"The life and work of Turgenev" - Library. Having settled in Berlin, Turgenev zealously took up his studies. Issues for discussion. Last years of life. The image of the Turgenev girl was not motionless. L. N. Tolstoy. I.S. Turgenev was born on October 28, 1818 in Orel. Themes of the projects. Since 1850, Spasskoye-Lutovinovo began to belong to I.S.Turgenev.

"Ivan Sergeevich Turgenev" - mother, Varvara Petrovna, - from a wealthy landowner family of the Lutovinovs. Ivan Sergeevich Turgenev. In a noble family. Turgenev's childhood passed in the family estate of Spassky-Lutovinov. I.S. Turgenev. Great Russian writer. The shield is crowned with a noble helmet and a crown with three ostrich feathers. He continued his further education under the guidance of private teachers.

"Biography of the writer Turgenev" - Turgenev had a significant impact on the development of Russian and world literature. Social revival began among the students, among the broad strata of society. The following essays from the life of the people were published in the same magazine for five years. Master of Language and Psychological Analysis. At the end of his life he created the lyric and philosophical "Poems in Prose" (1882).

"Biography and creativity of Turgenev" - Recent years. The influence of M.Yu. Lermontov. An ancient castle on the banks of the Rhine. Questions. Asya's story. Biography of I.S. Turgenev. "Notes of a Hunter". Years of study. The beginning of creative activity. The story of the relationship between Asya and the narrator. Family estate. Petersburg University. "Turgenev Girl". Childhood of the writer.

"Turgenev Biography" - "Erudite". One of the main themes in the novel is the theme of intergenerational relations. Heroes and works 3 (5 minds). The novel "Fathers and Sons" 1 (1 mind). Contemporaries 2 (3 minds). Puss in a poke 2 (3 minds). Heroes and works 2 (3 minds). Imposed by love Biography 2 (3uma). Contemporaries 3 (5 minds). Which of the heroes of the novel "Fathers and Sons" is shown below?

"Turgenev as a writer" - I.S. Turgenev. Headstone on the grave of I.S. Turgenev. Standing: L.N. Tolstoy, D.V. Grigorovich. Spasskoye-Lutovinovo. Gustave Flaubert. "Noble Nest" 1859. "Fathers and Sons" 1862. Opening of the monument to Pushkin in Moscow. The dining room was one of the main rooms of the house during the time of Turgenev's mother. A group of employees of the Sovremennik magazine.

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Ivan Turgenev (1818-1883) - world famous Russian writer-prose writer, poet, playwright, critic, memoirist and translator of the XIX century, recognized as a classic of world literature. He wrote many outstanding works that have become literary classics, the reading of which is mandatory for school and university curricula.

Ivan Sergeevich Turgenev is from the city of Orel, where he was born on November 9, 1818, into a noble family in his mother's family estate. Sergei Nikolaevich, father - a retired hussar who served in the cuirassier regiment before the birth of his son, Varvara Petrovna, mother - a representative of an old noble family. In addition to Ivan, the family had another eldest son, Nikolai, the childhood of the little Turgenevs passed under the vigilant supervision of numerous servants and under the influence of the rather heavy and unbending temper of their mother. Although mother was distinguished by a special imperiousness and severity of disposition, she was reputed to be a rather educated and enlightened woman, it was she who interested her children in science and fiction.

At first, the boys studied at home, after the family moved to the capital, they continued their studies with the teachers there. Then follows a new round in the fate of the Turgenev family - a trip and subsequent life abroad, where Ivan Turgenev lives and is brought up in several prestigious boarding houses. Upon arrival at home (1833), at the age of fifteen, he entered the Faculty of Literature of Moscow State University. After the eldest son Nikolai becomes a guards cavalryman, the family moves to St. Petersburg and the younger Ivan becomes a student of the philosophy department of the local university. In 1834, from the pen of Turgenev, the first poetic lines appeared, saturated with the spirit of romanticism (a trend that was fashionable at that time). Poetic lyrics were highly appreciated by his teacher and mentor Peter Pletnev (a close friend of Alexander Pushkin).

After graduating from St. Petersburg University in 1837, Turgenev leaves to continue his studies abroad, where he attends lectures and seminars at the University of Berlin, while traveling across Europe. Returning to Moscow and successfully passing his master's exams, Turgenev hopes to become a professor at Moscow University, however, due to the abolition of philosophy departments in all universities in Russia, this desire is not destined to come true. At that time, Turgenev became more and more interested in literature, several of his poems were published in the newspaper Otechestvennye zapiski, the spring of 1843 was the time when his first small book appeared, where the poem Parasha was published.

In 1843, at the insistence of his mother, he became an official in the "special office" at the Ministry of the Interior and served there for two years, then retired. An imperious and ambitious mother, dissatisfied with the fact that her son did not live up to her hopes both in career and in personal terms (he did not find a worthy party for himself, and even had an illegitimate daughter Pelageya from a connection with a seamstress), refuses his maintenance and Turgenev has to live from hand to mouth and go into debt.

Acquaintance with the famous critic Belinsky turned Turgenev's work in the direction of realism, and he begins to write poetic and ironic moral narrative poems, critical articles and stories.

In 1847, Turgenev brings to the Sovremennik magazine the story "Khor and Kalinych" which Nekrasov publishes with the subtitle "From the Notes of a Hunter", this is how Turgenev's real literary activity begins. In 1847, because of his love for the singer Pauline Viardot (he met her in 1843 in St. Petersburg, where she came on tour), he left Russia for a long time and lived first in Germany, then in France. During his life abroad, several dramatic plays were written: "Freeloader", "Bachelor", "A Month in the Country", "Provincial".

In 1850 the writer returned to Moscow, worked as a critic for the Sovremennik magazine, and in 1852 published a book of his essays entitled “Notes of a Hunter”. At the same time, impressed by the death of Nikolai Vasilyevich Gogol, he writes and publishes an obituary, officially banned by the tsarist caesura. This is followed by arrest for one month, deportation to the family estate without the right to leave the Oryol province, a ban on travel abroad (until 1856). During the exile, the story "Mumu", "Inn", "Diary of a Superfluous Person", "Yakov Pasynkov", "Correspondence", and the novel "Rudin" (1855) were written.

After the end of the ban on traveling abroad, Turgenev leaves the country and lives in Europe for two years. In 1858, he returned to his homeland and published his story "Asya", around her hot disputes and disputes immediately flared up among critics. Then the novel "Noble Nest" (1859), 1860 - "On the Eve" was born. After that, Turgenev ruptures with such radical writers as Nekrasov and Dobrolyubov, a quarrel with Leo Tolstoy and even the latter's challenge to a duel, which ultimately ended in peace. February 1862 - the publication of the novel "Fathers and Sons", in which the author showed the tragedy of the growing conflict of generations in the context of the growing social crisis.

From 1863 to 1883, Turgenev lived first with the Viardot family in Baden-Baden, then in Paris, never ceasing to be interested in the events in Russia and acting as a kind of mediator between Western European and Russian writers. During his life abroad, the "Notes of a Hunter" were supplemented, the stories "Hours", "Punin and Baburin" were written, the largest in volume of all his novels "Nov".

Together with Victor Hugo, Turgenev was elected co-chairman of the First International Congress of Writers, held in Paris in 1878, in 1879 the writer was elected an honorary doctor of the oldest university in England - Oxford. In his declining years, Turgenevsky did not stop engaging in literary activity, and several months before his death, Poems in Prose were published, prose fragments and miniatures characterized by a high degree of lyricism.

Turgenev dies in August 1883 from a serious illness in the French Bougival (a suburb of Paris). In accordance with the last will of the deceased, recorded in his will, his body was transported to Russia and buried at the Volkovo cemetery in St. Petersburg.

Poems and poems by Turgenev

Turgenev began his literary career as a poet, author of poems and poems; preserved his draft notebook of 1834-1835 with the first poetic experiments. By 1837, young Turgenev had already accumulated about a hundred small poems and several poems (unfinished "The Old Man's Tale", "Calm at Sea", "Phantasmagoria on a Moonlit Night", "Dream"), about which he wrote on March 26 (April 7) 1837 to Professor A. V. Nikitenko (see the present ed., Letters, vol. I). In the same letter, Turgenev speaks of the large poem Our Century, which has not yet been completed (“I am working on it now”): “Our Century is a work begun this year in mid-February in a fit of vicious annoyance at despotism and monopoly some people in our literature. " The poem "Our Century" was conceived, in all likelihood, as a response to the death of Pushkin - perhaps not without the influence of Lermontov's poem "Death of a Poet", which became widely known in mid-February 1837. Speaking about the "despotism and monopoly of some people in our literature ”, Turgenev obviously had in mind Bulgarin, Grech and Senkovsky - reactionary journalists who were called“ monopolists ”, since the most influential and widespread press organs were in their hands.

In a letter to A. V. Nikitenko, Turgenev asks not to talk about his poems to P. A. Pletnev (who was at that time professor and rector of St. Petersburg University): “I promised his- before meeting you - to deliver my works and still have not fulfilled their promises. " As can be seen from the same letter, Turgenev "a year ago" gave Pletnev his dramatic poem Steno to read: "He repeated to me what I had thought for a long time - that everything is exaggerated, incorrect, immature."

Most of Turgenev's early poetic experiments have not survived, but in this volume, eight poetic sketches dating back to 1838 are printed from autographs. In April of the same year, Sovremennik, whose editor was then Pletnev, published the poem "Evening" - "my first thing," as Turgenev says, "appeared in print, of course, without a signature" ("Literary and Life Memoirs" , 1869). In October of the same year, Sovremennik published a second poem by Turgenev - "To Venus Meditsaiskaya". Then there was a pause: Turgenev traveled and studied at the University of Berlin. In 1841, new poems by Turgenev appeared in the "Notes of the Fatherland" - "The Old Landowner" and "Ballad". In 1842, four poems were written, which were not published and are known only by their names ("At the Station", "Fishermen", "Winter Walk", "Meeting"), mentioned by Turgenev in his letters to the Bakunins on April 3 (15), April 8-17 (20-29) and April 30 (May 12) 1842 (Current ed., Letters, vol. I). From the same year until 1847, Turgenev regularly published his poems in Otechestvennye zapiski by Kraevsky and in Pletnev's Sovremennik. At the same time published in separate editions or in collections of his poem: "Parasha" (1843), "Conversation" (1844), "Landowner" (1845), "Andrey" (1846). In a letter from Turgenev to V.G.Belinsky dated November 14 (26), 1847, there is a mention of another poem that was promised to N.A. ed., Letters, vol. I). This is a story in verse "Masquerade", which was not written by Turgenev, although it was on the list of materials already at the disposal of the editorial board of "Sovremennik" (see: Nekrasov, v. X, p. 62.73, 93, etc. XII, p. 112).

In the early poetry of Turgenev, it is easy to catch echoes of the works of Derzhavin, Zhukovsky, Kozlov, Pushkin and Lermontov. Turgenev begins with typically romantic motives, gradually moving from them to themes in the spirit of the new "natural school". Comparing the mature poetic work of Turgenev in the late 30s-40s with the poems of VI Krasov, IP Klyushnikov and other poets of his generation, published in magazines of that time, one can note his great originality. The moods expressed in Turgenev's poems are the same, but they are deeper and more significant than those of many of his contemporaries.

In Turgenev's poems, for all their tradition, the desire for a new psychological development of the old themes of romantic loneliness, disappointment, etc. true happiness; but he is no longer proud of this distinction from "careless people", but rather envies them. The poem "Neva" is built on this opposition characteristic of Turgenev, and it is especially clearly expressed in the poem "The Crowd".

The poetic cycle "Village" testifies to the strengthening of realistic tendencies in Turgenev's lyrics. The ideological basis of this lyrical suite, dedicated to the description of the Russian village, is the thought expressed by the poet in the very first poem of the cycle: “You look thoughtfully at the faces of the peasants - and you understand them; he himself is ready to indulge in their poor, simple life "(see for more details: Mouth T.A. Village in the lyrics of Turgenev. - In the book: Questions of the history of Russian literature and methods of teaching it in secondary school. M., 1964, p. 116-127).

Contemporaries highly appreciated Turgenev's lyrics. II Panaev later recalled that his poems "we all liked it very much then, not excluding Belinsky" ("Literary memoirs". M., 1950, p. 250). A. A. Fet, by his own admission, “admired the poetry<…>Turgenev "( Fet A. My memories. M., 1890, part 1, p. 4). And N.F.Shcherbina, compiling the "Collection of the best works of Russian poetry" (St. Petersburg, 1858), included four poems by Turgenev (see about this: Yampolsky IG About the text of Turgenev's poems in the "Collection of the best works of Russian poetry" (1858). - T sat... no. 3, p. 46-47).

In the poetry of Turgenev, almost all the main poetic genres of that time are found: ballads, elegies, satires, messages and madrigals, epigrams and parodies, and even a semblance of Schiller's odes or solemn songs (see: Orlovsky S. Lyrics of the young Turgenev. Prague, 1926, p. 89).

The metrics of Turgenev's poems are diverse. The most common he has is 4-foot iambic and various other types of iambic. Many of his poems are written in a combined iambic — 6-foot and 3-foot ("To Venus Medici", "On a Midsummer Night ..."). Sometimes Turgenev resorts to a 4-foot chorea ("Abduction", "Calling"). With a six-footed chorea with masculine rhymes, "Ballad" is written. In addition to iambic and chorea, Turgenev sometimes uses dactyl ("Fedya", "Variation III"), anapest ("Variation II").

Alliterations and assonances are encountered in many of Turgenev's poems; in most cases, there is a fairly regular alternation of male and female rhymes. Exclusively male rhymes are found in the poem "The Old Landowner", where the influence of "Mtsyri" by Lermontov is felt in the structure of the verse (see: Rodzevich S. I. Turgenev. On the centenary of his birth. 1818-1918. Kiev, 1918, p. 37-39).

Turgenev's poems were greeted with Belinsky's approval - as talented attempts to continue the line outlined by the "ironic" poems of Pushkin ("House in Kolomna", "Count Nulin") and Lermontov ("Sashka", "A Tale for Children"). Turgenev's poems paved the way for his stories and novels. This is especially true for two of them - "Parasha" and "Andrey"; plot and psychological motives are outlined here, which were later developed in Turgenev's prose (for details, see: Basikhin Yu. F. Poems by I. S. Turgenev. Saransk, 1973, p. 83-91, 123-129, 135-143, etc.).

The Conversation, an interesting and significant poem in its socio-political meaning, stands somewhat apart, the hero of which - an old man (originally a monk) - tells the young man about his stormy youth, filled with battles and exploits, and reproaches him for inaction and cowardice. The poem contains allusions to the Decembrist past of the hero.

Belinsky noted that Turgenev's poems “are sharply separated from the works of other Russian poets at the present time. A strong, energetic and simple verse, worked out in Lermontov's school, and at the same time a luxurious and poetic verse, is not the only merit of Mr. Turgenev's works: they always have a thought marked with the stamp of reality and modernity and, like the thought of a gifted nature, always original " (Belinsky, t. VIII, p. 592).

Turgenev's translations from Goethe (a scene from "Faust" and "Roman Elegy") and from Byron ("Darkness") were approved by Belinsky. Later, MI Mikhailov, analyzing the translations of "Faust", wrote that none of the Russian translators meets the high requirements for the translation of this work, "with the exception of<…>I. S. Turgenev, who translated the last scene in the dungeon truly excellently ... " (Rus Sl, 1859, no. 10, dep. II, p. 33). Turgenev reported about his early studies in verse translations from Shakespeare (Othello, King Lear) and Byron (Manfred) in the letter cited above to A. V. Nikitenko. Translations from Shakespeare's tragedies were not completed by him and are currently unknown. One can only point to an interesting letter from Turgenev dated November 8 (20), 1869 to N. Kh. Ketcher (Shakespeare's translator in prose), in which he says: “Yesterday I received your letter and hope in a week to send you the poems you want from Hamlet and 12th Night. I long ago, as you know, said goodbye to my muse - but for an old friend I will try to shake things up with the old days. "

By the end of the 1840s, Turgenev's epigrammatic creativity flourished (see: Annenkov, with. 389; Polonsky Ya. P. I. S. Turgenev at home, on his last visit to his homeland. - Niva, 1884, No. 4, p. 87; Gitlitz E. A. Turgenev's epigrams. - T sat, no. 3, p. 56-72). “Turgenev still had a corner hidden somewhere with a reserve of stinging severity<…>I have written down up to 20 bitter epigrams of his work, ”DV Grigorovich reported to AS Suvorin (Letters from Russian writers to AS Suvorin. L., 1927, p. 42).

In letters and oral conversations, Turgenev repeatedly spoke sharply negatively about the poetic experiments of his youth. In particular, on June 19 (July 1), 1874, the writer confessed in a letter to SA Vengerov: "I feel a positive, almost physical antipathy to my poems."

On June 8 (20), 1874, Turgenev wrote to N. V. Gerbel, who gave a favorable review of his early poems and included some of them in his Christomathy for All (St. Petersburg, 1873): “You are too flattering about me and - in particular - you attach great importance to my poetic gift, which, in truth, I do not have at all. "

Nevertheless, even during the life of the writer, the idea arose of reprinting his early poetic experiments, noted, for example, in the memoirs of D. N. Sadovnikov "Meetings with I. S. Turgenev" (Russian past, 1923, book 1, p. 80) ... On the basis of archival data, it is established that the Turgenevs transferred the right to publish his poems and poems to EI Kuzmina, a teacher at the Gdov Women's School. Being a relative of A.V. Toporov (see about him in detail: Lit Arch, v. 4, p. 196-200) and the guardian of his pupil L. Ivanova (about this girl, for whom the name of "Turgenev's Lyuba" has become firmly established, see in the book: Turgenev and Savina. Pg., 1918, p. 67), E. I. Kuzmina On April 23, 1883, he made a will. In it, she wrote that the right to publish and sell poems by I. S. Turgenev gives “the full ownership of minor<…>Lyubov Fedorova Ivanova ", and until the girl comes of age -" to her teacher<…>Alexander Vasilyevich Toporov "( IRLI, A.M.Skabichevsky's archive, f. 283, op. 2, No. 226, fol. 1).

Written during Turgenev's lifetime and, perhaps, not without his knowledge, EI Kuzmina's will is evidence that the writer was not at all going to prevent the publication of a separate edition of his poems and poems. For some reason (possibly due to an exacerbation of Turgenev's serious illness), this publication was not carried out in 1883.But the question about it arose again, apparently at the end of 1884, since January 1885 was dated by A. V. Toporov a draft of the condition of E. N. Kuzmina with I. I. Glazunov on granting this publisher the right to publish the poems of I. S. Turgenev.

In clause 4 of the condition, Kuzmina entrusted “all calculations for this publication<…>produce finally and sign where follows Alexander Vasilyevich Toporov " (IRLI, archive of A.M.Skabichevsky, f. 283, op. 2, No. 225, fol. 1 rev.). Thus, in the publication of "Poems of I. S. Turgenev", published in 1885, a close friend of the writer, but a person little versed in literature, A. V. Toporov, took an active part.

In the hands of the publishers, as is evident from the notes ( T, Verse, 1885, with. 227-230), there were autographs of several of Turgenev's poems - "Conversation", "Landowner", "Andrey", "Excerpt from the Poem", that is, stanzas I-VI of the poem "Pop", the location of which is currently unknown. The texts of the poems were reprinted from Sovremennik and Otechestvennye zapiski, as well as from those collections in which they were published for the first time (Yesterday and Today, St. Petersburg Collection Published by Nekrasov, XXV years. 1859-1884. Collection published by a committee of the Society for the benefit of needy writers and scientists ").

The 1885 edition drew a number of press responses (see: IW, 1885, no. 6, p. 720-722; No. 7, p. 221-223; No. 8, p. 429-431; No. 12, p. 730-731; Rus St, 1885, no. 8, p. 307-312; No. 11, p. 420-427; Nov, 1885, vol. II, no. 8, p. 653-658; Rus Thought, 1885, No. 3, bibliogr. dep., p. 1-2). Most of the reviews noted the incompleteness of the collection, the paucity of notes, a significant number of errors and misprints, as well as the texts of Turgenev's poems that were not included here.

In 1891, the second edition of I.S.Turgenev's poems was published, reviewed and supplemented by S.N.Krivenko. He also had, as can be seen from the notes, some of Turgenev's manuscripts (a draft autograph of the poem "Conversation", an incomplete draft autograph of the poem "Andrei"). In the preface it was indicated that the remarks made on the first edition of "Poems of I. Turgenev" were taken into account in the new edition. Reviews for the second edition were few (Rus Thought, 1891, No. 6, bibliogr. dep., p. 265: Sev Vesti, 1891, no. 7, dep. II, p. 85-88; Rus God, 1891, No. 5-6, p. 256-259; Bibliographic notes, 1892, No. 4, p. 289-290). The review of "Bibliographic Notes" (N. Bukovsky), entitled "Amendments to the publication of poems by I. S. Turgenev", contained comments on the text of the published works.

In the collected works of Turgenev, his poems and poems were first included in the publication - T, PSS, 1898 ("Niva").

In the first volume of this edition, Turgenev's poems and poems are published according to early printed and handwritten sources.

As a rule, the works of each section are printed in the chronological order of their creation. In cases where several poems date from one month or one year, and a more precise date cannot be established, they are arranged in the order of their publication.

Many poems by I. S. Turgenev were set to music and became widely known as romances, and some were used by composers in opera scenes.

The publications of the young poet's poems in the magazines of the 1840s (Otechestvennye zapiski, Sovremennik) did not meet with any kind of lively response from Russian composers of that time. The first echo was the romance "Spring Evening" by 19-year-old Anton Rubinstein (Illustration, 1848, no. 22). In subsequent years, the romances of M. V. Begicheva "Why am I repeating a dull verse ..." (1852) and N. F. Dingelstedt's "Tear" ("Poison of the last bitter tears ...") - from the poem "Andrey" (1858), appeared.

With the publication of collections of Turgenev's poems in 1885 and 1891. interest in them among Russian musicians noticeably revived. In 1891, one of the most famous works on the text of Turgenen appeared, "Ballad" ("Before the voivode he stands silently ...") by A. G. Rubinstein, as well as his romance "Autumn" ("Like a sad look, I love autumn ... "). The Ballad was dedicated by the composer to the outstanding Russian singer F. I. Stravinsky, who often performed it in his concerts. The Ballad gained especially wide popularity thanks to F.I. ...

A large number of romances and songs based on poems by Turgenev were written in the 1880s -1910s: "Ballad" (AA Olenin); "Moonless Night" (P. N. Renchitsky, A. N. Schaefer - melodeclamation); “On a summer night, when anxious sadness is full ...” (E. V. Vilbushevich); "Spring Evening" (P. Brown, K. M. Galkovsky - duet, - S. Lappo-Danilevsky, S. G. Paniev - duet, - A. N. Shefer - female choir); “For a short meeting ...” (M. V. Milman, V. Odoleev); “Have you noticed, my silent friend…” (I. I. Chernov); "K ***" ("Through the fields to the shady hills ...") (A. N. Shefer - melodeclamation); "Why am I repeating a sad verse ..." (V. Anichkov, A. Vladimirov - duet, - S. V. Egorov, M. V. Milman, V. Odoleev, F. K. Sadovsky, N. A. Sokolov, A. N. Schaefer - melodeclamation); “When I parted with you…” (M. V. Milman, A. K. Timofeev); "Tear" (O. Danaurova, I. M. Kuzminsky); "Fedya" (A. Olenin).

The romance "On the Road" ("Foggy morning, gray morning ...") enjoyed particular love. Apparently, the song to these words was extended back in the middle of the 19th century, as evidenced by the notes that appeared in 1877, recorded, as indicated in the title, "with the tune of Moscow gypsies." This poem was set to music by G.L. Katuar, J.F. Prigogine, A.F. Gedike. At the beginning of this century, another song on the same text, the author of which is V.V. Abaza, gained fame. She often sounded both at home and on the stage, in particular, performed by the popular gypsy singer V. Panina.

A number of works written on the poems of Turgenev entered the fabric of large musical canvases. Thus, the composer A. Yu. Simon included a choral scene in the opera "The Song of Triumphant Love" (1888), based on the poem "Spring Evening".

Of considerable interest are scenes based on poems by Turgenev in the support of the outstanding composer and musical figure A. D. Kastalsky "Clara Milich" (1907): the poem "Spring Evening" served as the text of the duet, an excerpt from the poem "Andrei" ("The bitter poison of the last tears ..." ) is based on the romance by Klara Milich, the hunting scene is written in a slightly modified text of the poem "Before the hunt" ("Morning! Here is morning! Barely over the hills ..."). With major changes in the libretto of Kastalsky's opera, other passages from the poem "Andrei", excerpts from the poems "Parasha" and "Landowner", and the poems "When a long forgotten name ..." were included. “Alone, I am alone again. Dispersed ... "," Crowd ".

Songs and romances to poems by Turgenev are included in concert repertoires in our time.

Notes (edit)

110. See: Ivanov GK Russian poetry in Russian music. M, 1966, issue. 1; 1969, no. 2.

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

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

The beginning of the literary path

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

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

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

The flowering of creativity

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

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

Last years

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

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

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

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

Chronological table

Other biography options

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

An unheard-of deed is being done! a dark and bloody deed, from which the angels of God turn their faces away!

You yourself are to blame, Prokop Petrovich! I went to you with love, with hope and prayer! You rejected me! you took your hand away from Marina. You could and did not want to extract her from the abyss of shame and crime!

How good he was in his anger! How noble! How I felt that I could love! But he knows no pity! They will not regret it either. Murder and death triumph! All beautiful things perish! Good is evil, and evil is good!

I'll show you if I know how to avenge insults! You had a friend; you loved him dearly; Your friend will sell you, you will fall from his knife! Do you love your Rus, do you love her madly? Russia will call you a traitor, and later chroniclers will curse your name! Isn't that so, I know how to take revenge?

I can hear it! He's coming! To me, hellish snakes! To me, black vengeance!

Enters Simeon.

Simeon. Marina!

Marina. It's you. Thank you for coming! Do not be afraid! I called you not for bloody revenge! Yesterday's insults are forgotten! I wanted to see again, for the last time, the one who loved me ...

Simeon... Oh my God! Are we breaking up?

Marina. Forever and ever! I'm going on a long journey, Simeon!

Simeon. I don't want to understand you, but I'm scared!

Marina. Could you think that I would agree to be Lyapunov's toy? That with despair and tears I want to increase his triumph? Could you think that I will carry my crowned head to the shameful block of criminals? I have poison, Simeon!

Simeon. You will not die!

Marina. You loved me! Fulfill my last will! When the victorious Russian "hurray" is heard on the Kremlin towers and the proud leader enters the royal chambers, I will be gone! My son is in Kolomna! Save him, hide him! Don't let the fierce enemy get drunk on the innocent blood of a baby!

Simeon. You will not die!

Marina. Child! won't you save me Trust me, it's over: I submit to my fate. Zarutsky is leaving me! He sold me his defense too dearly: he demanded this hand! I rushed to Lyapunov: Lyapunov rejected me! you see, good friend, I must die!

Simeon. Oh my goodness!

Marina. Where to run? From whom to expect salvation? Lyapunov vowed to ruin me, and you know if he knows how to keep his oaths!

Simeon. I'm going to kill him!

Marina. Oh Simeon! he is your friend ...

Simeon. I hate him!

Marina. He is the savior, the hope of your Rus ...

Simeon. What is Russia to me, what friendship is to me, what is the whole world to me in comparison with your gaze! I live by you! I breathe you! Let everything perish, everything collapses around me, if only you, my queen, smiled at your servant! (Falls to her knees.)

Marina(takes his hand). Oh my goodness! This life is so beautiful! to be so loved - and to die!

Simeon. I will save you! I will rip his heart out of his chest with this knife. I'll save you, can you hear?

Marina. Volynsky! from the grave you call me to life! Don't forget what you are doing! Don't forget what you're doing!

Simeon. I will keep my word!

Marina. It's not too late, you can come back! My fate is hard! Woe to the one who wants to share it!

Simeon. I made up my mind!

Marina. Remember that I demand complete, blind obedience! Remember that whoever loves Marina has no friend, no fatherland, no faith! He must be mine, all mine! He must live my life, think with my thought, love with my heart!

Simeon. For you, I will kill my own father.

Marina. It’s good. (Solemnly.) From now on, you are my slave, the blind executor of my will!

Simeon. Queen, command!

Marina. Listen! I don't want Moscow to be taken this night!

Simeon. I can change!

Marina. Here is a letter: attach Lyapunov's seal to it. Take it with you on the attack. You are leading the front line squad. Poles will make a sortie; surrender yourself to the one who tells you my name. Tomorrow you will be free; tomorrow you will give this letter to the boyars.

Simeon. This letter…

Marina. You see, it was written by Lyapunov; he announces to Gonsewski that he is being transferred to the Poles; he only forgot to attach the seal! You hesitate! You are turning pale! Give me the letter! I'll rip it up!

Simeon. Leave it! Lyapunov is out of date.

Marina(leaning on Simeon's shoulder and almost hugging him). I will wait for you. Come tomorrow; tell me: you are free; you have no one else to fear ... And you will receive a worthy reward. (Kisses him and runs away.)

Simeon. Oh, will I live to see the morning! ..