of the writer's best stories, Mumu, appeared. The story was written while serving a link in Spassky-Lutovinovo. In 1852, Notes of a Hunter appeared, and after the death of Nicholas I, 4 major works by Turgenev were published: On the Eve, Rudin, Fathers and Sons, and The Noble Nest.

Turgenev gravitated toward the circle of Western writers. In 1863, together with the Viardot family, he left for Baden-Baden, where he actively participated in cultural life and made acquaintances with the best writers of Western Europe. Among them were Dickens, George Sand, Prosper Merimee, Thackeray, Victor Hugo and many others. Soon he became the editor of foreign translators of Russian writers. In 1878 he was appointed vice-president at an international congress on literature held in Paris. The following year, Turgenev was awarded an honorary doctorate from Oxford University. Living abroad, he was also drawn to his homeland with his soul, which was reflected in the novel Smoke (1867). The largest in volume was his novel "Nov" (1877). I. S. Turgenev died near Paris on August 22 (September 3), 1883. The writer was buried according to his will in St. Petersburg.

Turgenev, Ivan Sergeevich, a famous writer, was born on December 28, 1818 in Orel, into a wealthy landowner family that belonged to an ancient noble family. [Cm. See also the article Turgenev, life and work.] Turgenev's father, Sergei Nikolaevich, married Varvara Petrovna Lutovinova, who had neither youth nor beauty, but inherited huge property - solely by calculation. Soon after the birth of his second son, the future novelist, S. N. Turgenev, with the rank of colonel, left the military service, in which he had until then been, and moved with his family to his wife's estate, Spasskoye-Lutovinovo, near the city of Mtsensk, Oryol province . Here the new landowner quickly unfolded the violent nature of an unbridled and depraved tyrant, who was a thunderstorm not only for the serfs, but also for members of his own family. Turgenev's mother, even before her marriage, experienced a lot of grief in the house of her stepfather, who pursued her with vile offers, and then in the house of her uncle, to whom she fled, was forced to silently endure the wild antics of her despot husband and, tormented by the pangs of jealousy, did not dare to loudly reproach him in unworthy behavior that offended in her the feelings of a woman and wife. Hidden resentment and irritation accumulated over the years embittered and hardened her; this was fully revealed when, after the death of her husband (1834), having become a sovereign mistress in her possessions, she gave vent to her evil instincts of unrestrained landlord tyranny.

Ivan Sergeevich Turgenev. Portrait by Repin

In this suffocating atmosphere, saturated with all the miasma of serfdom, the first years of Turgenev's childhood passed. According to the custom prevailing in the life of the landowners of that time, the future famous novelist was brought up under the guidance of tutors and teachers - Swiss, Germans and serf uncles and nannies. The focus was on French and German and, assimilated by Turgenev in childhood; the native language was in the pen. According to the testimony of the author of The Hunter's Notes, the first who interested him in Russian literature was his mother's serf valet, secretly, but with extraordinary solemnity, reading to him somewhere in the garden or in a remote room Kheraskov's Rossiad.

In early 1827, the Turgenevs moved to Moscow to raise their children. Turgenev was placed in the private pension of Weidenhammer, then was soon transferred from there to the director of the Lazarev Institute, with whom he lived as a boarder. In 1833, having only 15 years of age, Turgenev entered Moscow University in the Faculty of Languages, but a year later, with the family moving to St. Petersburg, he moved to St. Petersburg University. Having completed the course in 1836 with the title of a full student and having passed the exam for the degree of a candidate the following year, Turgenev, with the low level of Russian university science at that time, could not but be aware of the complete insufficiency of the university education he had received and therefore went to complete his studies abroad. To this end, in 1838 he went to Berlin, where for two years he studied ancient languages, history and philosophy, mainly the Hegelian system under the guidance of Professor Werder. In Berlin, Turgenev became close friends with Stankevich, Granovsky, Frolov, Bakunin, who together with him listened to the lectures of Berlin professors.

However, not only scientific interests prompted him to go abroad. Possessing by nature a sensitive and receptive soul, which he saved among the groans of the unanswered "subjects" of the landowners-masters, among the "beatings and tortures" of the serf situation, which inspired him from the very first days of his conscious life with invincible horror and deep disgust, Turgenev felt a strong need for at least temporarily flee from their native Palestine. As he himself wrote later in his memoirs, he had to “either submit and humbly wander along the common rut, along the beaten path, or turn away at once, recoil from himself“ everyone and everything ”, even risking losing much that was dear and close to my heart. I did just that ... I threw myself headlong into the "German sea", which was supposed to cleanse and revive me, and when I finally emerged from its waves, I nevertheless found myself a "Westerner" and remained so forever.

The beginning of Turgenev's literary activity dates back to the time preceding his first trip abroad. While still a 3rd year student, he gave Pletnev one of the first fruits of his inexperienced muse, a fantastic drama in verse, "Stenio", - this is completely ridiculous, according to the author himself, a work in which, with childish ineptness, a slavish imitation of Byron's was expressed " Manfred." Although Pletnev scolded the young author, he nevertheless noticed that there was “something” in him. These words prompted Turgenev to take him a few more poems, of which two were published a year later in " Contemporary". Upon returning in 1841 from abroad, Turgenev went to Moscow with the intention of taking the exam for a master of philosophy; this turned out to be impossible, however, due to the abolition of the department of philosophy at Moscow University. In Moscow, he met the luminaries of the emerging Slavophilism at that time - Aksakov, Kireevsky, Khomyakov; but the convinced "Westernizer" Turgenev reacted negatively to the new current of Russian social thought. On the contrary, with Belinsky, Herzen, Granovsky, and others hostile to the Slavophiles, he became very close.

In 1842, Turgenev left for St. Petersburg, where, as a result of a quarrel with his mother, who severely limited his means, he was forced to follow the "common track" and enter the office of the Minister of the Interior Perovsky. "Listed" in this service for a little over two years, Turgenev was not so much engaged in official affairs as reading French novels and writing poetry. Around the same time, starting from 1841, in " Domestic Notes" His small poems began to appear, and in 1843 the poem "Parasha" signed by T. L. was published, very sympathetically received by Belinsky, with whom he soon met and remained in close friendly relations until the end of his days. The young writer made a very strong impression on Belinsky. “This is a man,” he wrote to his friends, “unusually intelligent; conversations and disputes with him took away my soul. Turgenev later recalled these disputes with love. Belinsky had a considerable influence on the further direction of his literary activity. (See Turgenev's early work.)

Soon, Turgenev became close to the circle of writers who were grouped around Otechestvennye Zapiski and attracted him to participate in this journal, and took an outstanding place among them as a person with a broad philosophical education, familiar with Western European science and literature from primary sources. After Parasha, Turgenev wrote two more poems in verse: Conversation (1845) and Andrei (1845). His first prose work was the one-act dramatic essay "Carelessness" ("Notes of the Fatherland", 1843), followed by the story "Andrey Kolosov" (1844), the humorous poem "The Landowner" and the stories "Three Portraits" and "Breter" (1846) . These first literary experiments did not satisfy Turgenev, and he was already ready to quit. literary activity, when Panaev, embarking on the publication of Sovremennik together with Nekrasov, turned to him with a request to send something for the first book of the updated magazine. Turgenev sent a short story “Khor and Kalinich”, which was placed by Panaev in the modest section of the “mixture” under the heading “From the notes of a hunter” invented by him, which created unfading glory for our famous writer.

This story, which immediately aroused everyone's attention, begins a new period of Turgenev's literary activity. He completely abandons the writing of poetry and turns exclusively to the story and the story, primarily from the life of the serf peasantry, imbued with a humane feeling and compassion for the enslaved masses of the people. The Hunter's Notes soon became a big name; their rapid success forced the author to abandon his previous decision to part with literature, but could not reconcile him with the difficult conditions of Russian life. An increasingly aggravated sense of dissatisfaction with them finally led him to the decision to finally settle abroad (1847). “I saw no other way before me,” he later wrote, recalling the internal crisis that he was going through at that time. “I could not breathe the same air, stay close to what I hated; for this, I probably lacked reliable endurance, firmness of character. I needed to move away from my enemy in order to attack him more strongly from my distance. In my eyes, this enemy had a certain image, bore a well-known name: this enemy was - serfdom. Under this name, I collected and concentrated everything against which I decided to fight to the end - with which I swore never to reconcile ... This was my Annibal oath ... I went to the West in order to better fulfill it. Personal motives joined this main motive - hostile relations with his mother, who was dissatisfied with the fact that her son chose a literary career, and Ivan Sergeevich's attachment to the famous singer Viardo-Garcia and her family, with whom he lived almost inseparably for 38 years, a bachelor all his life.

Ivan Turgenev and Pauline Viardot. More than love

In 1850, in the year of his mother's death, Turgenev returned to Russia to organize his affairs. All the yard peasants of the family estate, which he inherited with his brother, he set free; He transferred those who wished to rent and in every possible way contributed to the success of the general liberation. In 1861, at the time of redemption, he conceded a fifth of everything, and in the main estate he did not take anything for the estate land, which was quite a large sum. In 1852, Turgenev issued a separate edition of the Hunter's Notes, which finally strengthened his fame. But in official spheres, where serfdom was considered an inviolable foundation of social order, the author of the Hunter's Notes, who, moreover, had lived abroad for a long time, was in very bad shape. An insignificant occasion was enough for the official disgrace against the author to take concrete form. This occasion was the letter of Turgenev, caused by the death of Gogol in 1852 and placed in the Moskovskie Vedomosti. For this letter, the author was imprisoned for a month on the “moving out”, where, among other things, he wrote the story “Mumu”, and then, by administrative procedure, was sent to live in his village of Spasskoye, “without the right to leave.” Turgenev was released from this exile only in 1854 through the efforts of the poet Count A. K. Tolstoy, who interceded for him before the heir to the throne. The forced stay in the village, according to Turgenev himself, gave him the opportunity to get acquainted with those sides peasant life that had previously eluded his attention. There he wrote the novels "Two Friends", "Calm", the beginning of the comedy "A Month in the Country" and two critical articles. Since 1855, he again connected with his foreign friends, with whom he was separated by exile. From that time on, the most famous fruits of his artistic creativity began to appear - Rudin (1856), Asya (1858), Noble Nest (1859), On the Eve and First Love (1860). [Cm. Turgenev's novels and heroes, Turgenev - lyrics in prose.]

Retiring again abroad, Turgenev listened attentively to everything that was happening in his homeland. At the first rays of the dawn of the renaissance that was taking over Russia, Turgenev felt in himself a new surge of energy, which he wanted to give a new application. He wanted to add to his mission as a sensitive contemporary artist the role of a publicist-citizen, at one of the most important moments in the socio-political development of his homeland. During this period of preparing reforms (1857 - 1858), Turgenev was in Rome, where many Russians then lived, including Prince. V. A. Cherkassky, V. N. Botkin, gr. Ya. I. Rostovtsev. These persons arranged meetings among themselves, at which the question of the emancipation of the peasants was discussed, and the result of these meetings was a project for the founding of a journal, the program of which was entrusted to develop Turgenev. In his explanatory note to the program, Turgenev proposed calling on all the living forces of society to assist the government in the ongoing liberation reform. The author of the note recognized Russian science and literature as such forces. The projected magazine was supposed to devote "exclusively and specifically to the development of all issues related to the actual device peasant life and the consequences that flow from them. This attempt, however, was recognized as "premature" and did not receive practical implementation.

In 1862, the novel "Fathers and Sons" appeared (see its full text, summary and analysis), which had an unprecedented literary world success, but also delivered many difficult minutes to the author. A whole hail of sharp reproaches rained down on him both from the conservatives, who convicted him (pointing to the image of Bazarov) in sympathy with the "nihilists", in "somersaulting in front of the youth", and from the latter, who accused Turgenev of slandering the younger generation and treason " the cause of freedom." By the way, "Fathers and Sons" led Turgenev to break with Herzen, who offended him with a sharp review of this novel. All these troubles had such a hard effect on Turgenev that he seriously considered abandoning further literary activity. The lyrical story "Enough", written by him shortly after the troubles experienced, serves literary monument the gloomy mood in which the author was seized at that time.

Fathers and Sons. Feature film based on the novel by I. S. Turgenev. 1958

But the artist's need for creativity was too great for him to dwell on his decision for a long time. In 1867, the novel Smoke appeared, which also brought accusations against the author of backwardness and misunderstanding of Russian life. Turgenev reacted much more calmly to the new attacks. "Smoke" was his last work, which appeared on the pages of "Russian Messenger". Since 1868, it has been published exclusively in the journal Vestnik Evropy, which was then born. At the beginning of the Franco-Prussian war, Turgenev moved from Baden-Baden to Paris with Viardot and lived in the house of his friends in the winter, and moved to his dacha in Bougival (near Paris) in the summer. In Paris, he became close friends with the most prominent representatives of French literature, was on friendly terms with Flaubert, Daudet, Ogier, Goncourt, patronized Zola and Maupassant. As before, he continued to write a story or story every year, and in 1877 Turgenev's largest novel, Nov, appeared. Like almost everything that came out of the novelist's pen, his new work - and this time, perhaps with more reason than ever - aroused a lot of the most diverse interpretations. The attacks resumed with such ferocity that Turgenev returned to his old idea of ending his literary activity. And, indeed, for 3 years he did not write anything. But during this time, events occurred that completely reconciled the writer with the public.

In 1879 Turgenev came to Russia. His arrival gave rise to a whole series of warm applause addressed to him, in which the youth took a particularly active part. They testified to how strong the sympathies of the Russian intelligentsia society were for the novelist. On his next visit in 1880, these ovations, but on an even grander scale, were repeated in Moscow during the "Pushkin days". Since 1881, alarming news about Turgenev's illness began to appear in the newspapers. The gout, from which he had long suffered, grew worse and at times caused him severe suffering; for almost two years, at short intervals, she kept the writer chained to a bed or an armchair, and on August 22, 1883, she put an end to his life. Two days after his death, Turgenev's body was transported from Bougival to Paris, and on September 19 it was sent to St. Petersburg. The transfer of the ashes of the famous novelist to the Volkovo cemetery was accompanied by a grandiose procession, unprecedented in the annals of Russian literature.

aliases: ..... vb; -e-; I.S.T.; I.T.; L.; Nedobobov, Jeremiah; T.; T…; T. L.; T……in; ***

Russian realist writer, poet, publicist, playwright, translator, one of the classics of Russian literature

Ivan Turgenev

short biography

An outstanding Russian writer, classic of world literature, poet, publicist, memoirist, critic, playwright, translator, corresponding member of the Imperial Academy of Sciences - was born on November 9 (October 28, O.S.) 1818 in the city of Orel. His father, Sergei Nikolaevich, was a retired officer, his mother, Varvara Petrovna, was a representative of a wealthy noble family. It was in her estate in the village of Spasskoe-Lutovinovo that Ivan Turgenev's childhood passed.

There he received an elementary education, and in order to continue it in a worthy manner, in 1827 the Turgenev family bought a house in Moscow and moved there. Then the parents went abroad, and Ivan was brought up in a boarding house - first by Weidenhammer, later - by Krause. In 1833, young Turgenev became a student at the Moscow State University, Faculty of Languages. After the elder brother entered the Guards Artillery, the Turgenevs moved to St. Petersburg, and to the local university, but Ivan was also transferred to the Faculty of Philosophy, graduating from it in 1837.

The debut in the literary field also belongs to the same period of his biography. Several lyrical poems written in 1834 and the dramatic poem "The Wall" became his first attempts at writing. P.A. Pletnev, a professor of literature and his teacher, noticed sprouts of undeniable talent. By 1837, the number of small poems written by Turgenev approached a hundred. In 1838, in the journal Sovremennik, edited after the death of Pushkin by P. A. Pletnev, Turgenev’s poems “Evening” and “To the Venus of Medicine” were published.

In order to become an even more educated person, the future writer in the spring of 1838 went to Germany, to Berlin, attended university lectures on Greek and Roman literature. Returning briefly to Russia in 1839, he left it again in 1840, living in Germany, Austria, and Italy. Turgenev returned to his estate in 1841, and the following year he applied to Moscow University to be allowed to take the exam for a master's degree in philosophy.

In 1843, Turgenev became an official in the ministerial office, but his ambitious impulses quickly cooled down, and interest in the service was quickly lost. The poem "Parasha" published in the same 1843 and its approval by V. Belinsky led Turgenev to the decision to devote all his strength to literature. The same year was also significant for Turgenev's biography as an acquaintance with Pauline Viardot, an outstanding French singer who came to St. Petersburg on tour. Seeing her at the opera house, the writer was introduced to her on November 1, 1843, but then she did not pay much attention to the still little known writer. After the end of the tour, Turgenev, despite the disapproval of his mother, went with the Viardot couple to Paris, since then for several years he accompanied them on foreign tours.

In 1846, Ivan Sergeevich takes an active part in updating the Sovremennik magazine, Nekrasov becomes his best friend. During the years 1850-1852. Turgenev's place of residence alternately becomes Russia and abroad. Cycle published in 1852 short stories, united under the title "Notes of a Hunter", was written mainly in Germany and made Turgenev a world-famous writer; in addition, the book largely influenced the further development of national literature. In the next decade, works that are the most significant in Turgenev's creative heritage were published: Rudin, Noble Nest, On the Eve, Fathers and Sons. The break with Sovremennik and Nekrasov belongs to the same period due to Dobrolyubov’s article “When will the real day come?” with impartial criticism of Turgenev and his novel "On the Eve". Delivering an ultimatum to Nekrasov as a publisher, Turgenev turned out to be the loser.

At the beginning of the 60s. Turgenev moved to live in Baden-Baden and became an active participant in Western European cultural life. He corresponds or maintains relationships with many celebrities, such as C. Dickenson, Thackeray, T. Gauthier, Anatole France, Maupassant, George Sand, Victor Hugo, turns into a propagandist of Russian literature abroad. On the other hand, thanks to him, Western authors become closer to his reading compatriots. In 1874 (by this time Turgenev had moved to Paris), together with Zola, Daudet, Flaubert, Edmond Goncourt, he organized the famous "bachelor dinners of five" in the capital's restaurants. For some period, Ivan Sergeevich turns into the most famous, popular and readable Russian writer on the European continent. The International Literary Congress, held in Paris in 1878, elects him vice-president, since 1877 Turgenev has been an honorary doctor of Oxford University.

Living outside of Russia did not mean that Turgenev moved away from her life and problems. Written in 1867, the novel "Smoke" caused a huge response in the homeland, the novel was subjected to fierce criticism from parties that held opposite positions. In 1877, the largest novel in terms of volume, Nov, was published, summing up the writer's reflections of the 70s.

In 1882, in the spring, a serious illness, which became fatal for Turgenev, manifested itself for the first time. When physical suffering subsided, Turgenev continued to compose; literally a few months before his death, the first part of his Poems in Prose was published. Myxosarcoma claimed the life of the great writer on September 3 (August 22, O.S.), 1883. Relatives fulfilled the will of Turgenev, who died near Paris in the town of Bougival, and transported his body to St. Petersburg, to the Volkovo cemetery. On his last journey, the classic was seen off by a considerable number of admirers of his talent.

Biography from Wikipedia

Ivan Sergeevich Turgenev(November 9, 1818, Orel, Russian Empire - September 3, 1883, Bougival, France) - Russian realist writer, poet, publicist, playwright, translator. One of the classics of Russian literature, who made the most significant contribution to its development in the second half of the 19th century. Corresponding member of the Imperial Academy of Sciences in the category of Russian language and literature (1860), honorary doctor of Oxford University (1879), honorary member of Moscow University (1880).

The artistic system he created influenced the poetics of not only Russian, but also Western European novels in 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 man, 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 dramaturgy in the West.

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

Origin and early years

The family of Ivan Sergeevich Turgenev came from an ancient family of Tula nobles, the Turgenevs. In her memorial book, the mother of the future writer wrote: “ On October 28, 1818, on Monday, the son Ivan, 12 inches tall, was born in Orel, in his house, at 12 o'clock in the morning. Baptized on the 4th of November, Feodor Semenovich Uvarov with his sister Fedosya Nikolaevna Teplovoy».

Ivan's father Sergei Nikolaevich Turgenev (1793-1834) served at that time in the cavalry regiment. The careless lifestyle of the handsome cavalry guard upset his finances, and in order to improve his position, he entered into a marriage of convenience in 1816 with the very wealthy Varvara Petrovna Lutovinova (1787-1850). In 1821, with the rank of colonel of the cuirassier regiment, my father retired. Ivan was the second son in the family. The mother of the future writer, Varvara Petrovna, came from a wealthy noble family. Her marriage to Sergei Nikolayevich was not happy. In 1830, the father leaves the family and dies in 1834, leaving three sons - Nikolai, Ivan and Sergei, who died early from epilepsy. Mother was a domineering and despotic woman. She herself lost her father early, suffered from the cruel attitude of her mother (whom the grandson later portrayed as an old woman in the essay "Death"), and from a violent, drinking stepfather, who often beat her. Due to constant beatings and humiliation, she later moved in with her uncle, after whose death she became the owner of a magnificent estate and 5,000 souls.

Varvara Petrovna was a difficult woman. Serfdom habits coexisted in her with erudition and education, she combined care for the upbringing of children with family despotism. Ivan was also subjected to maternal beatings, despite the fact that he was considered her beloved son. The boy was taught literacy by frequently changing French and German tutors. In the family of Varvara Petrovna, everyone spoke exclusively in French among themselves, even prayers in the house were pronounced in French. She traveled a lot and was an enlightened woman, she read a lot, but also mostly in French. But her native language and literature were not alien to her either: she herself had an excellent figurative Russian speech, and Sergei Nikolayevich demanded that the children write letters to him in Russian during their father's absences. The Turgenev family maintained ties with V. A. Zhukovsky and M. N. Zagoskin. Varvara Petrovna followed the latest in literature, was well aware of the work of N. M. Karamzin, V. A. Zhukovsky, A. S. Pushkin, M. Yu. Lermontov and N. V. Gogol, whom she willingly quoted in letters to her son.

Love for Russian literature was also instilled in young Turgenev by one of the serf valets (who later became Punin's prototype in the story "Punin and Baburin"). Until the age of nine, Ivan Turgenev lived in his mother's hereditary estate Spasskoe-Lutovinovo, 10 km from Mtsensk, Oryol province. In 1822, the Turgenev family made a trip to Europe, during which four-year-old Ivan almost died in Bern, falling off the railing of a moat with bears (Berengraben); his father saved him by catching him by the leg. In 1827, the Turgenevs, in order to educate their children, settled in Moscow, buying a house on Samotyok. The future writer studied first at the boarding house of Weidenhammer, then at the boarding house of the director of the Lazarev Institute, I. F. Krause.

Education. The beginning of literary activity

In 1833, at the age of 15, Turgenev entered the verbal department of Moscow University. At the same time, A. I. Herzen and V. G. Belinsky studied here. A year later, after Ivan's 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 historian of the Western school, became his friend.

Ivan Turgenev in his youth. Drawing by K. A. Gorbunov, 1838

At first, Turgenev wanted to become a poet. In 1834, as a third-year student, he wrote the dramatic poem "Steno" in iambic pentameter. The young author showed these tests of the pen to his teacher, professor of Russian literature P. A. Pletnev. During one of the lectures, Pletnev analyzed this poem quite strictly, without disclosing its authorship, but at the same time he also admitted that “there is something” in the writer. These words prompted the young poet to write a number of more poems, two of which Pletnev published in 1838 in the Sovremennik magazine, of which he was the editor. They were published under the signature "....v". The debut poems were "Evening" and "To Venus Mediciy".

Turgenev's first publication appeared in 1836 - in the "Journal of the Ministry of Public Education" he published a detailed review "On a Journey to Holy Places" by A. N. Muravyov. By 1837, he had already written about a hundred small poems and several poems (the unfinished "The Old Man's Tale", "Calm at Sea", "Phantasmagoria on a Moonlit Night", "Dream").

After graduation. Abroad.

In 1836 Turgenev graduated from the university with the degree of a real student. Dreaming of scientific activity, the following year he passed the final exam and received a Ph.D. In 1838 he went to Germany, where he settled in Berlin and took up his studies in earnest. At the University of Berlin he attended lectures on the history of Roman and Greek literature, and at home he studied the grammar of ancient Greek and Latin. Knowledge of ancient languages allowed him to freely read the ancient classics. During his studies, he became friends with the Russian writer and thinker N.V. Stankevich, who had a noticeable influence on him. Turgenev attended the lectures of the Hegelians, became interested in German idealism with its doctrine of world development, the "absolute spirit" and the lofty vocation of the philosopher and poet. In general, the whole way of Western European life made a strong impression on Turgenev. The young student came to the conclusion that only the assimilation of the basic principles of universal culture can lead Russia out of the darkness in which it is immersed. In this sense, he became a convinced "Westernizer".

In the 1830-1850s, an extensive circle of literary acquaintances of the writer was formed. Back in 1837 there were fleeting meetings with A. S. Pushkin. Then Turgenev met V. A. Zhukovsky, A. V. Nikitenko, A. V. Koltsov, a little later - with M. Yu. Lermontov. Turgenev had only a few meetings with Lermontov, which did not lead to a close acquaintance, but Lermontov's work had a certain influence on him. He tried to master the rhythm and stanza, style and syntactic features of Lermontov's poetry. Thus, the poem "The Old Landowner" (1841) in some places is close in form to Lermontov's "Testament", in "Ballad" (1841) one feels the influence of "The Song about the Merchant Kalashnikov". But the connection with Lermontov's work is most tangible in the poem "Confession" (1845), whose accusatory pathos brings him closer to Lermontov's poem "Duma".

Poems of Turgenev in a prominent place in a famous magazine, 1843, No. 9

In early 1842, he applied to Moscow University for admission to the examination for the degree of Master of Philosophy, but at that time there was no full-time professor of philosophy at the university, and his request was rejected. Not settled in Moscow, Turgenev satisfactorily passed the exam for a master's degree in Greek and Latin philology in Latin at St. Petersburg University and wrote a dissertation for the verbal department. But by this time, the craving for scientific activity had cooled down, and literary creativity began to attract more and more. Refusing to defend his dissertation, he served until 1844 in the rank of collegiate secretary in the Ministry of the Interior.

In 1843 Turgenev wrote the poem Parasha. Not really hoping for a positive response, he nevertheless took the copy to V. G. Belinsky. Belinsky highly appreciated Parasha, publishing his review in Fatherland Notes two months later. Since that time, their acquaintance began, which later grew into a strong friendship; Turgenev was even godfather to Belinsky's son, Vladimir. The poem was published in the spring of 1843 as a separate book under the initials "T. L." (Turgenev-Lutovinov). In the 1840s, in addition to Pletnev and Belinsky, Turgenev met with A. A. Fet.

In November 1843, Turgenev created the poem "On the Road (Foggy Morning)", set to music in different years by several composers, including A. F. Gedike and G. L. Catuar. The most famous, however, is the romance version, which was originally published under the title "Music of Abaza"; its belonging to V. V. Abaza, E. A. Abaza or Yu. F. Abaza has not been finally established. Upon publication, the poem was seen as a reflection of Turgenev's love for Pauline Viardot, whom he met during this time.

In 1844, the poem "Pop" was written, which the writer himself described rather as fun, devoid of any "deep and significant ideas." Nevertheless, the poem attracted public interest for its anti-clerical orientation. The poem was curtailed by Russian censorship, but it was printed in its entirety abroad.

The heyday of creativity

Since 1847, Ivan Turgenev participated in the reformed Sovremennik, where he became close to N. A. Nekrasov and P. V. Annenkov. His first feuilleton "Modern Notes" was published in the journal, and the first chapters of "Notes of a Hunter" began to be published. 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 this led Turgenev to the idea of writing a number of others of the same kind. According to Turgenev, "Notes of a Hunter" was the fulfillment of his Annibal oath to fight to the end with the enemy, whom he had hated since childhood. "This enemy had a certain image, bore a well-known name: this enemy was - serfdom." To carry out his intention, Turgenev decided to leave Russia. “I could not,” Turgenev wrote, “breathe the same air, stay close to what I hated. It was necessary for me to move away from my enemy in order to be given a stronger attack on him from my own.”

In 1847, Turgenev went abroad with Belinsky and in 1848 lived in Paris, where he witnessed revolutionary events. As an eyewitness to the killing of hostages, many attacks, the construction and fall of the barricades of the February French Revolution, he forever endured a deep disgust for revolutions in general. A little later, he became close to A.I. Herzen, fell in love with Ogaryov's wife N.A.

Dramaturgy

The end of the 1840s - the beginning of the 1850s became the time of Turgenev's most intensive activity in the field of dramaturgy and the time of reflection on questions of the history and theory of drama. In 1848 he wrote such plays as "Where it is thin, there it breaks" and "The Freeloader", in 1849 - "Breakfast at the Leader" and "The Bachelor", in 1850 - "A Month in the Country", in 1851 -m - "Provincial". Of these, "The Freeloader", "The Bachelor", "Provincial Woman" and "A Month in the Country" were successful due to excellent productions on stage. The success of The Bachelor was especially dear to him, which became possible largely thanks to the performing skills of A. E. Martynov, who played in four of his plays. Turgenev formulated his views on the position of the Russian theater and the tasks of dramaturgy as early as 1846. He believed that the crisis in the theatrical repertoire that was observed at that time could be overcome by the efforts of writers committed to Gogol's dramaturgy. Turgenev counted himself among the followers of Gogol the playwright.

To master the literary techniques of dramaturgy, the writer also worked on translations of Byron and Shakespeare. At the same time, he did not try to copy Shakespeare's dramatic techniques, he only interpreted his images, and all attempts by his contemporary playwrights to use Shakespeare's work as a role model, to borrow his theatrical techniques only caused Turgenev's irritation. In 1847 he wrote: “The shadow of Shakespeare hangs over all dramatic writers, they cannot get rid of memories; these unfortunates read too much and lived too little.

1850s

Burning of the "Hunter's Notes", caricature by L. N. Vaksel. 1852. Writer in a hunting suit, with shackles on his legs. Musin-Pushkin points to the jail, he has selected manuscripts and Turgenev's gun. Behind Turgenev is a fire with manuscripts. In the lower left corner - a cat clutching a nightingale in its paws

In 1850-1852 he lived either in Russia or abroad, he saw N.V. Gogol. After Gogol's death, Turgenev wrote an obituary, which the St. Petersburg censors did not let through. The reason for her dissatisfaction was that, as the chairman of the St. Petersburg Censorship Committee M. N. Musin-Pushkin put it, “it is criminal to speak so enthusiastically about such a writer.” Then Ivan Sergeevich sent the article to Moscow, V.P. Botkin, who published it in Moskovskie Vedomosti. The authorities saw a rebellion in the text, and the author was placed on the exit, where he spent a month. On May 18, Turgenev was sent to his native village, and only thanks to the efforts of Count A.K. Tolstoy, two years later, the writer again received the right to live in the capitals.

There is an opinion that the real reason for the exile was not an obituary to Gogol, but the excessive radicalism of Turgenev's views, manifested in sympathy for Belinsky, suspiciously frequent trips abroad, sympathetic stories about serfs, a laudatory review of an emigrant Herzen about Turgenev. In addition, it is necessary to take into account V.P. Botkin’s warning to Turgenev in a letter on March 10, so that he should be careful in his letters, referring to third-party transmitters of advice, to be more careful (the said letter from Turgenev is completely unknown, but its excerpt is from a copy in the case of the III Branch - contains a sharp review of M. N. Musin-Pushkin). The enthusiastic tone of the article about Gogol only overwhelmed the gendarmerie's patience, becoming an external reason for punishment, the meaning of which was thought out by the authorities in advance. Turgenev feared that his arrest and exile would interfere with the publication of the first edition of the Hunter's Notes, but his fears were not justified - in August 1852 the book was censored and published.

However, the censor V.V. Lvov, who let the “Notes of a Hunter” go to print, was, by personal order of Nicholas I, dismissed from service with deprivation of his pension (“Highest Forgiveness” followed on December 6, 1853). Russian censorship also imposed a ban on the re-edition of the Hunter's Notes, explaining this step by the fact that Turgenev, on the one hand, poeticized the serfs, and on the other hand, portrayed “that these peasants are oppressed, that the landowners behave indecently and illegal ... finally, that it is more free for a peasant to live in freedom.

Employees of the Sovremennik magazine. Top row: L. N. Tolstoy, D. V. Grigorovich; bottom row: I. A. Goncharov, I. S. Turgenev, A. V. Druzhinin, A. N. Ostrovsky. Photo by S. L. Levitsky, February 15, 1856

In 1852, while still in exile in Spasskoye-Lutovinovo, he wrote the textbook story "Mumu". Most of the "Notes of a Hunter" was created by the writer in Germany. "Notes of a Hunter" in 1854 was published in Paris as a separate publication, although at the beginning of the Crimean War this publication was in the nature of anti-Russian propaganda, and Turgenev was forced to publicly protest against the poor quality French translation by Ernest Charrière. After the death of Nicholas I, four of the most significant works of the writer were published one after another: Rudin (1856), The Noble Nest (1859), On the Eve (1860) and Fathers and Sons (1862). The first two were published in Nekrasov's Sovremennik, the other two in Russkiy Vestnik by M. N. Katkov.

Employees of Sovremennik I. S. Turgenev, N. A. Nekrasov, I. I. Panaev, M. N. Longinov, V. P. Gaevsky, D. V. Grigorovich sometimes gathered in a circle of "warlocks" organized by A. V. Druzhinin. The humorous improvisations of the “warlocks” sometimes went beyond the scope of censorship, so they had to be published abroad. Later, Turgenev took part in the activities of the Society for Assistance to Needy Writers and Scientists (Literary Fund), founded on the initiative of the same A. V. Druzhinin. From the end of 1856, the writer collaborated with the journal Library for Reading, published under the editorship of A. V. Druzhinin. But his editing did not bring the expected success to the publication, and Turgenev, who hoped for a close magazine success in 1856, in 1861 called the "Library", edited by that time by A.F. Pisemsky, "a dead hole."

In the autumn of 1855, Leo Tolstoy was added to Turgenev's circle of friends. In September of the same year, Tolstoy's story "The Cutting of the Forest" was published in Sovremennik with a dedication to I. S. Turgenev.

1860s

Turgenev took an ardent part in the discussion of the upcoming Peasant Reform, participated in the development of various collective letters, draft addresses addressed to Tsar Alexander II, protests, and so on. From the first months of publication of Herzen's "The Bell" Turgenev was his active collaborator. He himself did not write in The Bell, but he helped in collecting materials and preparing them for publication. An equally important role of Turgenev was to mediate between A. I. Herzen and those correspondents from Russia who, for various reasons, did not want to be in direct relations with the disgraced London emigrant. In addition, Turgenev sent detailed review letters to Herzen, information from which, without the author's signature, was also published in Kolokol. At the same time, Turgenev always spoke out against the harsh tone of Herzen’s materials and excessive criticism of government decisions: “Please don’t scold Alexander Nikolayevich, otherwise all the reactionaries in St. - so he, perhaps, will lose his spirit.

In 1860, Sovremennik published an article by N. A. Dobrolyubov “When will the real day come?” In which the critic spoke very flatteringly about the new novel “On the Eve” and Turgenev’s work in general. Nevertheless, Turgenev was not satisfied with the far-reaching conclusions of Dobrolyubov, made by him after reading the novel. Dobrolyubov connected the idea of Turgenev's work with the events of the approaching revolutionary transformation of Russia, with which the liberal Turgenev could not come to terms. Dobrolyubov wrote: “Then the full, sharply and vividly outlined image of the Russian Insarov will appear in literature. And we do not have to wait long for him: that feverish, tormenting impatience with which we await his appearance in life guarantees this.<…>He will come, finally, this day! And, in any case, the eve is not far from the day following it: just some kind of night separates them! ... ”The writer delivered an ultimatum to N. A. 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 for the image of Bazarov in the novel Fathers and Sons.

Turgenev gravitated toward the circle of Western writers who professed the principles of "pure art", opposed to the tendentious creativity of raznochintsev revolutionaries: P. V. Annenkov, V. P. Botkin, D. V. Grigorovich, A. V. Druzhinin. For a short time, Leo Tolstoy also joined this circle. For some time Tolstoy lived in Turgenev's apartment. After Tolstoy's marriage to S. A. Bers, Turgenev found a close relative in Tolstoy, but even before the wedding, in May 1861, when both prose writers were visiting A. A. Fet at the Stepanovo estate, a serious quarrel occurred between them, almost ended in a duel and ruined relations between writers for a long 17 years. For some time, the writer had a difficult relationship with Fet himself, as well as with some other contemporaries - F. M. Dostoevsky, I. A. Goncharov.

In 1862 began to get complicated a good relationship with former friends of Turgenev's youth - A. I. Herzen and M. A. Bakunin. From July 1, 1862 to February 15, 1863, Herzen's "The 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 process of the 32nd in the case of "persons accused of having relations with London propagandists." After the authorities ordered him to immediately appear in the Senate, Turgenev decided to write a letter to the sovereign, trying to convince him of the loyalty of his convictions, "quite independent, but conscientious." He asked interrogation points to be sent to him in Paris. In the end, he was forced to leave for Russia in 1864 for a Senate interrogation, where he managed to avert all suspicions from himself. The Senate found him not guilty. Turgenev's appeal to Emperor Alexander II personally caused Herzen's bilious reaction in Kolokol. Much later, this moment in the relationship between the two writers was used by V.I. Lenin to illustrate the difference between the liberal hesitations of Turgenev and Herzen: “When the liberal Turgenev wrote a private letter to Alexander II with assurance of his loyal feelings and donated two gold pieces to the soldiers wounded during the pacification of the Polish uprising , “The Bell” wrote about “the gray-haired Magdalene (male), who wrote to the sovereign that she did not know sleep, tormented that the sovereign did not know about the repentance that had befallen her.” And Turgenev immediately recognized himself. But Turgenev's vacillation between tsarism and revolutionary democracy manifested itself in another way.

I. S. Turgenev at the dacha of the Milyutin brothers in Baden-Baden, 1867

In 1863 Turgenev settled in Baden-Baden. The writer actively participated in the cultural life of Western Europe, establishing acquaintances with the leading writers of Germany, France and England, promoting Russian literature abroad and acquainting Russian readers with the best works of contemporary Western authors. Among his acquaintances or correspondents were Friedrich Bodenstedt, William Thackeray, Charles Dickens, Henry James, Georges Sand, Victor Hugo, Charles Saint-Beuve, Hippolyte Taine, Prosper Mérimée, Ernest Renan, Théophile Gautier, Edmond Goncourt, Emile Zola, Anatole France , Guy de Maupassant, Alphonse Daudet, Gustave Flaubert.

Despite living abroad, all Turgenev's thoughts were still connected with Russia. He wrote the novel "Smoke" (1867), which caused a lot of controversy in Russian society. According to the author, everyone scolded the novel: "both red and white, and from above, and from below, and from the side - especially from the side."

In 1868, Turgenev became a permanent contributor to the liberal journal Vestnik Evropy and severed ties with M. N. Katkov. The gap did not go easily - the writer was persecuted in the Russky Vestnik and Moskovskie Vedomosti. The attacks were especially hardened at the end of the 1870s, when, regarding the applause that fell to the lot of Turgenev, the Katkov newspaper assured that the writer was “tumbling” in front of progressive youth.

1870s

Feast of the classics. A. Daudet, G. Flaubert, E. Zola, I. S. Turgenev

Since 1874, the famous bachelor's "dinners of five" - Flaubert, Edmond Goncourt, Daudet, Zola and Turgenev - were held in the Parisian restaurants of Rich or Pellet. The idea belonged to Flaubert, but Turgenev played the main role in them. Lunches were held once a month. They raised various topics - about the features of literature, about the structure of the French language, told stories and simply enjoyed delicious food. Lunches were held not only at the Parisian restaurateurs, but also at the writers' houses.

I. S. Turgenev, 1871

I. S. Turgenev acted as a consultant and editor of foreign translators of Russian writers, wrote prefaces and notes to translations of Russian writers into European languages, as well as to Russian translations of works by famous European writers. He translated Western writers into Russian and Russian writers and poets into French and German. This is how translations of Flaubert's works Herodias and The Tale of St. Julian the Merciful" for Russian readers and Pushkin's works for French readers. For a time, Turgenev became the most famous and most widely read Russian author in Europe, where critics ranked him among the first writers of the century. In 1878, at the international literary congress in Paris, the writer was elected vice-president. On June 18, 1879, he was awarded an honorary doctorate from Oxford University, despite the fact that the university had not given such an honor to any novelist before him.

The fruit of the writer's reflections in the 1870s was the largest of his novels, Nov (1877), which was also criticized. So, for example, M.E. Saltykov-Shchedrin regarded this novel as a service to the autocracy.

Turgenev was friends with the Minister of Education A. V. Golovnin, with the Milyutin brothers (comrade of the Minister of Internal Affairs and Minister of War), N. I. Turgenev, and was closely acquainted with the Minister of Finance M. Kh. Reitern. In the late 1870s, Turgenev became closer to the leaders of the revolutionary emigration from Russia, his circle of acquaintances included P. L. Lavrov, P. A. Kropotkin, G. A. Lopatin and many others. Among other revolutionaries, he placed German Lopatin above all, bowing before his mind, courage and moral strength.

However, Dostoevsky in the novel "Demons" portrayed Turgenev in the form of "the great writer Karmazinov" - a noisy, petty, scribbled and practically mediocre writer who considers himself a genius and sits out abroad. A similar attitude towards Turgenev by the ever-needy Dostoevsky was caused, among other things, by Turgenev’s secure position in his noble life and by the highest literary fees at that time: “To Turgenev for his“ Noble Nest ”(I finally read it. Extremely well) I ask for 100 rubles per sheet) gave 4,000 rubles, that is, 400 rubles per sheet. My friend! I know very well that I write worse than Turgenev, but not too worse, and finally, I hope to write not worse at all. Why am I, with my needs, taking only 100 rubles, and Turgenev, who has 2,000 souls, 400 each?

Turgenev, not hiding his dislike for Dostoevsky, in a letter to M. E. Saltykov-Shchedrin in 1882 (after Dostoevsky's death) also did not spare his opponent, calling him "the Russian Marquis de Sade."

In 1880, the writer took part in the Pushkin celebrations dedicated to the opening of the first monument to the poet in Moscow, arranged by the Society of Lovers of Russian Literature.

Last years

Photo by I. S. Turgenev

Poems in prose. "Bulletin of Europe", 1882, December. From the editorial introduction it is clear that this is a magazine title, not the author's.

The last years of Turgenev's life became for him the pinnacle of fame both in Russia, where the writer again became a universal favorite, and in Europe, where the best critics of that time (I. Ten, E. Renan, G. Brandes, etc.) ranked him among the first writers of the century. His visits to Russia in 1878-1881 were real triumphs. All the more disturbing in 1882 were the reports of a severe exacerbation of his usual gouty pains. In the spring of 1882, the first signs of the disease appeared, which soon turned out to be fatal for Turgenev. With temporary relief of pain, he continued to work and a few months before his death he published the first part of "Poems in Prose" - a cycle of lyrical miniatures, which became his kind of farewell to life, homeland and art. The book was opened by the poem in prose "Village", and completed by "Russian language" - a lyrical hymn in which the author put his faith in the great destiny of his country:

In days of doubt, in days of painful reflections on the fate of my homeland, you are my only support and support, O great, powerful, truthful and free Russian language! But one cannot believe that such a language was not given to a great people!

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

Death and funeral

The confrontation between an unimaginably painful illness and an unimaginably strong organism"(P. V. Annenkov) ended on August 22 (September 3), 1883 in Bougival near Paris. Ivan Sergeevich Turgenev died of myxosarcoma (a malignant tumor of the bones of the spine), at the age of 65. 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).

Turgenev's death was a great shock to his admirers, expressed in a very impressive funeral. The funeral was preceded by mourning celebrations in Paris, in which over four hundred people took part. Among them were at least a hundred Frenchmen: Edmond Abu, Jules Simon, Emile Ogier, Emile Zola, Alphonse Daudet, Juliette Adam, artist Alfred Diedone (Russian) French, composer Jules Massenet. Ernest Renan addressed the mourners with a heartfelt speech. In accordance with the will of the deceased, on September 27, his body was brought to St. Petersburg.

The reception of the coffin in St. Petersburg and its passage to the Volkovo cemetery presented unusual spectacles in their beauty, majestic character and complete, voluntary and unanimous observance of order. A continuous chain of 176 deputations from literature, from newspapers and magazines, scientists, educational and educational institutions, from zemstvos, Siberians, Poles and Bulgarians occupied a space of several miles, attracting the sympathetic and often touched attention of a huge public that dammed up the sidewalks - carried deputations graceful, magnificent wreaths and banners with meaningful inscriptions. So, there was a wreath “To the Author of Mumu” from the Society for the Protection of Animals ... a wreath with the inscription “Love is stronger than death” from pedagogical women's courses ...
- A. F. Koni, "Turgenev's Funeral", Collected Works in eight volumes. T. 6. M., Legal Literature, 1968. Pp. 385-386.

There were no misunderstandings either. The day after the funeral of Turgenev's body in the Alexander Nevsky Cathedral on the Rue Daru in Paris, on September 19, the well-known populist emigrant P. L. Lavrov in the Parisian newspaper Justice (Russian) French, edited by the future socialist Prime Minister Georges Clemenceau, published a letter in which he reported that I. S. Turgenev, on his own initiative, transferred 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, took advantage of Lavrov’s message for the posthumous persecution of Turgenev in Russkiy Vestnik and Moskovskie Vedomosti in order to prevent the deceased writer from being honored in Russia, whose body “without any publicity, with special care” should was to arrive in the capital from Paris for burial. The following of the ashes of Turgenev was very worried about the Minister of the Interior D. A. Tolstoy, who was afraid of spontaneous rallies. According to the editor of Vestnik Evropy, M. M. Stasyulevich, who accompanied the body of Turgenev, the precautions taken by the officials were as inappropriate as if he had accompanied the Nightingale the Robber, and not the body of the great writer.

Personal life

The first romantic passion of young Turgenev was falling in love with the daughter of Princess Shakhovskaya - Catherine (1815-1836), a young poetess. The estates of their parents in the suburbs bordered, they often exchanged visits. He was 15, she was 19. In letters to her son, Varvara Turgeneva called Ekaterina Shakhovskaya a “poet” and a “villain”, since Sergei Nikolayevich himself, the father of Ivan Turgenev, could not resist the spell of the young princess, to whom the girl reciprocated, which broke the heart of the future writer . The episode much later, in 1860, was reflected in the story "First Love", in which the writer endowed some features of Katya Shakhovskaya with the heroine of the story, Zinaida Zasekina.

In 1841, during his return to Lutovinovo, Ivan became interested in the seamstress Dunyasha (Avdotya Ermolaevna Ivanova). An affair began between the young, which ended in the girl's pregnancy. Ivan Sergeevich immediately expressed a desire to marry her. However, his mother made a serious scandal about this, after which he went to St. Petersburg. Turgenev's mother, having learned about Avdotya's pregnancy, hastily sent her to Moscow to her parents, where Pelageya was born on April 26, 1842. Dunyasha was given in marriage, the daughter was left in an ambiguous position. Turgenev officially recognized the child only in 1857.

Tatyana Bakunina. Portrait by Evdokia Bakunina, mid-19th century

Soon after the episode with Avdotya Ivanova, Turgenev met Tatyana Bakunina (1815-1871), the sister of the future revolutionary emigrant M. A. Bakunin. Returning to Moscow after his stay in Spasskoye, he stopped by the Bakunin estate Premukhino. The winter of 1841-1842 passed in close contact with the circle of Bakunin brothers and sisters. All of Turgenev's friends - N.V. Stankevich, V.G. Belinsky and V.P. Botkin - were in love with Mikhail Bakunin's sisters, Lyubov, Varvara and Alexandra.

Among other fleeting hobbies of the writer, there were two more that played a certain role in his work. In the 1850s, a fleeting affair broke out with a distant cousin, eighteen-year-old Olga Alexandrovna Turgeneva. The love was mutual, and the writer was thinking about marriage in 1854, the prospect of which at the same time frightened him. Olga later served as a prototype for the image of Tatiana in the novel "Smoke". Also indecisive was Turgenev with Maria Nikolaevna Tolstaya. Ivan Sergeevich wrote about Leo Tolstoy's sister P. V. Annenkov: “His sister is one of the most attractive creatures that I have ever been able to meet. Sweet, smart, simple - I would not take my eyes off. In my old age (I turned 36 on the fourth day) - I almost fell in love. For the sake of Turgenev, twenty-four-year-old M. N. Tolstaya had already left her husband, she took the writer's attention to herself for true love. But Turgenev limited himself to a Platonic hobby, and Maria Nikolaevna served him as a prototype of Verochka from the story Faust.

In the autumn of 1843, Turgenev first saw Pauline Viardot on the stage of the opera house, when the great singer came on tour to St. Petersburg. Turgenev was 25 years old, Viardot - 22 years old. Then, while hunting, he met Pauline's husband, the director of the Italian Theater in Paris, a well-known critic and art critic, Louis Viardot, and on November 1, 1843, he was introduced to Pauline herself. Among the mass of fans, she did not particularly single out Turgenev, known more as an avid hunter, and not a writer. And when her tour ended, Turgenev, together with the Viardot family, left for Paris against the will of his mother, still unknown to Europe and without money. And this despite the fact that everyone considered him a rich man. But this time, his extremely cramped financial situation was explained precisely by his disagreement with his mother, one of the richest women in Russia and the owner of a huge agricultural and industrial empire.

For attachment to damn gypsy» His mother didn't give him money for three years. During these years, his lifestyle did not much resemble 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 so vividly played that the writer himself was amazed. After this performance, he went to the actress backstage with a large bouquet of roses and exclaimed: “ Did I write this Verochka?!» Ivan Turgenev fell in love with her, which he openly admitted. The rarity of their meetings was made up for by regular correspondence, which lasted four years. Despite Turgenev's sincere relationship, for Maria he was rather a good friend. She was going to marry another, but the marriage never took place. The marriage of Savina with Turgenev was also not destined to come true - the writer died in the circle of the Viardot family.

"Turgenev girls"

Characters female characters his works of the 1850s - 1880s - the images of whole, pure, selfless, morally strong heroines in total formed a literary phenomenon " Turgenev girl"- a typical heroine of his works. Such are Liza in the story "The Diary of a Superfluous Man", Natalya Lasunskaya in the novel "Rudin", Asya in the story of the same name, Vera in the story "Faust", Elizaveta Kalitina in the novel "The Noble Nest", Elena Stakhova in the novel "On the Eve", Marianna Sinetskaya in novel "Nov" and others.

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

Offspring

Turgeneva Pelageya (Polina, Polinet) Ivanovna. Photo by E. Karzh, 1870s

Turgenev never got his own family. The writer's daughter from the seamstress Avdotya Ermolaevna Ivanova, Pelageya Ivanovna Turgeneva, in the marriage of Brewer (1842-1919), from the age of eight she was brought up in the family of Pauline Viardot in France, where Turgenev changed her name from Pelageya to Polina (Polinet, Paulinette), which seemed to him more harmonious. Ivan Sergeevich arrived in France only six years later, when his daughter was already fourteen. Polinet almost forgot Russian and spoke only French, which touched her father. At the same time, he was upset that the girl had a difficult relationship with Viardot herself. The girl was hostile towards her father's beloved, and soon this led to the fact that the girl was sent to a private boarding school. When Turgenev next came to France, he took his daughter from the boarding house, and they settled together, and for Polinet a governess from England, Innis, was invited.

At the age of seventeen, Polinet met the young businessman Gaston Brewer (1835-1885), who made a good impression on Ivan Turgenev, and he agreed to marry his daughter. As a dowry, the father gave a considerable amount for those times - 150 thousand francs. The girl married Brewer, who soon went bankrupt, after which Polinet, with the assistance of her father, hid from her husband in Switzerland. Since Turgenev's heiress was Pauline Viardot, his daughter found herself in a difficult financial situation after his death. She died in 1919 at the age of 76 from cancer. Polinet's children - Georges-Albert and Jeanne - had no descendants. Georges Albert died in 1924. Jeanne Brewer-Turgeneva never married; She lived by tutoring for a living, as she was fluent in five languages. She even dabbled in poetry, writing poetry in French. She died in 1952 at the age of 80, and with her the family branch of the Turgenevs along the line of Ivan Sergeevich broke off.

Passion for hunting

I. S. Turgenev was at one time one of the most famous hunters in Russia. The love of hunting was instilled in the future writer by his uncle Nikolai Turgenev, a recognized connoisseur of horses and hunting dogs in the district, who raised the boy during his summer holidays in Spassky. He also taught hunting to the future writer AI Kupfershmidt, whom Turgenev considered his first teacher. Thanks to him, Turgenev, already in his youth, could call himself a gun hunter. Even Ivan's mother, who previously looked at the hunters as idlers, was imbued with her son's passion. Over the years, the hobby has grown into a passion. It happened that for whole seasons he did not let go of his gun, went thousands of miles across many provinces of the central strip of Russia. Turgenev said that hunting is generally characteristic of a Russian person, and that Russian people have loved hunting since time immemorial.

In 1837, Turgenev met Afanasy Alifanov, a peasant hunter, who later became his frequent hunting companion. The writer bought it for a thousand rubles; he settled in the forest, five miles from Spassky. Athanasius was an excellent storyteller, and Turgenev often came to him to sit over a cup of tea and listen to hunting stories. The story "About Nightingales" (1854) was recorded by the writer from the words of Alifanov. It was Athanasius who became the prototype of Yermolai from the Hunter's Notes. He was also known for his talent as a hunter among the writer's friends - A. A. Fet, I. P. Borisov. When Athanasius died in 1872, Turgenev was very sorry for his old hunting companion and asked his manager to provide possible assistance to his daughter Anna.

In 1839, the writer's mother, describing the tragic consequences of the fire that occurred in Spasskoye, does not forget to say: your gun is intact, and the dog is crazy". The resulting fire hastened the arrival of Ivan Turgenev in Spasskoye. In the summer of 1839, he first went hunting in the Teleginsky swamps (on the border of Bolkhovsky and Oryol counties), visited the Lebedyanskaya fair, which was reflected in the story "Lebedyan" (1847). Varvara Petrovna purchased five packs of greyhounds, nine bowhounds and horses with saddles especially for him.

In the summer of 1843, Ivan Sergeevich lived in a dacha in Pavlovsk and also hunted a lot. This year he met Pauline Viardot. The writer was introduced to her with the words: This is a young Russian landowner. Glorious hunter and bad poet". The husband of the actress Louis was, like Turgenev, a passionate hunter. Ivan Sergeevich invited him more than once to hunt in the vicinity of St. Petersburg. They repeatedly went hunting with friends to the Novgorod province and to Finland. And Pauline Viardot gave Turgenev a beautiful and expensive game bag.

« I. S. Turgenev on the hunt", (1879). N. D. Dmitriev-Orenburgsky

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

In August 1854, Turgenev, together with N. A. Nekrasov, went hunting to the estate of the titular adviser I. I. Maslov Osmino, after which both continued to hunt in Spassky. In the mid-1850s, Turgenev met the Tolstoy family. The elder brother of Leo Tolstoy, Nikolai, also turned out to be an avid hunter and, together with Turgenev, made several hunting trips around Spassky and Nikolsko-Vyazemsky. Sometimes they were accompanied by the husband of M. N. Tolstoy - Valerian Petrovich; some traits of his character were reflected in the image of Priimkov in the story "Faust" (1855). In the summer of 1855, Turgenev did not hunt because of the cholera epidemic, but in subsequent seasons he tried to make up for lost time. Together with N. N. Tolstoy, the writer visited Pirogovo, the estate of S. N. Tolstoy, who preferred to hunt with greyhounds and had excellent horses and dogs. Turgenev, on the other hand, preferred to hunt with a gun and a setter dog, and mainly for game birds.

Turgenev kept a kennel of seventy hounds and sixty greyhounds. Together with N. N. Tolstoy, A. A. Fet and A. T. Alifanov, he made a number of hunting expeditions in the central Russian provinces. In the years 1860-1870, Turgenev mainly lived abroad. He also tried to recreate the rituals and atmosphere of Russian hunting abroad, but from all this only a distant resemblance was obtained even when he, together with Louis Viardot, managed to rent quite decent hunting grounds. In the spring of 1880, having visited Spasskoye, Turgenev made a special trip to Yasnaya Polyana in order to persuade Leo Tolstoy to take part in the Pushkin celebrations. Tolstoy declined the invitation because he considered formal dinners and liberal toasts in front of the starving Russian peasantry inappropriate. Nevertheless, Turgenev fulfilled his old dream - he hunted with Leo Tolstoy. A whole hunting circle even formed around Turgenev - N. A. Nekrasov, A. A. Fet, A. N. Ostrovsky, N. N. and L. N. Tolsty, artist P. P. Sokolov (illustrator of the "Notes of a Hunter") . In addition, he happened to hunt with the German writer Karl Muller, as well as with representatives of the royal houses of Russia and Germany - Grand Duke Nikolai Nikolaevich and Prince of Hesse.

Ivan Turgenev went with a gun over his shoulders Oryol, Tula, Tambov, Kursk, Kaluga provinces. He was well acquainted with the best hunting grounds in England, France and Germany. He wrote three specialized works dedicated to hunting: “On the notes of the rifle hunter of the Orenburg province S. T. Aksakov”, “Notes of the gun hunter of the Orenburg province” and “Fifty shortcomings of a gun hunter or fifty shortcomings of a cop dog”.

Towards the end of his life, decrepit Ivan Turgenev repented on his deathbed for killing woodcocks, black grouse, great snipes, ducks, partridges and other wild birds while hunting.

Character traits and writer's life

Address to Turgenev from the editors of Sovremennik, watercolor by D. V. Grigorovich, 1857

Biographers of Turgenev noted the unique features of his writing life. From his youth, he combined intelligence, education, artistic talent with passivity, a penchant for introspection, and indecision. All together, in a bizarre way, combined with the habits of a barchonka, who for a long time was dependent on an imperious, despotic mother. Turgenev recalled that at the University of Berlin, while studying Hegel, he could drop out of school when he needed to train his dog or set it on rats. T. N. Granovsky, who came to his apartment, found the student-philosopher playing with a serf servant (Porfiry Kudryashov) in card soldiers. Childishness smoothed over the years, but the internal split and immaturity of views made themselves felt for a long time: according to A. Ya. Panaeva, young Ivan wanted to be accepted both in a literary society and in secular living rooms, while in secular society Turgenev was ashamed to about his literary earnings, which spoke of his false and frivolous attitude to literature and to the title of a writer at that time.

The cowardice of the writer in his youth is evidenced by an episode in 1838 in Germany, when a fire broke out during a trip on a ship, and the passengers miraculously managed to escape. Fearing for his life, Turgenev asked one of the sailors to save him and promised him a reward from his rich mother if he could fulfill his request. Other passengers testified that the young man exclaimed plaintively: Die so young!”, while pushing women and children near the lifeboats. Fortunately, the beach was not far. Once on the shore, the young man was ashamed of his cowardice. Rumors of his cowardice infiltrated society and became the subject of ridicule. The event played a certain negative role in the subsequent life of the author and was described by Turgenev himself in the short story "Fire at Sea".

Researchers note another trait of Turgenev's character, which brought him and those around him a lot of trouble - his optionality, "all-Russian negligence" or "Oblomovism", as E. A. Solovyov writes. Ivan Sergeevich could invite guests to his place and soon forget about it, having gone somewhere on his own business; he could promise a story to N. A. Nekrasov for the next issue of Sovremennik, or even take an advance payment from A. A. Kraevsky and not deliver the promised manuscript on time. Ivan Sergeevich himself subsequently warned the younger generation against such annoying trifles. The Polish-Russian revolutionary Artur Benny once became a victim of this optionality, and was slanderously accused in Russia of being an agent of Section III. This accusation could only be dispelled by A. I. Herzen, to whom Benny wrote a letter and asked to send it with an opportunity to I. S. Turgenev in London. Turgenev forgot about the letter, which had lain unsent with him for more than two months. During this time, rumors of Benny's betrayal reached catastrophic proportions. The letter, which reached Herzen very late, could not change anything in Benny's reputation.

The reverse side of these flaws was softness of soul, the breadth of nature, a certain generosity, gentleness, but his kindness had its limits. When, during his last visit to Spasskoye, he saw that the mother, who did not know how to please her beloved son, lined up all the serfs along the alley to greet the barchuk " loud and happy”, Ivan was angry with his mother, immediately turned around and left back to St. Petersburg. They did not see each other again until her death, and even lack of money could not shake his decision. Ludwig Peach singled out his modesty among Turgenev's character traits. Abroad, where his work was still poorly known, Turgenev never boasted to those around him that in Russia he was already considered a famous writer. Having become an independent owner of the maternal inheritance, Turgenev did not show any concern for his bread and crops. Unlike Leo Tolstoy, he had no mastery in him.

He calls himself " the most careless of Russian landowners". The writer did not delve into the management of his estate, entrusting it either to his uncle, or to the poet N. S. Tyutchev, or even to random people. Turgenev was very wealthy, he had at least 20 thousand rubles of income per year from the land, but at the same time he always needed money, spending it very imprudently. The habits of a wide Russian master made themselves felt. Turgenev's literary fees were also very significant. He was one of the highest paid writers in Russia. Each edition of the Hunter's Notes brought him 2,500 rubles of net income. The right to publish his works cost 20-25 thousand rubles.

The value and appreciation of creativity

Extra people in the image of Turgenev

"Nest of Nobles" on the stage of the Maly Theater, Lavretsky - A. I. Sumbatov-Yuzhin, Lisa - Elena Leshkovskaya (1895)

Despite the fact that the tradition of depicting “superfluous people” arose before Turgenev (Chatsky A. S. Griboedova, Evgeny Onegin A. S. Pushkin, Pechorin M. Yu. Lermontov, Beltov A. I. Herzen, Aduev Jr. in “ Ordinary history» I. A. Goncharova), Turgenev has priority in determining this type literary characters. The name "Extra Man" was fixed after the publication in 1850 of Turgenev's story "The Diary of an Extra Man". "Superfluous people" differed, as a rule, common features intellectual superiority over others and at the same time passivity, mental discord, skepticism in relation to the realities of the outside world, the discrepancy between word and deed. Turgenev created a whole gallery of similar images: Chulkaturin (“The Diary of a Superfluous Man”, 1850), Rudin (“Rudin”, 1856), Lavretsky (“The Noble Nest”, 1859), Nezhdanov (“Nov”, 1877). Turgenev's short stories "Asya", "Yakov Pasynkov", "Correspondence" and others are also devoted to the problem of the "superfluous person".

The protagonist of The Diary of a Superfluous Man is marked by the desire to analyze all his emotions, to record the slightest shades of the state of his own soul. Like Shakespeare's Hamlet, the hero notices the unnaturalness and tension of his thoughts, the lack of will: I analyzed myself to the last thread, compared myself with others, remembered the slightest glances, smiles, words of people ... Whole days passed in this painful, fruitless work". Soul-corroding introspection gives the hero an unnatural pleasure: Only after my expulsion from the Ozhogins' house did I painfully learn how much pleasure a person can draw from the contemplation of his own misfortune.". The failure of apathetic and reflective characters was even more set off by the images of solid and strong Turgenev's heroines.

The result of Turgenev's reflections on the heroes of the Rudin and Chulkaturin types was the article "Hamlet and Don Quixote" (1859). The least "hamletic" of all Turgenev's "superfluous people" is the hero of "The Nest of Nobles" Lavretsky. "Russian Hamlet" is named in the novel "Nov" one of its main characters, Alexei Dmitrievich Nezhdanov.

Simultaneously with Turgenev, I. A. Goncharov continued to develop the phenomenon of “an extra person” in the novel “Oblomov” (1859), N. A. Nekrasov - Agarin (“Sasha”, 1856), A. F. Pisemsky and many others. But, unlike Goncharov's character, Turgenev's characters have undergone more typification. According to the Soviet literary critic A. Lavretsky (I. M. Frenkel), “If we had all the sources to study the 40s. there is only one “Rudin” or one “Noble Nest”, then it would still be possible to establish the character of the era in its specific features. According to Oblomov, we are not able to do this.

Later, the tradition of depicting Turgenev's "superfluous people" was ironically beaten by A.P. Chekhov. The character of his story "Duel" Laevsky is a reduced and parodic version of Turgenev's superfluous person. He says to his friend von Koren: I'm a loser, an extra person". Von Koren agrees that Laevsky is " a chip from Rudin". At the same time, he speaks of Laevsky’s claim to be “an extra person” in a mocking tone: “ Understand this, they say, that it’s not his fault that state-owned packages lie unopened for weeks and that he himself drinks and gets others drunk, but Onegin, Pechorin and Turgenev, who invented a loser and an extra person, are to blame for this". Later, critics brought the character of Rudin closer to the character of Turgenev himself.

On the stage

Set design for "A Month in the Country", M. V. Dobuzhinsky, 1909

By the mid-1850s, Turgenev had become disillusioned with his calling as a playwright. Critics declared his plays unstaged. The author seemed to agree with the opinion of critics and stopped writing for the Russian stage, but in 1868-1869 he wrote four French operetta librettos for Pauline Viardot, intended for production in the Baden-Baden theater. L.P. Grossman noted the validity of many critics' reproaches against Turgenev's plays for the lack of movement in them and the predominance of the conversational element. Nevertheless, he pointed to the paradoxical persistence of Turgenev's productions on stage. Plays by Ivan Sergeevich have not left the repertoire of European and Russian theaters for more than one hundred and sixty years. Famous Russian performers played in them: P. A. Karatygin, V. V. Samoilov, V. V. Samoilova (Samoilova 2nd), A. E. Martynov, V. I. Zhivokini, M. P. Sadovsky, S V. Shumsky, V. N. Davydov, K. A. Varlamov, M. G. Savina, G. N. Fedotova, V. F. Komissarzhevskaya, K. S. Stanislavsky, V. I. Kachalov, M. N Ermolova and others.

Turgenev the playwright was widely recognized in Europe. His plays were successful on the stages of the Antoine Theater in Paris, the Vienna Burgtheater, the Munich Chamber Theater, Berlin, Königsberg and other German theaters. Turgenev's dramaturgy was in the selected repertoire of outstanding Italian tragedians: Ermete Novelli, Tommaso Salvini, Ernesto Rossi, Ermet Zacconi, Austrian, German and French actors Adolf von Sonnenthal, Andre Antoine, Charlotte Voltaire and Franziska Elmenreich.

Of all his plays, "A Month in the Country" had the greatest success. The debut of the performance took place in 1872. At the beginning of the 20th century, the play was staged at the Moscow Art Theater by K. S. Stanislavsky and I. M. Moskvin. The stage designer of the production and the author of sketches for the costumes of the characters was the world artist M. V. Dobuzhinsky. This play never leaves the stage Russian theaters until now. Even during the author's lifetime, theaters began to stage his novels and stories with varying degrees of success: "The Noble Nest", "The Steppe King Lear", "Spring Waters". This tradition is continued by modern theaters.

According to contemporaries of the XIX century

Caricature by A. M. Volkov on Turgenev's novel "Smoke".
"Spark". 1867. No. 14.
- What an unpleasant smell - fi!
- The smoke of fading fame, the fumes of smoldering talent...
- Shh, gentlemen! And the smoke of Turgenev is sweet and pleasant to us!

Contemporaries gave Turgenev's work a very high assessment. Critics V. G. Belinsky, N. A. Dobrolyubov, D. I. Pisarev, A. V. Druzhinin, P. V. Annenkov, Apollon Grigoriev, V. P. Botkin, N. N. Strakhov, 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. Solovyov, M. A. Antonovich, M. N. Longinov, M. F. De Poulet, N. V. Shelgunov, N. G. Chernyshevsky and many others.

So, V. G. Belinsky noted the writer's extraordinary skill in depicting Russian nature. According to N.V. Gogol, in the Russian literature of that time, Turgenev had the most talent. N. A. Dobrolyubov wrote that as soon as Turgenev raised any issue or a new side of social relations in his story, these problems also rose in the minds of an educated society, appearing before the eyes of everyone. M. E. Saltykov-Shchedrin stated that Turgenev's literary activity had a value for society equal to that of Nekrasov, Belinsky and Dobrolyubov. According to the Russian literary critic end XIX beginning XX century S. A. Vengerov, the writer managed to write so realistically that it was difficult to catch the line between literary fiction and real life. His novels were not only read out - his heroes were imitated in life. Each of his major works has actor, in whose mouth the subtle and apt wit of the writer himself is put.

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

Turgenev's Notes of a Hunter were popular in France. Guy de Maupassant called the writer " great man" and " brilliant novelist", and George Sand wrote to Turgenev:" Teacher! We all have to go through your school". His work was also well known in English literary circles - the Hunter's Notes, the Noble Nest, the Eve and Nov were translated in England. The Western reader was subdued by moral purity in the depiction of love, the image of a Russian woman (Elena Stakhova); struck by the figure of the militant democrat Bazarov. The writer managed to show true Russia to European society, he introduced foreign readers to the Russian peasant, Russian raznochintsy and revolutionaries, the Russian intelligentsia and revealed the image of a Russian woman. Foreign readers, thanks to the work of Turgenev, assimilated the great traditions of the Russian realistic school.

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

In the encyclopedic dictionary of Brockhaus and Efron

The novel "Fathers and Sons". 1880 edition, Leipzig, Germany

According to the encyclopedia of Brockhaus and Efron, "The Hunter's Notes", in addition to the usual reader success, played a certain historical role. The book made a strong impression even on the heir to the throne, Alexander II, who a few years later carried out a series of reforms to abolish serfdom in Russia. Many representatives of the ruling classes were also impressed by the Notes. The book carried a social protest, denouncing serfdom, but serfdom itself was directly touched upon in the "Notes of a Hunter" with restraint and caution. The content of the book was not fictional, it convinced readers that people should not be deprived of the most elementary human rights. But, in addition to protest, the stories also had artistic value, carrying a soft and poetic flavor. According to the literary critic S. A. Vengerov, landscape painting"Notes of a Hunter" 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, powerful, truthful and free Russian language”, to which the last of his “Poems in Prose” (1878-1882) is dedicated, received in the “Notes” its most noble and elegant expression.

In the novel "Rudin" the author managed to successfully portray the generation of the 1840s. To some extent, Rudin himself is the image of the famous Hegelian agitator M. A. Bakunin, whom Belinsky spoke of as a man " with a blush on the cheeks and no blood in the heart". Rudin appeared in an era when society dreamed of a "deed." The author's version of the novel was not passed by the censors due to the episode of Rudin's death at the June barricades, so it was understood by critics in a very one-sided way. According to the author's idea, Rudin was a richly gifted person with noble intentions, but at the same time he was completely at a loss in front of reality; he knew how to passionately appeal and captivate others, but at the same time he himself was completely devoid of passion and temperament. The hero of the novel has become a household name for those people whose word does not agree with the deed. The writer generally did not particularly spare his favorite heroes, even the best representatives of the Russian nobility of the middle of the 19th century. He often emphasized the passivity and lethargy in their characters, as well as the traits of moral helplessness. This manifested the realism of the writer, depicting life as it is.

But if in "Rudin" Turgenev spoke only against the idle chattering people of the generation of the forties, then in "The Nest of Nobles" his criticism already fell upon his entire generation; he favored the younger forces without the slightest bitterness. In the face of the heroine of this novel, a simple Russian girl Lisa is shown collective image many women of that time, when the meaning of the whole life of a woman was reduced to love, having failed in which, a woman was deprived of any purpose of existence. Turgenev foresaw the emergence of a new type of Russian woman, which he placed at the center of his next novel. The Russian society of that time lived on the eve of radical social and state changes. And the heroine of Turgenev's novel "On the Eve" Elena became the personification of the indefinite desire for something good and new, characteristic of the first years of the reform era, without a clear idea of \u200b\u200bthis new and good. It is no coincidence that the novel was called “On the Eve” - in it Shubin ends his elegy with the question: “ When will our time come? When will we have people?” To which his interlocutor expresses hope for the best: “ Give me time, - answered Uvar Ivanovich, - they will". On the pages of Sovremennik, the novel received an enthusiastic assessment in Dobrolyubov's article "When the real day comes."

In the next novel, Fathers and Sons, one of the most characteristic features of Russian literature of that time, the closest connection between literature and the real currents of social moods, most fully achieved expression. Turgenev succeeded better than other writers in capturing the moment of unanimity of public consciousness, which in the second half of the 1850s buried the old Nikolaev era with its lifeless reactionary isolation, and the turning point of the era: the subsequent confusion of innovators who singled out from their midst moderate representatives of the older generation with their indefinite hopes for a better future - "fathers", and thirsting for radical changes in the social structure of the younger generation - "children". Magazine " Russian word"In the person of D. I. Pisarev, he even recognized the hero of the novel, the radical Bazarov, as his ideal. At the same time, if we look at the image of Bazarov from a historical point of view, as a type that reflects the mood of the sixties of the XIX century, then it is rather incompletely disclosed, since socio-political radicalism, quite strong at that time, is almost never seen in the novel. was affected.

While living abroad, in Paris, the writer became close to many emigrants and foreign youth. He again had a desire to write on the topic of the day - about the revolutionary "going to the people", as a result of which his largest novel, Nov, appeared. But, despite his efforts, Turgenev failed to capture the most characteristic features of the Russian revolutionary movement. His mistake was that he made the center of the novel one of the weak-willed people typical of his works, who could be characteristic of the generation of the 1840s, but not the 1870s. The novel was not well received by critics. Of the later works of the writer, the Song of Triumphant Love and Poems in Prose attracted the most attention.

XIX-XX century

In the late XIX - early XX century, critics and literary critics S. A. Vengerov, Yu. I. Aikhenvald, D. S. Merezhkovsky, D. N. Ovsyaniko-Kulikovskiy, A. I. Nezelenov, Yu. N. Govorukha-Otrok, V. V. Rozanov, A. E. Gruzinsky, E. A. Solovyov-Andreevich, L. A. Tikhomirov, V. E. Cheshikhin-Vetrinsky, A. F. Koni, A. G. Gornfeld, F. D. Batyushkov, V. V. Stasov, G. V. Plekhanov, K. D. Balmont, P. P. Pertsov, M. O. Gershenzon, P. A. Kropotkin, R. V. Ivanov-Razumnik and others.

According to the literary critic and theater critic Yu. I. Aikhenvald, who gave his assessment of the writer at the beginning of the century, Turgenev was not a deep writer, he wrote superficially and in light colors. According to the critic, the writer took life lightly. Knowing all the passions, possibilities and depths of human consciousness, the writer, however, did not have true seriousness: “ The tourist of life, he visits everything, looks everywhere, does not stop anywhere for a long time, and at the end of his road he complains that the journey is over, that there is nowhere to go further. Rich, meaningful, varied, it does not, however, have pathos and genuine seriousness. His softness is his weakness. He showed reality, but first took out of it its tragic core.". According to Aikhenwald, Turgenev is easy to read, easy to live with, but he does not want to worry himself and does not want his readers to worry. The critic also reproached the writer for the monotony in the use artistic techniques. But at the same time he called Turgenev " patriot of Russian nature for his illustrious landscapes of his native land.

The author of an article about I. S. Turgenev in the six-volume History of Russian Literature of the 19th Century (1911), edited by Professor D. N. Ovsyaniko-Kulikovskii, A. E. Gruzinsky explains the claims of critics to Turgenev as follows. In his opinion, in the work of Turgenev, most of all, they sought answers to the living questions of our time, the setting of new social tasks. " This element of his novels and stories alone, in fact, was taken into account seriously and attentively by the guiding criticism of the 50s and 60s; he was considered, as it were, obligatory in Turgenev's work". Having not received answers to their questions in new works, criticism was dissatisfied and reprimanded the author " for failure to fulfill their public duties". As a result, the author was declared scribbled and exchanging his talent. Gruzinsky calls this approach to Turgenev's work one-sided and erroneous. Turgenev was not a writer-prophet, a writer-citizen, although he connected all his major works with the 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, the nature 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, soon almost all the most the best works Pushkin, Gogol, Lermontov, Dostoevsky, Tolstoy were translated into foreign languages. « No one, we note, was better adapted to this high and difficult task. <…>By the very essence of his talent, he was not only a Russian, but also a European, world writer.”, - writes E. A. Solovyov. Stopping on the way of depicting the love of Turgenev's girls, he makes the following observation: Turgenev's heroines fall in love immediately and love only once, and this is for life. They are obviously from the tribe of the poor Asdras, for whom love and death were equivalent<…>Love and death, love and death are his inseparable artistic associations". In the character of Turgenev, the critic also finds much of what the writer depicted in his hero Rudin: “ Undoubted chivalry and not particularly high vanity, idealism and a tendency to melancholy, a huge mind and a broken will».

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

The 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, the feeling of living and loving flesh, Turgenev bashfully and dreamily idealized a woman. In Voloshin's contemporary literature, he saw a connection between Ivan Bunin's prose and Turgenev's landscape sketches.

Subsequently, the theme of Bunin's superiority over Turgenev in landscape prose will be repeatedly raised by literary critics. Even L. N. Tolstoy, according to the memoirs of pianist A. B. Goldenweiser, said about the description of nature in Bunin’s story: “It’s raining, and it’s written that Turgenev would not have written like that, and there’s nothing to say about me.” Both Turgenev and Bunin were united by the fact that both were writers-poets, writers-hunters, writers-nobles and authors of "noble" stories. Nevertheless, the singer of the "sad poetry of the ruined noble nests" Bunin, according to the literary critic Fyodor Stepun, "as an artist is much more sensual than Turgenev." “The nature of Bunin, for all the realistic accuracy of his writing, is still completely different from that of our two greatest realists, Tolstoy and Turgenev. Bunin's nature is more unsteady, more musical, more psychic and, perhaps, even more mystical than the nature of Tolstoy and Turgenev. Nature in the image of Turgenev is more static than that of Bunin, - says F. A. Stepun, - despite the fact that Turgenev has more purely external picturesqueness and picturesqueness.

Russian language
From "Poems in Prose"
In days of doubt, in days of painful reflections about the fate of my homeland, you alone are my support and support, O great, powerful, truthful and free Russian language! Without you - how not to fall into despair at the sight of everything that happens at home? But one cannot believe that such a language was not given to a great people!

In the Soviet Union, Turgenev's work was paid attention not only by critics and literary critics, but also by the leaders and leaders of the Soviet state: V. I. Lenin, M. I. Kalinin, A. V. Lunacharsky. Scientific literary criticism largely depended on the ideological attitudes of the "party" literary criticism. Among those who contributed to Turgen studies are G. N. Pospelov, N. L. Brodsky, B. L. Modzalevsky, V. E. Evgeniev-Maksimov, M. B. Khrapchenko, G. A. Byaly, S. M. Petrov, A. I. Batyuto, G. B. Kurlyandskaya, N. I. Prutskov, Yu. V. Mann, F. Ya. Markovich, V. G. Fridlyand, K. I. Chukovsky, B. V. Tomashevsky, B. M. Eikhenbaum, V. B. Shklovsky, Yu. G. Oksman, A. S. Bushmin, M. P. Alekseev, and etc.

Turgenev was repeatedly quoted by V. I. Lenin, who especially highly appreciated him “ great and mighty" language. M. I. Kalinin said that Turgenev's work had not only artistic, but also socio-political significance, which gave artistic brilliance to his works, and that the writer showed in a serf a man who, like all people, deserves to have human rights. A. V. Lunacharsky, in his lecture on the work of Ivan Turgenev, called him one of the creators of Russian literature. According to A. M. Gorky, Turgenev left an "excellent legacy" to Russian literature.

According to "Big Soviet encyclopedia”, the artistic system created by the writer influenced the poetics of not only the Russian, but also the Western European novel of the second half of the 19th century. It largely served as the basis for the "intellectual" novel by L. N. Tolstoy and F. M. Dostoevsky, in which the fate of the central characters depends on their solution of an important philosophical issue of universal significance. The literary principles laid down by the writer have been developed in the works of many Soviet writers- A. N. Tolstoy, K. G. Paustovsky and others. His plays have become an integral part of the repertoire Soviet theaters. Many of Turgenev's works were filmed. Soviet literary critics paid great attention creative heritage of Turgenev - many works were published on the life and work of the writer, the study of his role in the Russian and world literary process. Scientific studies of his texts were carried out, commented collected works were published. Museums of Turgenev were opened in the city of Orel and the former estate of his mother, Spassky-Lutovinovo.

According to the academic "History of Russian Literature", Turgenev was the first in Russian literature who succeeded in expressing in his work through pictures of everyday village life and various images of ordinary peasants the idea that the enslaved people are the root, living soul nation. And the literary critic Professor V. M. Markovich said that Turgenev was one of the first to try to portray the inconsistency folk character without embellishment, and for the first time he showed the same people worthy of admiration, admiration and love.

The Soviet literary critic G. N. Pospelov wrote that Turgenev’s literary style can be called, despite its emotional and romantic elation, realistic. Turgenev saw the social weakness of the advanced people from the nobility and was looking for a different force capable of leading the Russian liberation movement; he later saw such strength in the Russian democrats of 1860-1870.

Foreign criticism

I. S. Turgenev - Honorary Doctor of Oxford University. Photo by A. Lieber, 1879

Of the émigré writers and literary critics, V. V. Nabokov, B. K. Zaitsev, and D. P. Svyatopolk-Mirsky turned to Turgenev’s work. Many foreign writers and critics also left their comments on Turgenev's work: Friedrich Bodenstedt, Emile Oman, Ernest Renan, Melchior de Vogüe, Saint-Beuve, Gustave Flaubert, Guy de Maupassant, Edmond de Goncourt, Emile Zola, Henry James, John Galsworthy, George Sand, Virginia Woolf, Anatole France, James Joyce, William Rolston, Alphonse Daudet, Theodor Storm, Hippolyte Taine, Georg Brandes, Thomas Carlyle and so on.

English prose writer and Nobel Prize winner in literature John Galsworthy considered Turgenev's novels the greatest example of the art of prose and noted that Turgenev helped " bring the proportions of the novel to perfection". For him, Turgenev was " the most refined poet who ever wrote novels”, and the Turgenev tradition was important for Galsworthy.

Another British writer, literary critic and representative of modernist literature of the first half of the 20th century, Virginia Woolf, noted that Turgenev's books not only touch with their poetry, but also seem to belong to today, so they have not lost the perfection of form. She wrote that Ivan Turgenev has a rare quality: a sense of symmetry, balance, which give a generalized and harmonious picture of the world. At the same time, she stipulated that this symmetry triumphs not at all because he is such a great storyteller. On the contrary, Woolf believed that some of his stories were rather badly told, as they contain loops and digressions, confusing obscure information about great-grandfathers and great-grandmothers (as in "The Noble Nest"). But she pointed out that Turgenev's books are not a sequence of episodes, but a sequence of emotions emanating from the central character, and not objects are connected in them, but feelings, and when you finish reading the book, you experience aesthetic satisfaction. Another well-known representative of modernism, Russian and American writer and literary critic V.V. Nabokov, in his Lectures on Russian Literature, spoke of Turgenev not as a great writer, but called him “ cute". Nabokov noted that Turgenev's landscapes are good, "Turgenev's girls" are charming, he also spoke approvingly of the musicality of Turgenev's prose. And the novel "Fathers and Sons" called one of the most brilliant works of XIX century. But he also pointed out the shortcomings of the writer, saying that he " bogged down in disgusting sweetness". According to Nabokov, Turgenev was often too straightforward and did not trust the reader's intuition, trying to dot the "i" himself. Another modernist, the Irish writer James Joyce, singled out from the entire work of the Russian writer “Notes of a Hunter”, which, in his opinion, “ penetrate deeper into life than his novels". Joyce believed that it was from them that Turgenev developed as a great international writer.

According to researcher D. Peterson, the American reader in Turgenev's work was struck by " manner of narration ... far from both Anglo-Saxon moralizing and French frivolity". According to the critic, the model of realism created by Turgenev had big influence on the formation of realistic principles in the work of American writers of the late XIX - early XX century.

XXI Century

In Russia, much attention is paid to the study and memory of Turgenev's work in the 21st century. Every five years, the State Literary Museum of I. S. Turgenev in Orel, together with the Oryol State University and the Institute of Russian Literature (Pushkin House) of the Russian Academy of Sciences, hold major scientific conferences that have international status. As part of the Turgenev Autumn project, the museum annually hosts Turgenev readings, in which researchers from Russia and abroad take part in the writer's work. Turgenev anniversaries are also celebrated in other Russian cities. In addition, his memory is honored abroad. So, in the Ivan Turgenev Museum in Bougival, which opened on the day of the 100th anniversary of the writer's death on September 3, 1983, the so-called musical salons are held annually, at which the music of the composers of the times of Ivan Turgenev and Pauline Viardot is played.

Turgenev's statements

“Whatever a person prays for, he prays for a miracle. Every prayer boils down to the following: “Great God, make sure that twice two is not four!”

Art illustrators

Yakov Turk sings ("Singers"). Illustration by B. M. Kustodiev for the "Notes of a Hunter", 1908

Over the years, the works of I. S. Turgenev were illustrated by illustrators and graphic artists P. M. Boklevsky, N. D. Dmitriev-Orenburgsky, A. A. Kharlamov, V. V. Pukirev, P. P. Sokolov, V. M Vasnetsov, D. N. Kardovsky, V. A. Taburin, K. I. Rudakov, V. A. Sveshnikov, P. F. Stroev, N. A. Benois, B. M. Kustodiev, K. V. Lebedev and others. The imposing figure of Turgenev is depicted in the sculptures of A. N. Belyaev, M. M. Antokolsky, Zh. I. N. Kramskoy, Adolf Menzel, Pauline Viardot, Ludwig Pich, M. M. Antokolsky, K. Shamro, in the cartoons of N. A. Stepanov, A. I. Lebedev, V. I. Porfiriev, A. M. Volkov , on the engraving by Yu. S. Baranovsky, on the portraits of E. Lamy, A. P. Nikitin, V. G. Perov, I. E. Repin, Ya. P. Polonsky, V. V. Vereshchagin, V. V. Mate , E. K. Lipgart, A. A. Kharlamova, V. A. Bobrov. The works of many painters “based on Turgenev” are known: Ya. P. Polonsky (plots of Spassky-Lutovinov), S. Yu. on his son's grave). Ivan Sergeevich himself drew well and was an auto-illustrator of his own works.

Screen adaptations

Based on the works of Ivan Turgenev, many films and television films have been shot. His works formed the basis of paintings created in different countries of the world. The first film adaptations appeared at the beginning of the 20th century (the era of silent films). The film The Freeloader was filmed twice in Italy (1913 and 1924). In 1915 in Russian Empire the films "The Nest of Nobles", "After Death" (based on the story "Klara Milic") and "The Song of Triumphant Love" (with the participation of V. V. Kholodnaya and V. A. Polonsky) were shot. The story "Spring Waters" was filmed 8 times in different countries. Based on the novel "The Nest of Nobles", 4 films were made; based on stories from the "Hunter's Notes" - 4 films; based on the comedy "A Month in the Country" - 10 television films; based on the story "Mumu" - 2 feature films and a cartoon; based on the play "Freeloader" - 5 paintings. The novel "Fathers and Sons" served as the basis for 4 films and a television series, the story "First Love" formed the basis for nine feature films and television films.

The image of Turgenev in the cinema was used by director Vladimir Khotinenko. In the television series "Dostoevsky" in 2011, the role of the writer was played by actor Vladimir Simonov. In the film "Belinsky" by Grigory Kozintsev (1951), the role of Turgenev was played by the actor Igor Litovkin, and in the film "Tchaikovsky" directed by Igor Talankin (1969), the actor Bruno Freindlich played the writer.

Addresses

In Moscow

Biographers in Moscow count over fifty addresses and memorable places associated with Turgenev.

1824 - the house of state councilor A. V. Kopteva on B. Nikitskaya (not preserved);
1827 - city estate, Valuev's property - Sadovaya-Samotechnaya street, 12/2 (not preserved - rebuilt);
1829 - pension Krause, Armenian Institute - Armenian lane, 2;
1830 - Shteingel's house - Gagarinsky lane, house 15/7;
1830s - House of General N.F. Alekseeva - Sivtsev Vrazhek (corner of Kaloshin lane), house 24/2;
1830s - House of M. A. Smirnov (not preserved, now - a building built in 1903) - Verkhnyaya Kislovka;
1830s - House of M. N. Bulgakova - in Maly Uspensky Lane;
1830s - House on Malaya Bronnaya Street (not preserved);
1839-1850 - Ostozhenka, 37 (corner of the 2nd Ushakovsky lane, now Khilkov lane). It is generally accepted that the house where I. S. Turgenev visited Moscow belonged to his mother, but N. M. Chernov, a researcher of Turgenev’s life and work, indicates that the house was rented from mine surveyor N. V. Loshakovsky;
1850s - the house of brother Nikolai Sergeevich Turgenev - Prechistenka, 26 (not preserved)
1860s - The house where I. S. Turgenev repeatedly visited the apartment of his friend, the manager of the Moscow appanage office, I. I. Maslov - Prechistensky Boulevard, 10;

In St. Petersburg

Late summer 1839 - January 1841 - Efremova's house - Gagarinskaya street 12;
October 1850 - April 1851 - Lopatin's house - Nevsky Prospekt, 68;
December 1851 - May 1852 - Gillerme's profitable house - Gorokhovaya street, 8, apt. 9;
December 1853 - the end of November 1854 - Povarskoy lane, 13;
end of November 1854 - July 1856 - Stepanov's profitable house - embankment of the Fontanka River, 38;
November 1858 - April 1860 - the profitable house of F.K. Weber - Bolshaya Konyushennaya Street, 13;
1861; 1872; 1874; 1876 - hotel "Demut" - embankment of the Moika River, 40;
January 4, 1864-1867 - Hotel "France" - Bolshaya Morskaya Street, 6;
1867 - V.P. Botkin's apartment in tenement house Fedorova - Karavannaya street, 14;
May-June 1877 - Bouillet furnished rooms - Nevsky Prospekt, 22;
February-March 1879 - the hotel "European" - Bolshaya Italianskaya street, 7.
January-April 1880 - Kverner furnished rooms - Nevsky Prospekt, 11/Malaya Morskaya Street, 2/Kirpichny Lane, 2

Memory

The following objects are named after Turgenev.

Toponymy

Streets and squares of Turgenev in many cities of Russia, Ukraine, Belarus, Latvia.
Moscow metro station "Turgenevskaya".

Public institutions

Orel State Academic Theatre.
Library-reading room named after I. S. Turgenev in Moscow.
Turgenev School of Russian Language and Russian Culture (Turin, Italy).
Russian Public Library named after I. S. Turgenev (Paris, France).
Orlovsky State University named after I. S. Turgenev

Museums

Museum of I. S. Turgenev (“ Mumu's house”) - (Moscow, Ostozhenka st., 37).
State Literary Museum of I. S. Turgenev (Oryol).
Spasskoye-Lutovinovo Museum-Reserve, the estate of I. S. Turgenev (Oryol region).
Street and museum "Dacha I. S. Turgenev" in Bougival, France.

monuments

In honor of I. S. Turgenev installed:

monument in Moscow (in Bobrov lane).
monument in St. Petersburg (on Italian street).
Eagle:
- Monument in Orel;
- Bust of Turgenev at the Noble Nest.

Other objects

The name of Turgenev was worn by the branded train of FPC JSC Moscow - Simferopol - Moscow (No. 029/030) in the general circulation with Moscow - Oryol - Moscow (No. 33/34)
In 1979, a crater on Mercury was named after Turgenev.

In philately

The writer is depicted on several Soviet stamps, as well as on a 1978 Bulgarian postage stamp.

Bibliography

Collected works

Turgenev I. S. Collected works in 11 volumes. - M.: Pravda, 1949.
Turgenev I. S. Collected works in 12 volumes. - M.: Fiction, 1953-1958.
Turgenev I. S. Collected works in 15 volumes. - L .: Publishing House of the Academy of Sciences of the USSR, 1960-1965.
Turgenev I. S. complete collection essays and letters in twenty-eight volumes. - M. - L.: Nauka, 1960-1968.
- Works in fifteen volumes

(1818-1883)

I.S. Turgenev was born on October 28, 1818 in Orel. His father was Sergei Nikolaevich Turgenev, a retired cuirassier colonel who belonged to an old noble family. Mother, Varvara Petrovna Lutovinova, came from a wealthy noble family. In her estate, in Spassky-Lutovinovo ( Mtsensk district Oryol province), the childhood years of the future writer passed.

In 1827 the Turgenev family moved to Moscow. In Moscow, the future writer studied in private boarding schools (the Weidenhammer boarding house, then the Krause boarding house). In 1833 he entered the verbal department of Moscow University. A year later, the family moved to St. Petersburg, and Ivan transferred to the Faculty of History and Philology of St. Petersburg University.

In 1836 he completed the course with a full student's degree, and the following year received his Ph.D. Turgenev's first published works belong to this period. In 1838, his poems "Evening" and "To the Venus of Media" were published in Sovremennik.

In 1838, Turgenev went to Germany, where he studied philosophy, the history of Roman and Greek literature, ancient Greek and Latin. He continues to write poetry, communicates with T.N. Granovsky and N.V. Stankevich. In 1840 he briefly returned to Russia, and then went to Italy. Then he returns to Berlin. There he meets N.A. Bakunin (prototype Rudin). In 1841, the writer returned to Russia, where he again closely communicated with the Bakunin family. Soon he is having an affair with Tatyana Bakunina, the youngest daughter of M.A. Bakunin.

In 1842, Turgenev received the title of Master of Philosophy at St. Petersburg University. In 1843 he entered the service of the Ministry of the Interior. At the same time, he continues his literary activity. In 1843 he created the poem "Parsha", which was highly appreciated by Belinsky.

Acquaintance with Belinsky and Nekrasov does not go unnoticed for Turgenev the writer: he tries himself in the genre of a moralistic poem (“Landlord”, “Andrey” - both 1845). In 1844, his story "Andrei Kolosov" was published, in 1846 - the story "Bretter", in 1847 - the story "Three Portraits".

In 1843, the fateful acquaintance of the writer with the singer Pauline Viardot takes place, the love for which did not leave him almost throughout his life. Having resigned in May 1845, Turgenev went abroad in 1847. He lives in Germany and France, where he witnesses the French Revolution of 1848. During this period, the writer becomes close to P.V. Annenkov, A.I. Herzen, helps V.G. Belinsky, meets J. Sand, P. Merimet, A. de Musset, F. Chopin. Turgenev created the novels Petushki (1848), The Diary of a Superfluous Man (1850), the comedies The Bachelor (1849), Where it is thin, it breaks there, The Provincial Girl (both 1851), the psychological drama A Month in the Country » (1855).

In 1852 a collection was published short stories Turgenev under the general title "Notes of a hunter". In Notes of a Hunter, Turgenev for the first time felt Russia as a unity, as a living artistic whole. This book opens the 60s in the history of Russian literature.

In April 1852, Turgenev was arrested on charges of violating censorship rules when publishing an article dedicated to the memory of N.V. Gogol. In May he was exiled to Spasskoye, where he lived until December 1853.

Until 1856, Turgenev lived in Russia: in winter - in St. Petersburg, in summer - in Spassky. He collaborates with the Sovremennik magazine, becomes close to I.A. Goncharov, L.N. Tolstoy, A.N. Ostrovsky. During this period, he published the novels "Calm" (1854), "Yakov Pasynkov" (1855), "Correspondence" (1856), "Faust" (1856).

The success of The Hunter's Notes prompted the writer to create large epic works dedicated to modern reality. These were famous novels: Rudin (1856), The Noble Nest (1859), On the Eve (1860), Fathers and Sons (1862), Smoke (1867), New (1877). As Yu.V. Lebedev, “the writer’s novels were a kind of chronicle of the change of various mental currents in the cultural layer of Russian society”: the idealist-dreamer, an extra person of the 30s and 40s Rudin, nobleman Lavretsky striving to merge with the people, revolutionary raznochinets Dmitry Insarov, and then - Evgeny Bazarov, the era of ideological off-road in "Smoke" and new wave public upsurge in "Novi". All the novels of the writer were distinguished by drama, tragic endings.

In 1856 Turgenev went abroad. He spends the winter in Paris, then goes to England, and then to Germany. tragic and philosophical motives in the works of Turgenev are amplified. He creates a series of stories about the insignificant role of man in the face of Eternity, Time and Nature ("A Trip to Polissya" (1853-1857), "Faust" (1856), "Asya" (1858)).

After Dobrolyubov's article "When will the real day come?", dedicated to the novel "On the Eve", the writer breaks with the Sovremennik magazine. In 1862, Turgenev left the magazine. He quarrels with L.N. Tolstoy, it almost comes to a duel. In the same period, critics greet the novel "Fathers and Sons" with hostility. Bitter, pessimistic notes are increasingly heard in Turgenev's works (the stories "Ghosts", "Enough!"). At times he thinks to stop his literary activity.

AT last years the writer lives abroad. In 1863, he again becomes close to P. Viardot, they live in Baden, and then in Paris. During this period, Turgenev closely communicated with Western writers - G. Flaubert, E. Zola, Guy de Maupassant. The writer gains pan-European fame: in 1878 he was elected vice-president at the international literary congress in Paris, in 1879 he became an honorary member of Oxford University.

During this period he wrote his memoirs, Poems in Prose (1877-1882). Turgenev died on September 3, 1883 after an illness that lasted more than a year.