Turgenev's work is a summary. Brief biography of Ivan Sergeevich Turgenev. Novel "Noble Nest"

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Introduction

Following Pushkin, Gogol, Lermontov, their follower and successor, among other great writers in Russian literature of the XIX century. Turgenev passed his long, forty-year creative path. Already at the beginning of this path, in the 40s, his talent was noted and appreciated by Gogol and Belinsky.

“Show me, - wrote Gogol (in 1847) P.V. Annenkov, - a portrait young Turgenev so that I get the concept of him as a person; as a writer, I know him partly: as far as I can judge by what I have read, his talent is remarkable and promises great activity in the future. " Several years later, Gogol confirmed his opinion: "In all of today's literature, Turgenev has the most talent."

The heroes and heroines of Turgenev entered the ranks of classical Russian literary images, became artistic generalizations of great cognitive power - a reflection of the cultural and social stages of one of the most remarkable epochs of Russian life (idealists of the 30-40s, commoners of the 60s, populists of the 70s) ... Dobrolyubov wrote about Turgenev's responsiveness to the demands of life: “A lively attitude to modernity has strengthened Turgenev's constant success with the reading public. We can safely say that if Turgenev touched on any issue in his story, if he portrayed some new side of social relations, this serves as a guarantee that this issue is being raised or will soon rise in the consciousness of an educated society, that this new side of life begins to stand out and will soon be expressed before the eyes of everyone. "

Turgenev was not a revolutionary, but his works, full of reflections on the fate of the homeland, warmed by love for the people and deep faith in their great future, helped educate Russian revolutionaries. That is why Saltykov-Shchedrin wrote: "Turgenev's literary activity was of leading importance for our society, along with the activities of Nekrasov, Belinsky and Dobrolyubov."

The social and literary merit of Turgenev is great, who created wonderful female images, full of thirst for activity, dedication and readiness for heroism. Such Turgenev heroines as Elena from the novel "On the Eve", the girl from the prose poem "The Threshold", inspired to fight, called to the path of serving the people, were an example for many of the writer's contemporaries. “Turgenev,” said L.N. Tolstoy, - did a great job by painting amazing portraits of women. Maybe those, as he wrote, did not exist, but when he wrote them, they appeared. This is the grain; I myself watched. then Turgenev's women in life. "

Belinsky also noted Turgenev's "extraordinary skill in depicting pictures of Russian nature." The singer of Russian nature, Turgenev, with such poetic force and spontaneity, showed captivating beauty and the beauty of the Russian landscape, like no other prose writer before him.

Together with his great predecessors - Pushkin, Lermontov, Gogol-Turgenev was one of the founders of the Russian literary language. "Our classics," wrote Gorky, "selected the most accurate, vivid, weighty words from the speech chaos and created that" great, beautiful language ", to serve the further development of which Turgenev begged Leo Tolstoy."

Turgenev achieved world fame during his lifetime and had a progressive influence on the work of a number of Western writers.

The Hunter's Notes became very popular in France.

His socio-psychological novels added even more to the fame of Turgenev in Western Europe. Progressive circles of readers were subdued by that moral purity in matters of love, which Turgenev discovered in his novels; they were captivated by the image of a Russian woman (Elena Stakhova), seized by a deep revolutionary impulse; the figure of the militant democrat Bazarov was striking.

Maupassant admired Turgenev, a "great man" and a "genius novelist." Georges Sand wrote to him: “Teacher! We must all go through your school. "

Turgenev's works became a true revelation about Russia for European society. They gave an excellent artistic commentary on the events of the life and history of our country.

Turgenev was the first to acquaint foreign readers with the Russian peasant (Hunter's Notes), with Russian commoners and revolutionaries (Fathers and Sons, Nov), with the Russian intelligentsia (in most novels), with a Russian woman (Natalya Lasunskaya , Liza Kalitina, Elena Stakhova, Marianna, etc.). From the works of Turgenev, the cultural world recognized Russia as a country where the center of both the revolutionary movement and the ideological quest of the era moved.

To this day, Turgenev remains one of our favorite writers. The living truth of life, long gone, does not die in his images.

In the era of decisive and sharp class clashes, defending his "liberalism of the old cut," Turgenev more than once found himself between two fires. This is the source of his ideological fluctuations, but one should not underestimate the courage of his mind, the depth of his thoughts, the breadth of his views, which liberated him from the chains of class egoism. A pet of the manor house, heir to the noble culture, Turgenev was one of the best progressive representatives of his turbulent and difficult "transitional" time. In his works, there is always an open, sincere thought, truth (as he understood it, fearing the "damned idealization of reality") and genuine, intelligent love for man, homeland, nature, beauty, art.

Ivan Sergeevich Turgenev was born into a wealthy noble family. Thinking Russian people since the time of Kantemir and Fonvizin have ridiculed the noble fanaticism, empty inventions about some special, higher merits of the noble breed; but these people themselves were nobles, and their ridicule is the real result of the process of accumulation and organic assimilation by the noble environment of the main assets of world culture, without which creativity within the original national culture was unthinkable. But the culture of the nobility grew on the basis of serfdom, which determined both the life and the customs of the noble masses.

In conversations about his childhood, Turgenev often recalled that in which the serfdom and customs of their family were especially pronounced. Of course, in children and early days adolescence Turgenev hardly yet understood that he, the barchuk, who was flogged for high pedagogical reasons "in rooms" and "loving", and those coachmen, cooks, hay girls, boys and Cossacks who were flogged at the stables by his mother's orders were victims of the same order, of the same morality. But ardently, to painful sympathy for their suffering, he learned even then, in this cruel home school.

1. From romanticism to realism... "Notes of a Hunter"

In the development of Russian and world literature, Turgenev's time is the time of transition from romanticism to realism, the time of the establishment and flowering of realism. Turgenev himself saw in "the great realist stream, which now dominates everywhere in literature and the arts", the most remarkable manifestation of the artistic development of his time, as he wrote in 1875 in the preface to the French translation of "The Two Hussars" by L.N. Tolstoy. In realism, he pointed out, "expressed that special direction of human thought, which, replacing the romanticism of the 30s and every year more and more spreading in European literature, also penetrated into art, painting, and music." Ivan Sergeevich Turgenev himself was an outstanding representative of this trend in world literature.

Pushkin, Lermontov, Gogol laid the unshakable foundation of a new realistic Russian literature. The successes of realism were associated with the fact that it provided art with unlimited possibilities of truthful artistic display reality, created diverse art forms, made literature a powerful means of influencing the ideological, moral and aesthetic development society.

In the 1840s, a brilliant galaxy of new realist writers, brought up by criticism of Belinsky, the successors of Pushkin and Gogol, entered Russian literature. Among them was Turgenev. In the years 1845-1846. He was still not sure of his vocation as a writer and even “had,” as he wrote in his memoirs, “a firm intention to abandon literature altogether; only as a result of requests from I.I. Panaev, who did not have anything to fill the mixture section in the 1st issue of Sovremennik, I left him an essay entitled Khor and Kalinich. The story was highly appreciated by Belinsky: "Turgenev came to the people from a side from which no one had ever reached him."

the main idea a kind of creativity Turgenev was to point out the "sorrows and questions" of the time. It was in the development of this theme that the great critic saw the guarantee of further successes in the development of Russian literature. We can say that the entire period of the 1840s, all of Turgenev's work in those years was subordinated to one super task - the writer was looking for his solution social theme in literature.

His appeal to peasant life naturally flowed from the anti-serfdom sentiments that arose among the writer during his youth. The main idea of ​​the "Notes of a Hunter" was a protest against serfdom. “Under this name I gathered and concentrated everything against which I decided to fight to the end, with which I vowed never to be reconciled ... It was my Annibal's oath; and I was not the only one who gave it to myself then, ”Turgenev later recalled.

Since the days of Radishchev's Journey from St. Petersburg to Moscow, the peasant theme has been one of the main themes of Russian literature. The appearance of images of peasants in the work of Turgenev responded to an important trend overall development realistic Russian literature of the 40s - its striving for artistic knowledge of folk life, for rapprochement with the people.

The Hunter's Notes were the direct and most profound expression of the social and literary struggle of the 1840s. 19th century.

After the publication of each new essay or story from the "Notes of a Hunter", this conviction was strengthened more and more. First of all, attention was drawn to the breadth of the author's horizons; Turgenev seemed to be writing from life, but his essays and stories did not give the impression of etudes or ethnographic sketches, although he did not skimp on ethnographic and "local history" details. Private life, apparently, non-fictional people are usually given by him in a system of comparisons, which show that the author's field of vision is the whole of Russia in its connections with the whole world. Thanks to this, each figure, each episode, with all its individual immediacy, and sometimes even seeming fleetingness or accident, acquire special significance, and the content of one thing or another turns out to be wider than the material of life reproduced in it.

In "Notes of a Hunter" Turgenev's heroes often compare "old" and "new" times. But no matter what the heroes say about this - whether they praise the old years or disapprove - the position of the author is extremely clear: the "golden age" of the Russian nobility - the age of Catherine and Alexander - is mainly a century of noble revelry, extravagance (one has only to remember the fun and the amusements of Count A.G. Orlov-Chesmensky, about which the one-manor Luka Petrovich Ovsyanikov talks), debauchery and arrogant arbitrariness. Well, and new, Nikolaev times? Strange as it may seem, but it was at this dead time that the state scribblers shouted more than ever before about the successes of education, especially among the landowners. The story "Burmistr" just tells about one "enlightened" landowner - about Arkady Pavlych Penochkin Turgenev leaves nothing for the reader to guess: the mask of "enlightenment" has been torn off right before his eyes. As a matter of fact, Penochkin puts it on only on special occasions. In this sense, the episode of suppression of the "riot" in Shipilovka is indicative: "No, brother, I do not advise you to rebel with me ... with me ... (Arkady Pavlych stepped forward, yes, he probably remembered my presence, turned away and put his hands in his pockets.)" This hideous figure contains a generalization of tremendous power.

The first stories and essays by Turgenev were written and published during the years of relative revival in public life in Russia, when even in government circles they were thinking about the abolition of serfdom. But at the beginning of 1848 a revolution broke out in France, and Nicholas I, who never forgot what a coward he celebrated on December 14, 1825, immediately decided to suppress any liberal inclinations. The punishers embarked on a genuine campaign against literature. Naturally, first of all, they paid attention to the most advanced magazine - Sovremennik. Nekrasov and Panaev were summoned to the Third Section, where they were given suggestions and explanations about Siberia. Turgenev was also taken under suspicion, whose works were one of the most important components of the success of Sovremennik. They only waited for an opportunity to deal with him. Such a case soon presented itself. Turgenev wrote a hot little article on Gogol's death, which the chairman of the St. Petersburg censorship committee banned on the grounds that Gogol was a "lackey writer." Then Turgenev sent the article to Moscow, and there it was published through the efforts of his friends - Botkin and Feoktistov. An investigation was immediately ordered, as a result of which Turgenev (at the behest of Nicholas I) was arrested on April 28, 1852. Then he was sent to Spasskoye-Lutovinovo (estate of Turgenev's mother) under police supervision, again on the personal order of Nicholas I.

Even in the time of Turgenev, such a punishment looked cruel, so there was practically no doubt that the note about Gogol was not the only fault of the writer.

In this involuntary seclusion, Turgenev was able to sum up the most important results of his work. He was finally convinced that not a single topic in literature could be more or less satisfactorily solved without directly or indirectly correlating it with the element of popular life. This also applied to the topic of personality, a topic that, in the real conditions of Russian social development, was the first half of the XIX century was inextricably linked with the question of the fate of the noble intelligentsia.

The criterion of nationality deepened the theme of the noble intelligentsia with a new understanding of the idea of ​​duty. A developed, and even more so a gifted person, should strive to realize the possibilities inherent in him; it is her duty, a duty to herself, to the idea of ​​Mankind. Without access to the wide world of Mankind, the Motherland, to the world of people's life, the noble intellectual is doomed to the collapse of his personality. What was needed was a hero who made up his mind to this exit. Apparently, in order to represent such a person, the story of Turgenev's usual scale and form was no longer suitable. This theme of entering the wide world of activity - activity on the scale of the whole of Russia - demanded a great story, as Turgenev often said, that is, it required a novel.

2 ... Roman "Rudin"

Ivan Sergeevich Turgenev began work on Rudin in 1855.

The appearance of the novel in print caused a lot of talk and controversy in literary circles and among readers.

The critic of Otechestvennye zapiski viewed Rudin only as a pale copy of the previous heroes of Russian literature - Onegin, Pechorin, Beltov. But Chernyshevsky objected to him in Sovremennik, noting that Turgenev was able to show in the image of Rudin a man of a new era of social development. Comparing Rudin with Beltov and Pechorin, Chernyshevsky emphasized that "these are people of different eras, of different natures, people who make up a perfect contrast to one another."

After the publication of the novel, Nekrasov expressed confidence that for Turgenev “a new era of activity begins, for his talent acquired new strength, that he will give us works that are even more significant than those that deserved in the eyes of the public first place in our the latest literature after Gogol ".

In a letter to Turgenev, Sergei Timofeevich Aksakov spoke about the vitality of the image of the Rudin type and noted that the novel "raises many small questions and reveals the deep secrets of the spiritual nature of man."

Speaking about the recognition of the novel among the populist intelligentsia, one cannot ignore the words of V.N. Figner: “It seems to me that the whole novel is taken directly from life, and Rudin is the purest product of our Russian reality, not a parody, not a mockery, but a real tragedy that has not died at all, that is still living, is still going on ...”. “In every educated person of our time, there is a particle of Dmitry Rudin,” wrote Stepnyak-Kravchinsky.

Rudin is one of the best representatives of the cultural nobility. He was educated in Germany, like Mikhail Bakunin, who served as his prototype, and like Turgenev himself. Rudin's character is revealed in the word. This is a brilliant speaker. Appearing in the estate of the landowner Lasunskaya, he immediately captivates those present. “Rudin possessed almost the highest secret - the secret of eloquence. He was able, striking one strings of hearts, to make all others vaguely ring and tremble. " In his philosophical speeches about the meaning of life, about the high purpose of man, Rudin is simply irresistible. A person cannot, should not subordinate his life only to practical goals, to concerns about existence, he asserts. Without the desire to find "general principles in particular phenomena" of life, without faith in the power of reason, there is neither science, nor enlightenment, nor progress, and “if a person does not have a strong beginning, in which he believes, there is no ground on which he stands firmly, how can he give himself an account of the needs, the meaning, the future of his people? "

Enlightenment, science, the meaning of life - this is what Rudin talks about with such enthusiasm, inspiration and poetry. He tells the legend of a bird that flew into the fire and again disappeared into the darkness. It would seem that a person, like this bird, appears from nothing and, having lived a short life, disappears into obscurity. Yes, “our life is fast and insignificant; but all great things are done through people. "

His statements inspire and call for a renewal of life, for extraordinary, heroic achievements. Everyone feels the power of Rudin's influence on the audience, his conviction in a word. And everyone admires Rudin for his "extraordinary mind". Only Pigasov does not recognize the merits of Rudin - from resentment for his defeat in the dispute.

But in the very first conversation between Rudin and Natalya, one of the main contradictions of his character is revealed. After all, only the day before he spoke so inspiredly about the future, about the meaning of life, about the purpose of man, and suddenly he appears as a tired man who does not believe either in his own strength or in the sympathy of people. True, one objection of the surprised Natalya is enough - and Rudin reproaches himself for his cowardice and again preaches the need to do business. But the author has already sown doubt in the reader's soul that Rudin's words are consistent with deeds, and intentions - with deeds.

The writer subjects the contradictory character of his hero to a serious test - love. This feeling for Turgenev is either light, then tragic and destructive, but it is always a force that reveals the soul, the true nature of a person. This is where Rudin's real character is revealed. Although Rudin's speeches are full of enthusiasm, years of abstract philosophical work have dried up living sources of heart and soul in him. The predominance of the head over the heart is already noticeable in the scene of the first love confession.

The first obstacle on his way - the refusal of Daria Mikhailovna Lasunskaya to marry her daughter to a poor man - leads Rudin into complete confusion. In response to the question: "What do you think we need to do now?" - Natalia hears: "Of course, submit." And then Natalya Rudin throws a lot of bitter words: she reproaches him for cowardice, cowardice, that his lofty words are far from the case. And Rudin feels miserable and insignificant in front of her. He does not stand the test of love, revealing his human inferiority.

In the novel, Lezhnev is opposed to the main character - openly, straightforwardly. Rudin is eloquent - Lezhnev is usually laconic. Rudin cannot figure out himself - Lezhnev perfectly understands people and helps his loved ones without unnecessary words, thanks to mental tact and sensitivity. Rudin does nothing - Lezhnev is always busy with something.

But Lezhnev is not only an antagonist of Rudin, he is an interpreter of the hero. Lezhnev's assessments are not the same at different moments, even contradictory, but in general they inspire the reader with an understanding of the complex character of the hero and his place in life.

The highest assessment of Rudin is, therefore, given by his antagonist, a man of practical nature. Maybe he is the true hero of the novel? Lezhnev is rewarded with both intelligence and understanding of people, but his activities are limited by the existing order of things. The author constantly emphasizes his everyday life. He is businesslike, but for Turgenev it is impossible to reduce the whole meaning of life to businesslikeness, not inspired by the highest idea.

Rudin reflects tragic fate man of the Turgenev generation. Departure into abstract thinking could not but entail negative consequences: speculativeness, poor acquaintance with the practical side. People like Rudin, bearers of high ideals, keepers of culture, serve the progress of society, but are clearly devoid of practical potential. An ardent opponent of serfdom, Rudin found himself absolutely helpless in realizing his ideal.

In Russian life, he is destined to remain a wanderer. His fate is echoed by another image of the wanderer, the image of the immortal Don Quixote.

The ending of the novel is heroic and tragic at the same time. Rudin dies on the barricades of Paris. I recall the words from the Rudin letter to Natalya: "I will end up sacrificing myself for some nonsense, in which I will not even believe ...".

3 ... "Noble Nest"

Compared to Turgenev's first novel in The Noble Nest, everything seems soft, balanced, there are no such sharp oppositions as the opposition of Rudin and Pigasov, Basistov and Pandalevsky. Even Panshin, who embodies exemplary noble morality, does not differ in obvious, striking negativity. One can understand Liza, who for a long time could not determine her attitude towards Panshin and, in essence, did not resist Marya Dmitrievna's intention to marry her to Panshin. He is courteous, tactful enough in everyday life, moderately educated, knows how to maintain a conversation; he paints and paints, composes music and poetry. And who knows how Liza's fate would have turned out if not for the dispute. In general, it should be noted that ideological disputes always play a huge role in the composition of Turgenev's novels. In The Noble Nest, the "tie-in" dispute is the dispute between Panshin and Lavretsky about the people. Turgenev once remarked that it was a dispute between a Westerner and a Slavophile. This author's characteristic should not be taken too literally. The fact is that both Panshin is a Westerner of a special, official type, and the Lavretsky Slavophile is not orthodox. In his attitude to the people, Lavretsky most of all resembles the author of the Hunter's Notes, that is, Turgenev himself. He is not trying to give the Russian people some simple, memorable definition; like Turgenev, Lavretsky believes that before inventing and imposing recipes for organizing people's life, one must understand this life, study the character of the people. Here he expresses essentially the same idea as expressed by Rudin in his dispute with Pigasov.

The Noble Nest is a novel about the historical fate of the nobility in Russia. The father of the protagonist of the novel, Fyodor Ivanovich Lavretsky, spent his entire life abroad, first in the service, and then "for his own pleasure." This man in all his hobbies is infinitely far from Russia and its people. A supporter of the constitution, he does not tolerate the appearance of "fellow citizens" - peasants.

Fyodor Ivanovich, after the death of his father, falls into the love networks of the cold and calculating egoist Varvara Pavlovna. He lives with her in France, until chance opens his eyes to his wife's infidelity. As if freeing himself from obsession, Lavretsky returns home and seems to see his native places anew, where life flows "inaudibly, like water over marsh grasses." In this silence, where even the clouds seem to "know where and why they are sailing," he meets his true love- Lisa Kalitin. But this love was not destined to become happy, although the amazing music composed by the old eccentric Lemme, Lisa's teacher, promised happiness to the heroes. Varvara Pavlovna, who was considered dead, turned out to be alive, which means that the marriage of Fedor Ivanovich and Liz became impossible. In the finale, Lisa goes to a monastery to atone for the sins of her father, who obtained wealth in unrighteous ways. Lavretsky is left alone to live out a bleak life.

Liza and Lavretsky - heirs best features patriarchal nobility (their bearer in the novel is Marfa Timofeevna, Liza's aunt), and at the same time they are alien to both the barbarism and ignorance of former times, and blind admiration for the West.

They are capable of self-sacrifice and are ready for long, hard work. The characters of the honest, slightly awkward "bobak" Lavretsky (in many ways he resembles Pierre Bezukhov from Tolstoy's "War and Peace") and the modest, religious Liza Kalitina are truly national. Turgenev saw in them that healthy beginning of the Russian nobility, without which, from his point of view, the social renewal of the country could not take place.

The beginning of popular morality in the character of Liza, in all her worldview, is also expressed in a definition. With all her behavior, her calm grace, she more than all Turgenev's heroines resembles Pushkin's Tatyana. But in the character of Liza there is one property that is only outlined in the character of Tatiana, but which will become the main distinguishing characteristic of the type of Russian women, which is usually called "Turgenev's". This is selflessness, readiness for self-sacrifice. Liza has only one predecessor: Lukerya from Turgenev's story "Living Power".

It is difficult for us to put up with the fact that in the finale of the novel we see Liza Kalitina in the monastery. But, in essence, this is a strikingly courageous, faithful touch of the artist. After all, Liza did not have a path to life in the name of good (and Liza dreamed only of such a life). Liza's fate also includes Turgenev's sentence to Lavretsky. It is hard to imagine what would have happened to Liza if Lavretsky had gone beyond his dreams, if some great danger threatened him. Probably, then Lisa's fate would have been different. Her monastic lot is an accusation not only of Lavretsky, but also of the whole society, which kills everything that is pure that is born in it.

roman turgenev creative realism

4 ... Turgenev's revolutionary moods - the novel "On the Eve"

The novel "On the Eve" was written and published in the midst of revolutionary situation 1859-1861 years.

The action of this novel takes place in 1963, before the Crimean defeat, but it does not feel the oppressive atmosphere that existed in the last years of the reign of Nicholas I. The novel was written after Crimean War, in the years of the beginning of the social awakening of Russia, in the desire for freedom, freedom in everything: in social activities, in feelings, in personal life. This penetrating novel, pathos is embodied primarily in the image of Elena Stakhova.

In concrete historical terms, the image of Turgenev's heroine testified to the growth of social consciousness among the Russian female youth of that time. When Elena, after the death of Insarov, became a sister of mercy, took part in the liberation war of the Bulgarian people against the Turkish yoke, readers could not help but recall the memorable images of the first Russian sisters of mercy and their exploits during the defense of Sevastopol.

When the novel was published, opinions about it were sharply divided, even those who welcomed the novel were forced to speak, first of all, and most of all about Elena. She seemed the most convincing artistically, and her chosen life path was a new word in Russian literature. And the image of Insarov was considered by many to be unsuccessful. His restraint in expressing feelings seemed unnatural, contrived.

Turgenev did not choose a Bulgarian as his hero out of an accidental whim. Russian society followed with great attention and sympathy the struggle waged by the peoples of the Slavic countries against the Turkish yoke. It was quite natural that the Russian writer not only became interested in this struggle, but also made one of its participants the hero of his work. So there was nothing invented in Elena's decision. In fact, in those days there were many cases when Russian young people, in one way or another, were involved in the liberation movement against Turkish rule in the Balkans.

In the novel "On the Eve", social issues are in the foreground. “Note,” says Insarov, “the last man, the last beggar in Bulgaria, and I — we want the same thing. We all have one goal. Understand what confidence and strength this gives! " Here, in essence, the duality of the theme of Turgenev's novel is most clearly manifested. Insarov talks about Bulgaria and Turkey. At the same time, Turgenev wanted the reader to think about the "internal Turks", that is, about the defenders of serfdom, about serfdom, against which all must unite healthy forces Russian society, forgetting, at least for a while, internal strife and misunderstandings. Turgenev dreamed of uniting all the forces of Russian society, of jointly preparing the forthcoming transformations.

Turgenev found himself in an extremely difficult position: neither revolutionary democrats nor conservatives accepted his idea. If we consistently reveal the two-pronged theme of the novel, then we will have to admit that the writer was quite sympathetic to how the Bulgarians are fighting the Turkish yoke (it was about an armed struggle). It turned out that, introducing an internal theme, developing it, Turgenev did not deny the most decisive forms of struggle against serfdom.

Analyzing the novel, Dobrolyubov in the article "When will the real day come?" (1860) offered his own interpretation of his main idea, which differs from Turgenev's: if Turgenev believed that Insarov as a heroic nature “could not develop and express himself in modern Russian society,” he was possible only in Bulgaria, then Dobrolyubov, on the contrary, argued, that "now in our society there is already a place for great ideas and sympathy, and that the time is not far away when these ideas can be manifested in practice." These direct revolutionary conclusions from the novel "On the Eve" were not acceptable to Turgenev. After reading Dobrolyubov's article in the manuscript, he asked Nekrasov, editor of Sovremennik, not to publish it even after it had been censored. Nekrasov refused. Then Turgenev posed the question sharply: "Me or Dobrolyubov?" Nekrasov preferred Dobrolyubov. After that, Turgenev left for Sovremennik.

5 ... "Fathers and Sons"

Under the influence of communication with the ideological leaders of Sovremennik - Dobrolyubov and Chernyshevsky - the writer nevertheless began to think intently about how to show Fiction new heroes - raznochin Democrats, public role which increased every day. As a result of these writer's reflections and observations, the novel "Fathers and Sons" soon appeared, where the central character is a common democrat Bazarov.

In this novel, the dispute is between liberals, such as Turgenev and his closest friends, and a revolutionary democrat such as Chernyshevsky and Dobrolyubov (Dobrolyubov partly served as a prototype for Bazarov). When Turgenev created the image of Bazarov, he thought not so much about how to embody Dobrolyubov's unpleasant features in this figure, but about how to convey as fully as possible the charm of strength and integrity that attracted him in new people.

The doctor's son Yevgeny Bazarov contemptuously refers to the noblemen who have never worked anywhere “barchuk”. But in the work not only representatives of different social groups collide, but also generations.

A month and a half before the end of the novel, Turgenev remarked in one letter: "Real clashes are those in which both sides are right to a certain extent." The conflict of ideological opponents, Pavel Petrovich Kirsanov and Yevgeny Bazarov, representing respectively "fathers" and "children", is precisely this. The position of the educated liberal Pavel Petrovich is in many ways close to the author. His "principles" and "authorities" are a sign of respect and trust in the experience of past generations. But he is not capable of paying "fatherly" attention to the mental needs and concerns of the "children." Bazarov, who mercilessly denies love, poetry, morality and, perhaps, the entire world order, is an extreme individualist. In the novel, he is characterized as a nihilist: "From the Latin nihil, nothing ... therefore, this word means a person who ... does not recognize anything." But his nihilism (this word was picked up with the advent of Turgenev's novel) feeds on the latent fermentation of popular discontent and is strong in this.

It was not for nothing that Turgenev was called "the chronicler of the Russian intelligentsia." He sensitively caught the latent movements, feelings and thoughts of the "cultural layer" of Russian people. In his novels, he embodied not only already existing "types and ideals", but also barely emerging. The latter also includes the image of Bazarov. Even a few years later, critic D.I. Pisarev complained that there were still too few Bazarovs in Russia.

In disputes with Pavel Petrovich, Bazarov turns out to be morally stronger and almost emerges from them as a winner. The failure of his nihilism is proved not by Pavel Petrovich, but by the entire artistic structure of the novel.

The critic N.N. Strakhov defined Turgenev's "mysterious morality" as follows: "Bazarov turns away from nature ... Turgenev ... paints nature in all its beauty. Bazarov does not value friendship and renounces romantic love... the author ... depicts Arkady's friendship for Bazarov himself and his happy love to Katya. Bazarov denies the close ties between parents and children ... the author ... unfolds before us a picture parental love... Bazarov shuns life ... the author ... shows us life in all its beauty. Bazarov rejects poetry; Turgenev ... portrays him with all the luxury and insight of poetry. ... Bazarov ... is defeated not by the faces and not by the accidents of life, but by the very idea of ​​this life. "

Rejected by Bazarov love irresistibly chained him to the cold aristocrat Odintsova and broke him mental strength... Bazarov dies by a stupid accident. The cut of the finger was enough to kill the "giant" (as he thought of himself). The death of Bazarov accepts with dignity the victim of fate. As in other works of Turgenev, inexplicable triumphs over a person higher power controlling his life and death.

Turgenev disliked people like Bazarov. And yet, his image of a nihilist turned out to be by no means caricatured, as in the series of "anti-nihilistic novels" that followed Fathers and Sons. Paradoxically, the statements of his nihilist are in many respects consonant with the moods of Turgenev himself (in particular, the words of Bazarov about the "narrow place" where human life, about a "burdock" that will grow on the grave of a suffering and thinking creature, etc.). Turgenev even admitted: "With the exception of Bazarov's views on art, I share almost all of his beliefs." It is no accident that Bazarov emerged from him as a truly tragic figure.

Turgenev began work on the novel in early August 1860, and finished it in July 1861. The "Fathers and Children" appeared in the February book of the "Russian Bulletin" magazine for 1862. In the same year, the novel was published as a separate edition with a dedication to the memory of V.G. Belinsky.

The novel takes place in the summer of 1859, the epilogue tells about the events that followed after the fall of serfdom, in 1861. Turgenev follows, one might say, on the heels of the events of Russian life - he has never yet created a work, the vital content of which in time would almost coincide with the moment of the very work on it.

Conclusion

Turgenev in one of his letters admitted that when he wrote to Bazarov, then, in the end, he felt not dislike for him, but admiration. And when he wrote the scene of Bazarov's death, he sobbed bitterly. These were not tears of pity, they were the tears of an artist who saw the tragedy of a person in whom a part of his own ideal was embodied.

"Fathers and Sons" caused, apparently, the most bitter controversy in the entire history of Russian literature in the 19th century. Pisarev believed that Bazarov unusually fully embodied the qualities of a revolutionary of the generation of the 60s, "Sovremennik" in an article by M.A. Antonovich spoke sharply negatively about Turgenev's novel, seeing in the image of Bazarov slander against "children."

In the second half of the 60s, the conflict between Turgenev and the revolutionary democrats reached the highest intensity. The writer believed that he was unjustly offended, was indignant, complained, threatened to "put down the pen", but at the same time he did not stop with intense attention to follow the ups and downs social struggle in Russia. An artist, always faithful to the truth of life, he realized that both in the years of reaction and in the years of the new upsurge of the liberation movement, it was the young followers of Chernyshevsky who played the leading role. Even now he did not agree with their methods of struggle; but before their nobility, before their readiness for the good of the people to make the greatest sacrifices, he openly bowed down. It was this feeling that guided him when he wrote and his last novel"Nov", and the famous hymn to the revolutionary feat - "Threshold".

Turgenev was a highly developed person, convinced and never left the soil of universal human ideals. He carried these ideals into Russian life with that conscious constancy that constitutes his main and invaluable service to Russian society. In this sense, he is a direct successor to Pushkin and knows no other rivals in Russian literature.

In terms of the epic character of his works, Turgenev is second only to Tolstoy. Tolstoy's compositions, spanning whole years, revealing the life of a nation from top to bottom, are approaching an epic, while Turgenev's novel is close to a story. However, the very possibility of the emergence of a "thick novel" was prepared by Turgenev, his careful development of the fate of the characters in their relationship with the environment, with the typical circumstances of their life, their upbringing, their spiritual and moral development ...

Turgenev is one of the creators of the great Russian realistic novel, truthfulness, depth and artistic merit who amazed the world. And if it is true that the novel was the main highway in the development of world literature in the era of realism, then it is indisputable that one of the central figures of this development in the middle of the 19th century was Turgenev.

Bibliography

1. Belinsky, V.G. Poly. collection op. T 7.M .: Publishing house of the Academy of Sciences of the USSR, 1955, p. 78.

2. I.S. Turgenev in Russian criticism. M: Goslitizdat, 1953.S. 397-398.

3. Turgenev. I.S. Complete Works and Letters. In 28 volumes. Letters. T. 3.M .; L., 1961.

4. Library of World Literature. Series two. T. 117.

I. Turgenev “Notes of a hunter. The day before. Fathers and Sons". Publishing house "Khudozhestvennaya literatura" Moscow 1971

5. "Russian literature of the XIX-XX centuries: in two volumes", vol. 1. Tutorial for those entering universities. Compiled by and scientific. ed. B.S. Bugrov, M.M. Golubkov. - 12th edition. - M .: Publishing house of Moscow University, 2013

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Brief biography of Ivan Turgenev

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 into a noble family. The writer's father was a retired officer, and his mother was a hereditary noblewoman. Turgenev spent his childhood on the family estate, where he had personal teachers, tutors, and 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 worked with private teachers. Since childhood, the writer owned several foreign languages including English, French and German.

In 1833, Ivan entered the Moscow University, and a year later he transferred to the St. Petersburg Department of Literature. In 1838 he went to Berlin to lecture in classical philology. There he met Bakunin and Stankevich, whom he met great importance for the writer. During the two years spent abroad, he managed to visit France, Italy, Germany and Holland. They returned to their homeland 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 Internal Affairs. In the same year, he met Belinsky, who had a considerable influence on the formation of literary and public views young writer. In 1846, Turgenev wrote several works: "Breter", "Three portraits", "Freeloader", "Provincial", etc. In 1852, one of the best stories the writer - "Mumu". The story was written while serving his exile in Spassky-Lutovinovo. In 1852, "Notes of a Hunter" appeared, and after the death of Nicholas I, 4 major works Turgenev: "On the Eve", "Rudin", "Fathers and Sons", "Noble Nest".

Turgenev gravitated towards 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. Western Europe... Among them were Dickens, Georges Sand, Prosper Merimee, Thackeray, Victor Hugo and many others. He soon became an editor for foreign translators of Russian writers. In 1878, he was named vice-president at the International Literature Congress held in Paris. The following year, Turgenev was awarded an honorary doctorate from the University of Oxford. Living abroad, his soul was also drawn to his homeland, which was reflected in the novel "Smoke" (1867). The largest in terms of 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.

Video of a short biography of Ivan Turgenev

In history domestic literature I.S. Turgenev belongs to the place of the "chronicler" of the life of the Russian intelligentsia in the second half of the 19th century. and a connoisseur of the folk soul.

Turgenev's first literary, poetic and dramatic experiments were imitative romantic character. But in his prose works this period, there was already a desire to realistic image reality, which was fully revealed in the first collection of stories "Notes of a Hunter", imbued with feeling protest against serfdom and the spirit of affirming the moral significance of the oppressed people. An appeal to the themes of peasant life, within the framework of which the spiritual and moral potential of the Russian people was revealed and the deep features were comprehended national character, in the collection was supplemented by the development of problems related to psychology, ideology and the social role of the Russian intelligentsia. It was this line that became defining in Turgenev's novels, for which, with all the differences, the common thing is the image of the ideological and spiritual searches of people belonging to the cultural stratum of Russian society.

In line with this topic, the writer created the types of the Russian intelligentsia characteristic of his time: “ extra person"At a new stage of its development (" Rudin "), an inhabitant of a" noble nest "(" Noble nest "), a commoner-revolutionary (" On the Eve "), a nihilist (" Fathers and Sons "), a representative of a generation of ideological impassability and spiritual grinding ( "Smoke"), populist ("Nov"). Responding to topical issues of social life, Turgenev in his novels unfolded broad pictures of the ideological struggle. Along with this, he raised issues of social structure, moral life and the psychology of relationships. The writer paid special attention to the sphere love feelings and the natural world, in the image of which he achieved high artistic skill.

V last years I. Turgenev moved away from social issues and focused on the "eternal" issues of life - love, death, happiness, suffering, the meaning of existence, incomprehensible mysteries of life, etc.

A deeply Russian writer in spirit, Turgenev spent most of his life abroad, where he did a lot to popularize Russian culture. With his assistance, the works of A.S. Pushkin, M. Yu. Lermontov, L.N. Tolstoy, M.E. Saltykov-Shchedrin and other Russian authors. It was with Turgenev that the worldwide recognition of Russian literature began.

Turgenev's work captured the characters born of time, the spiritual mood of that time. The writer was surprisingly perspicacious and knew how to capture and embody in artistic images the only emerging trends in social life, changes in social psychology that were not noticeable to his contemporaries. Material from the site

Turgenev was the first to show in realistic sketches of village life the moral superiority of enslaved peasants over "noble" landowners (Notes of a Hunter).

Under the pen of Turgenev, the ideal of an active fighter, a democrat found life ("On the Eve"); he has priority in discovering the image of a democrat-nihilist ("Fathers and Sons"),

Turgenev created new type the heroines are women of advanced views, high impulses, readiness for a feat ("On the Eve", "New").

No one before Turgenev wrote so poetically and elegiac about the dying nests of the nobility.

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Literary critics argue that the classic art system changed the poetics of the novel of the second half of the 19th century. Ivan Turgenev was the first to feel the appearance of the "new man" - the sixties - and showed him in his essay "Fathers and Sons". Thanks to the realist writer, the term "nihilist" was born in the Russian language. Ivan Sergeevich introduced into everyday life the image of a compatriot, who received the definition of "Turgenev girl".

Childhood and youth

One of the pillars of classical Russian literature was born in Orel, in an old noble family. Ivan Sergeevich's childhood passed in the mother's estate Spasskoye-Lutovinovo not far from Mtsensk. He became the second son of three born to Varvara Lutovinova and Sergei Turgenev.

Family life parents did not work out. The father, who had missed the fortune of a handsome cavalry guard, by calculation married not a beautiful woman, but a wealthy girl, Varvara, who was 6 years older than him. When Ivan Turgenev turned 12, his father left the family, leaving three children in the care of his wife. After 4 years, Sergei Nikolaevich died. Died soon after from epilepsy younger son Sergey.

Nikolai and Ivan had a hard time - their mother had a despotic character. An intelligent and educated woman had a lot of grief in her childhood and youth. Varvara Lutovinova's father died when her daughter was a child. Mother, an absurd and oppressive lady, whose image the readers saw in Turgenev's story "Death", remarried. The stepfather drank and did not hesitate to beat and humiliate his stepdaughter. Not the best way treated her daughter and mother. Due to the cruelty of her mother and the beatings of her stepfather, the girl fled to her uncle, who left her niece after her death as an inheritance of 5 thousand serfs.

Although the mother did not know affection in childhood, although she loved children, especially Vanya, she treated them in the same way as her parents treated her in childhood - the sons will forever remember mother's heavy hand. Despite her absurd disposition, Varvara Petrovna was an educated woman. With her family, she spoke exclusively in French demanding the same from Ivan and Nikolai. A rich library was kept in Spasskoye, consisting mainly of French books.

When Ivan Turgenev turned 9, the family moved to the capital, to a house on Neglinka. Mom read a lot and instilled in children a love of literature. Preferring French writers, Lutovinova-Turgeneva followed the literary novelties, and was friends with Mikhail Zagoskin. Varvara Petrovna thoroughly knew the work, and quoted them in her correspondence with her son.

The education of Ivan Turgenev was carried out by tutors from Germany and France, on whom the landowner spared no money. The wealth of Russian literature was discovered by the serf valet Fyodor Lobanov, who became the prototype of the hero of the story "Punin and Baburin".

After moving to Moscow, Ivan Turgenev was assigned to the boarding house of Ivan Krause. At home and in private boarding houses, the young master completed a high school course, at the age of 15 he became a student at the capital's university. At the Faculty of Literature, Ivan Turgenev studied a course, then transferred to St. Petersburg, where he received a university education at the Faculty of History and Philosophy.

In his student years, Turgenev translated poetry and the lord and dreamed of becoming a poet.

After receiving his diploma in 1838, Ivan Turgenev continued his education in Germany. In Berlin he attended a course of university lectures on philosophy and philology, wrote poetry. After the Christmas holidays in Russia, Turgenev went to Italy for six months, from where he returned to Berlin.

In the spring of 1841, Ivan Turgenev arrived in Russia and a year later passed the exams, receiving a master's degree in philosophy at St. Petersburg University. In 1843 he entered the Ministry of the Interior, but his love for writing and literature outweighed.

Literature

For the first time Ivan Turgenev appeared in print in 1836, having published a review of Andrei Muravyov's book "A Journey to the Holy Places". A year later he wrote and published the poems "Calm at Sea", "Phantasmagoria on a Moonlit Night" and "Dream".

Fame came in 1843, when Ivan Sergeevich composed the poem "Parasha", approved by Vissarion Belinsky. Soon Turgenev and Belinsky became so close that the young writer became godfather son of a famous critic. Rapprochement with Belinsky and Nikolai Nekrasov influenced the creative biography of Ivan Turgenev: the writer finally said goodbye to the genre of romanticism, which became obvious after the publication of the poem "Landowner" and the stories "Andrei Kolosov", "Three portraits" and "Breter".

Ivan Turgenev returned to Russia in 1850. He lived first in the family estate, then in Moscow, then in St. Petersburg, where he wrote plays that were successfully performed in theaters in the two capitals.

In 1852 Nikolai Gogol passed away. Ivan Turgenev responded to the tragic event with an obituary, but in St. Petersburg, at the behest of the chairman of the censorship committee, Alexei Musin-Pushkin, they refused to publish it. The newspaper "Moskovskie vedomosti" dared to place Turgenev's note. The censor did not forgive disobedience. Musin-Pushkin called Gogol a "lackey writer" not worthy of mention in society, moreover, he saw in the obituary a hint of a violation of the unspoken prohibition - not to recall in the open press those who died in a duel, Alexander Pushkin and.

The censor wrote a report to the emperor. Ivan Sergeevich, who was under suspicion due to frequent trips abroad, communication with Belinsky and Herzen, radical views on serfdom, incurred even greater anger from the authorities.

In April of the same year, the writer was imprisoned for a month, and then sent under house arrest on the estate. For a year and a half, Ivan Turgenev stayed in Spasskoye without a break, for 3 years he had no right to leave the country.

Turgenev's fears about the ban on censorship of the publication of "Notes of a Hunter" as a separate book did not materialize: a collection of stories, previously published in "Sovremennik", came out. For permission to publish the book, the official Vladimir Lvov, who served in the censorship department, was fired. The cycle includes stories "Bezhin Meadow", "Biryuk", "Singers", "Uyezdny Healer". Separately, the novels did not pose a danger, but taken together, they were anti-serfdom in nature.

Ivan Turgenev wrote for both adults and children. The prose writer presented the young readers with fairy tales and observation stories "Sparrow", "Dog" and "Pigeons", written in a rich language.

In rural solitude, the classic wrote the story "Mumu", as well as the novels "Noble Nest", "On the Eve", "Fathers and Sons", "Smoke", which became an event in the cultural life of Russia.

Ivan Turgenev went abroad in the summer of 1856. In the winter in Paris, he completed the dark story "A Trip to Polesie". In Germany, in 1857, he wrote Asya, a story translated into European languages ​​during the writer's lifetime. The prototype of Asya, the out-of-wedlock daughter of a landowner and a peasant woman, is considered by critics to be Turgenev's daughter Pauline Brewer and the illegitimate half-sister Varvara Zhitova.

Abroad, Ivan Turgenev closely followed cultural life Russia, corresponded with writers who remained in the country, communicated with emigrants. Colleagues considered the prose writer a controversial personality. After an ideological disagreement with the editors of Sovremennik, which became the mouthpiece of revolutionary democracy, Turgenev broke with the magazine. But, having learned about the temporary ban of Sovremennik, he spoke out in his defense.

During his life in the West, Ivan Sergeevich entered into long conflicts with Leo Tolstoy, Fyodor Dostoevsky and Nikolai Nekrasov. After the release of the novel "Fathers and Sons", he quarreled with the literary community, which was called progressive.

Ivan Turgenev was the first Russian writer to be recognized in Europe as a novelist. In France, he became close to the realist writers, the Goncourt brothers, and Gustave Flaubert, who became a close friend to him.

In the spring of 1879, Turgenev arrived in St. Petersburg, where young people met him as an idol. Delight from the visit famous writer did not share the authorities, letting Ivan Sergeevich understand that a long stay of a writer in the city is undesirable.

In the summer of the same year, Ivan Turgenev visited Britain - the Russian prose writer was given the title of honorary doctor at Oxford University.

The penultimate time Turgenev came to Russia in 1880. In Moscow, he attended the unveiling of a monument to Alexander Pushkin, whom he considered a great teacher. The classic called the Russian language support and support "in the days of painful thoughts" about the fate of the motherland.

Personal life

Heinrich Heine compared the femme fatale, who became the love of the writer's entire life, to a landscape “both monstrous and exotic”. The Spanish-French singer Pauline Viardot, a short and stooped woman, had large masculine features, a large mouth and bulging eyes. But when Polina sang, she was fabulously transformed. At such a moment, Turgenev saw the singer and fell in love for the rest of his life, for the remaining 40 years.

The personal life of the prose writer before meeting Viardot was like a roller coaster. The first love, which Ivan Turgenev sadly told in eponymous story, painfully wounded a 15-year-old boy. He fell in love with his neighbor Katenka, the daughter of Princess Shakhovskoy. What a disappointment befell Ivan when he learned that his "pure and immaculate" Katya, captivated by her childlike spontaneity and girlish blush, was the mistress of his father, Sergei Nikolaevich, a hardened womanizer.

The young man became disillusioned with the "noble" girls and turned his eyes to ordinary girls - serfs. One of the undemanding beauties - seamstress Avdotya Ivanova - gave birth to Ivan Turgenev's daughter Pelageya. But while traveling in Europe, the writer met Viardot, and Avdotya remained in the past.

Ivan Sergeevich met the singer's husband, Louis, and became a part of their house. Turgenev's contemporaries, friends of the writer and biographers disagreed about this union. Some call it sublime and platonic, others talk about the considerable sums that the Russian landowner left in the house of Pauline and Louis. Viardot's husband turned a blind eye to Turgenev's relationship with his wife and allowed him to live in their house for months. It is believed that the biological father of Paul, the son of Pauline and Louis, is Ivan Turgenev.

The writer's mother did not approve of the connection and dreamed that her beloved son would settle down, marry a young noblewoman and give legal grandchildren. Varvara Petrovna did not favor Pelageya, she saw her as a serf. Ivan Sergeevich loved and pitied his daughter.

Pauline Viardot, hearing about the bullying of a tyrannical grandmother, was imbued with sympathy for the girl and took her into her house. Pelageya turned into Polynette and grew up with Viardot's children. In fairness, it is worth noting that Pelageya-Polinet Turgeneva did not share her father's love for Viardot, believing that the woman stole the attention of a loved one from her.

Cooling in the relationship between Turgenev and Viardot came after a three-year separation, which happened due to house arrest writer. Ivan Turgenev made two attempts to forget the fatal passion. In 1854, the 36-year-old writer met a young beauty Olga, the daughter of a cousin. But when a wedding dawned on the horizon, Ivan Sergeevich yearned for Polina. Not wanting to ruin the life of an 18-year-old girl, Turgenev confessed his love for Viardot.

The last attempt to break free from the embrace of a Frenchwoman happened in 1879, when Ivan Turgenev was 61 years old. Actress Maria Savina was not frightened by the age difference - her lover was twice as old. But when the couple went to Paris in 1882, Masha saw many things and trinkets that reminded of her rival in the home of her future spouse, and realized that she was superfluous.

Death

In 1882, after parting with Savinova, Ivan Turgenev fell ill. The doctors made a disappointing diagnosis - cancer of the bones of the spine. The writer died in a foreign land for a long time and painfully.

In 1883, Turgenev was operated on in Paris. The last months of his life, Ivan Turgenev was happy, how happy a person tormented by pain can be - next to him was his beloved woman. After her death, she inherited Turgenev's property.

The classic died on August 22, 1883. His body was delivered to St. Petersburg on September 27. From France to Russia, Ivan Turgenev was accompanied by Pauline's daughter, Claudia Viardot. The writer was buried at the St. Petersburg Volkov cemetery.

Those who called Turgenev "a thorn in his own eye" reacted to the death of the "nihilist" with relief.

Bibliography

• 1855 - "Rudin"
• 1858 - "Noble Nest"
• 1860 - "The Eve"
• 1862 - "Fathers and Sons"
• 1867 - "Smoke"
• 1877 - "New"
• 1851-73 - "Notes of a Hunter"
• 1858 - "Asya"
• 1860 - "First Love"
• 1872 - "Spring Waters"

Ivan Sergeevich Turgenev was born on October 28, 1818 in the Oryol province. His father, Sergei Nikolaevich, is a retired hussar officer, a participant in the Patriotic War of 1812. Mother - Varvara Petrovna (nee Lutovinskaya) - came from a wealthy landowner family, so many said that Sergei Nikolaevich married her solely for money.
Until the age of 9, Turgenev lived in the family estate of his mother, Spasskoye-Lutavinovo, Oryol province. Varvara Petrovna had a tough (sometimes cruel) character, scornful of everything Russian, so little Vanya was taught three languages ​​from childhood - French, German and English. Elementary education the boy received from the tutors and home teachers.

Turgenev's education

In 1827, Turgenev's parents, wishing to give their children a decent education, moved to Moscow, where they sent Ivan Sergeevich to study at the Weidengammer boarding school, and then under the guidance of private teachers.
At the age of fifteen, in 1833, Turgenev entered the verbal faculty of Moscow University. A year later, the Turgenevs moved to St. Petersburg, and Ivan Sergeevich transferred to St. Petersburg University. He graduated from this educational institution in 1836 with the degree of a full-time student.
Turgenev was passionate about science and dreamed of devoting his life to it, so in 1837 he passed the exam for a candidate of science degree.
He received further education abroad. In 1838, Turgenev left for Germany. After settling in Berlin, he attended lectures on classical philology and philosophy, studied the grammar of ancient Greek and Latin languages... In addition to his studies, Ivan Sergeevich traveled a lot in Europe: he traveled almost all of Germany, visited Holland, France, Italy. In addition, during this period he met and made friends with T.N. Granovsky, N.V. Stankevich and M.A. Bakunin, who had a significant impact on Turgenev's worldview.
A year after returning to Russia, in 1842, Ivan Sergeevich applied for an exam at Moscow University for a master's degree in philosophy. He successfully passed the exam and hoped to get the post of professor at Moscow University, but soon philosophy as a science fell out of favor with the emperor and the department of philosophy was closed - Turgenev failed to become a professor.

Turgenev's literary activity

After returning from abroad, Turgenev settled in Moscow and, at the insistence of his mother, entered the civil service at the Ministry of Internal Affairs. But the service did not bring him satisfaction, he was much more keen on literature.
Turgenev began to try himself as a writer in the mid-1830s, and his first publication took place in Sovremennik in 1838 (these were the poems "Evening" and "To Venus of Medici"). Turgenev continued to work with this publication as an author and critic for a long time.
During this period, he actively began to visit various literary salons and circles, communicated with many writers - V.G. Belinsky, N.A. Nekrasov, N.V. Gogol, etc. By the way, communication with V.G. Belinsky significantly influenced Turgenev's literary views: from romanticism and poetry, he moved on to descriptive and morally oriented prose.
In the 1840s, such stories by Turgenev as "Breter", "Three Little Pigs", "Freeloader" and others were published. And in 1852 the first book of the writer was published - "Notes of a Hunter".
In the same year, he wrote an obituary to N.V. Gogol, which was the reason for the arrest of Turgenev and his exile to the family estate of Spassko-Lutavinovo.
The rise of the social movement, which took place in Russia before the abolition of serfdom, Turgenev took with enthusiasm. He took part in the development of plans for the upcoming reorganization of peasant life. He even became an unofficial employee of the Bell. However, if the need for social and political transformations was obvious to everyone, the opinions of the intelligentsia differed on the details of the reform process. So, Turgenev had disagreements with Dobrolyubov, who wrote a critical article on the novel "On the Day", and Nekrasov, who published this article. Also, the writer did not support Herzen that the peasantry was capable of making a revolution.
Later, while already living in Baden-Baden, Turgenev collaborated with the liberal-bourgeois Vestnik-Evropy. In the last years of his life he acted as a "mediator" between Western and Russian writers.

Personal life of Turgenev

In 1843 (according to some sources in 1845) I.S. Turgenev met the French singer Pauline Viardot-Garcia, who gave a tour in Russia. The writer fell passionately in love, but he understood that it was hardly possible to build a relationship with this woman: firstly, she was married, and secondly, she was a foreigner.
Nevertheless, in 1847, Turgenev, together with Viardot and her husband, went abroad (first to Germany, then to France). Ivan Sergeevich's mother was categorically against the "damned gypsy" and for her son's relationship with Pauline Viardot deprived him of material support.
After returning home in 1850, relations between Turgenev and Viardot cooled. Ivan Sergeevich even started new romance with distant relative O.A. Turgeneva.
In 1863, Turgenev again became close to Pauline Viardot and finally moved to Europe. With Viardot, he lived first in Baden-Baden, and from 1871 - in Paris.
The popularity of Turgenev at this time, both in Russia and in the West, was truly colossal. Each of his visits to his homeland was accompanied by a triumph. However, the travels were more and more difficult for the writer himself - in 1882 a serious illness began to appear - cancer of the spine.

I.S. Turgenev felt and realized the approaching death, but endured it, as befits a master of philosophy, without fear and panic. The writer died in Bougival (near Paris) on September 3, 1883. According to his will, Turgenev's body was brought to Russia and buried at the Volkovskoye cemetery in St. Petersburg.