Ivan Sergeevich Turgenev is a famous Russian writer, poet, translator, member of the St. Petersburg Academy of Sciences (1860).
Orel city
Lithography. 1850s
“On Monday, October 28, 1818, a son, Ivan, 12 inches tall, was born in Orel, in his house, at 12 o’clock in the morning,” Varvara Petrovna Turgeneva made this entry in her memorial book.
Ivan Sergeevich was her second son. The first - Nikolai - was born two years earlier, and in 1821 another boy appeared in the Turgenev family - Sergei.
Parents
It is difficult to imagine more dissimilar people than the parents of the future writer.
Mother - Varvara Petrovna, nee Lutovinova - was a powerful woman, intelligent and fairly educated, but did not shine with beauty. She was short and squat, with a broad face marred by smallpox. And only the eyes were good: large, dark and shiny.
Varvara Petrovna was already thirty years old when she met the young officer Sergei Nikolaevich Turgenev. He came from an old noble family, which, however, had already become impoverished by that time. All that was left of the former wealth was a small estate. Sergei Nikolaevich was handsome, elegant, and smart. And it is not surprising that he made an irresistible impression on Varvara Petrovna, and she made it clear that if Sergei Nikolaevich wooed, there would be no refusal.
The young officer did not think for long. And although the bride was six years older than him and was not attractive, the vast lands and thousands of serf souls that she owned determined Sergei Nikolaevich’s decision.
At the beginning of 1816, the marriage took place, and the young couple settled in Orel.
Varvara Petrovna idolized and was afraid of her husband. She gave him complete freedom and did not restrict him in anything. Sergei Nikolaevich lived the way he wanted, without burdening himself with worries about his family and household. In 1821, he retired and moved with his family to his wife’s estate, Spasskoye-Lutovinovo, seventy miles from Orel.
The future writer spent his childhood in Spassky-Lutovinovo near the city of Mtsensk, Oryol province. Much of Turgenev’s work is connected with this family estate of his mother Varvara Petrovna, a stern and domineering woman. In the estates and estates he described, the features of his native “nest” are invariably visible. Turgenev considered himself indebted to the Oryol region, its nature and inhabitants.
The Turgenev estate Spasskoe-Lutovinovo was located in a birch grove on a gentle hill. Around the spacious two-story manor house with columns, adjoined by semicircular galleries, there was a huge park with linden alleys, orchards and flower beds.
Years of study
Varvara Petrovna was primarily involved in raising children at an early age. Gusts of care, attention and tenderness were replaced by attacks of bitterness and petty tyranny. On her orders, children were punished for the slightest offenses, and sometimes for no reason. “I have nothing to remember my childhood,” Turgenev said many years later. “Not a single bright memory. I was afraid of my mother like fire. I was punished for every trifle - in a word, I was drilled like a recruit.”
The Turgenev house had a fairly large library. Huge cabinets contained works of ancient writers and poets, works by French encyclopedists: Voltaire, Rousseau, Montesquieu, novels by W. Scott, de Stael, Chateaubriand; works of Russian writers: Lomonosov, Sumarokov, Karamzin, Dmitriev, Zhukovsky, as well as books on history, natural science, botany. Soon the library became Turgenev’s favorite place in the house, where he sometimes spent whole days. To a large extent, the boy’s interest in literature was supported by his mother, who read quite a lot and knew French literature and Russian poetry of the late 18th - early 19th centuries well.
At the beginning of 1827, the Turgenev family moved to Moscow: it was time to prepare their children for admission to educational institutions. First, Nikolai and Ivan were placed in the private boarding house of Winterkeller, and then in the boarding house of Krause, later called the Lazarev Institute of Oriental Languages. The brothers did not study here for long - only a few months.
Their further education was entrusted to home teachers. With them they studied Russian literature, history, geography, mathematics, foreign languages - German, French, English - drawing. Russian history was taught by the poet I. P. Klyushnikov, and the Russian language was taught by D. N. Dubensky, a famous researcher of “The Tale of Igor’s Campaign.”
University years. 1833-1837.
Turgenev was not yet fifteen years old when, having successfully passed the entrance exams, he became a student in the literature department of Moscow University.
Moscow University at that time was the main center of advanced Russian thought. Among the young people who came to the university in the late 1820s and early 1830s, the memory of the Decembrists, who took up arms against the autocracy, was kept sacred. Students closely followed the events that were taking place in Russia and Europe at that time. Turgenev later said that it was during these years that he began to develop “very free, almost republican convictions.”
Of course, Turgenev had not yet developed a coherent and consistent worldview in those years. He was barely sixteen years old. It was a period of growth, a period of search and doubt.
Turgenev studied at Moscow University for only one year. After his older brother Nikolai joined the Guards Artillery stationed in St. Petersburg, his father decided that the brothers should not be separated, and therefore in the summer of 1834 Turgenev applied for a transfer to the philological department of the Faculty of Philosophy of St. Petersburg University.
Before the Turgenev family had time to settle in the capital, Sergei Nikolaevich unexpectedly died. The death of his father deeply shocked Turgenev and made him think seriously for the first time about life and death, about man’s place in the eternal movement of nature. The young man’s thoughts and experiences were reflected in a number of lyrical poems, as well as in the dramatic poem “The Wall” (1834). Turgenev's first literary experiments were created under the strong influence of the then dominant romanticism in literature, and above all the poetry of Byron. Turgenev's hero is an ardent, passionate man, full of enthusiastic aspirations, who does not want to put up with the evil world around him, but cannot find use for his powers and ultimately dies tragically. Later, Turgenev spoke very skeptically about this poem, calling it “an absurd work in which, with childish ineptitude, a slavish imitation of Byron’s Manfred was expressed.”
However, it should be noted that the poem “Wall” reflected the young poet’s thoughts about the meaning of life and the purpose of man in it, that is, questions that many great poets of that time tried to resolve: Goethe, Schiller, Byron.
After Moscow, the capital's university seemed colorless to Turgenev. Here everything was different: there was no atmosphere of friendship and camaraderie to which he was accustomed, there was no desire for lively communication and debate, few people were interested in issues of public life. And the composition of the students was different. Among them were many young men from aristocratic families who had little interest in science.
Teaching at St. Petersburg University followed a fairly broad program. But the students did not receive serious knowledge. There were no interesting teachers. Only the professor of Russian literature Pyotr Aleksandrovich Pletnev turned out to be closest to Turgenev.
While studying at the university, Turgenev developed a deep interest in music and theater. He often attended concerts, opera and drama theaters.
After graduating from the university, Turgenev decided to continue his education and in May 1838 he went to Berlin.
Studying abroad. 1838-1940.
After St. Petersburg, Berlin seemed to Turgenev a prim and a little boring city. “What can you say about a city,” he wrote, “where they get up at six o’clock in the morning, have dinner at two and go to bed before the chickens, about a city where at ten o’clock in the evening only melancholic watchmen laden with beer wander through the deserted streets...”
But the university auditoriums at the University of Berlin were always crowded. The lectures were attended by not only students, but also volunteers - officers and officials who wanted to get involved in science.
Already the first classes at the University of Berlin revealed that Turgenev had gaps in his education. Later he wrote: “I studied philosophy, ancient languages, history and studied Hegel with special zeal..., but at home I was forced to cram Latin grammar and Greek, which I knew poorly. And I wasn’t one of the worst candidates.”
Turgenev diligently comprehended the wisdom of German philosophy, and in his free time he attended theaters and concerts. Music and theater became a true need for him. He listened to the operas of Mozart and Gluck, the symphonies of Beethoven, and watched the dramas of Shakespeare and Schiller.
Living abroad, Turgenev did not stop thinking about his homeland, about his people, about their present and future.
Even then, in 1840, Turgenev believed in the great destiny of his people, in their strength and resilience.
Finally, the course of lectures at the University of Berlin ended, and in May 1841 Turgenev returned to Russia and most seriously began to prepare himself for scientific activity. He dreamed of becoming a professor of philosophy.
Return to Russia. Service.
Passion for philosophical sciences is one of the characteristic features of the social movement in Russia in the late 1830s and early 1840s. Advanced people of that time tried, with the help of abstract philosophical categories, to explain the world around them and the contradictions of Russian reality, to find answers to the pressing questions of our time that worried them.
However, Turgenev's plans changed. He became disillusioned with idealistic philosophy and gave up hope of resolving the issues that worried him with its help. In addition, Turgenev came to the conclusion that science was not his calling.
At the beginning of 1842, Ivan Sergeevich submitted a petition to the Minister of Internal Affairs to enlist him in the service and was soon accepted as an official of special assignments in the office under the command of V.I. Dahl, a famous writer and ethnographer. However, Turgenev did not serve for long and retired in May 1845.
His stay in the civil service gave him the opportunity to collect a lot of vital material, connected primarily with the tragic situation of the peasants and with the destructive power of serfdom, since in the office where Turgenev served, cases of punishment of serfs, all kinds of abuses by officials, etc. were often considered. It was at this time that Turgenev developed a sharply negative attitude towards the bureaucratic order prevailing in state institutions, towards the callousness and selfishness of St. Petersburg officials. In general, life in St. Petersburg made a depressing impression on Turgenev.
Creativity of I. S. Turgenev.
The first work I. S. Turgenev can be considered the dramatic poem “The Wall” (1834), which he wrote in iambic pentameter as a student, and in 1836 showed to his university teacher P. A. Pletnev.
The first publication in print was a short review of the book by A. N. Muravyov “Journey to Russian Holy Places” (1836). Many years later, Turgenev explained the appearance of this first printed work: “I had just turned seventeen years old, I was a student at St. Petersburg University; my relatives, in view of securing my future career, recommended me to Serbinovich, the then publisher of the Journal of the Ministry of Education. Serbinovich, whom I saw only once, probably wanting to test my abilities, handed me... Muravyov’s book so that I could sort it out; I wrote something about it - and now, almost forty years later, I find out that this “something” was worthy of embossing.”
His first works were poetic. His poems, starting from the late 1830s, began to appear in the magazines Sovremennik and Otechestvennye zapiski. In them one could clearly hear the motives of the then dominant romantic movement, echoes of the poetry of Zhukovsky, Kozlov, Benediktov. Most of the poems are elegiac reflections about love, about aimlessly lived youth. They, as a rule, were permeated with motives of sadness, sadness, and melancholy. Turgenev himself was later very skeptical about his poems and poems written at this time, and never included them in his collected works. “I feel a positive, almost physical antipathy towards my poems...,” he wrote in 1874, “I would give a lot for them not to exist in the world at all.”
Turgenev was unfair in speaking so harshly about his poetic experiments. Among them you can find many talentedly written poems, many of which were highly appreciated by readers and critics: “Ballad”, “Alone again, alone...”, “Spring Evening”, “Foggy Morning, Gray Morning...” and others . Some of them were later set to music and became popular romances.
The beginning of his literary activity Turgenev counted the year 1843, when his poem “Parasha” appeared in print, which opened a whole series of works dedicated to the debunking of the romantic hero. “Parasha” met with a very sympathetic review from Belinsky, who saw in the young author “extraordinary poetic talent,” “true observation, deep thought,” “the son of our time, carrying in his chest all his sorrows and questions.”
First prose work I. S. Turgenev - the essay “Khor and Kalinich” (1847), published in the magazine “Sovremennik” and opened a whole series of works under the general title “Notes of a Hunter” (1847-1852). “Notes of a Hunter” was created by Turgenev at the turn of the forties and early fifties and appeared in print in the form of separate stories and essays. In 1852, they were combined by the writer into a book, which became a major event in Russian social and literary life. According to M.E. Saltykov-Shchedrin, “Notes of a Hunter” “laid the foundation for a whole literature that has as its object the people and their needs.”
"Notes of a Hunter" is a book about people's life in the era of serfdom. The images of peasants, distinguished by a sharp practical mind, a deep understanding of life, a sober view of the world around them, who are capable of feeling and understanding the beautiful, responding to others’ grief and suffering, emerge as if alive from the pages of “Notes of a Hunter.” No one had portrayed the people like this in Russian literature before Turgenev. And it is no coincidence that, after reading the first essay from “Notes of a Hunter - “Khor and Kalinich,” Belinsky noticed that Turgenev “came to the people from a side from which no one had approached him before.”
Turgenev wrote most of “Notes of a Hunter” in France.
Works by I. S. Turgenev
Stories: collection of stories “Notes of a Hunter” (1847-1852), “Mumu” (1852), “The Story of Father Alexei” (1877), etc.;
Stories:“Asya” (1858), “First Love” (1860), “Spring Waters” (1872), etc.;
Novels:“Rudin” (1856), “The Noble Nest” (1859), “On the Eve” (1860), “Fathers and Sons” (1862), “Smoke” (1867), “New” (1877);
Plays:“Breakfast at the Leader’s” (1846), “Where it’s thin, it breaks” (1847), “Bachelor” (1849), “Provincial Woman” (1850), “A Month in the Country” (1854), etc.;
Poetry: dramatic poem “Wall” (1834), poems (1834-1849), poem “Parasha” (1843), etc., literary and philosophical “Poems in Prose” (1882);
Translations Byron D., Goethe I., Whitman W., Flaubert G.
As well as criticism, journalism, memoirs and correspondence.
Love through life
Turgenev met the famous French singer Polina Viardot back in 1843, in St. Petersburg, where she came on tour. The singer performed a lot and successfully, Turgenev attended all her performances, told everyone about her, praised her everywhere, and quickly separated himself from the crowd of her countless fans. Their relationship developed and soon reached its climax. He spent the summer of 1848 (like the previous one, like the next one) in Courtavenel, on Pauline’s estate.
Love for Polina Viardot remained both happiness and torment for Turgenev until his last days: Viardot was married, did not intend to divorce her husband, but did not drive Turgenev away either. He felt on a leash. but I was unable to break this thread. For more than thirty years, the writer essentially became a member of the Viardot family. He survived Polina's husband (a man, apparently, of angelic patience), Louis Viardot, by only three months.
Sovremennik magazine
Belinsky and his like-minded people had long dreamed of having their own press organ. This dream came true only in 1846, when Nekrasov and Panaev managed to lease the Sovremennik magazine, founded at one time by A. S. Pushkin and published after his death by P. A. Pletnev. Turgenev took a direct part in organizing the new magazine. According to P.V. Annenkov, Turgenev was “the soul of the whole plan, its organizer... Nekrasov consulted with him every day; the magazine was filled with his works.”
In January 1847, the first issue of the updated Sovremennik was published. Turgenev published several works in it: a cycle of poems, a review of the tragedy of N.V. Kukolnik “Lieutenant General Patkul...”, “Modern Notes” (together with Nekrasov). But the real highlight of the magazine’s first book was the essay “Khor and Kalinich,” which opened a whole series of works under the general title “Notes of a Hunter.”
Recognition in the West
Since the 60s, the name of Turgenev has become widely known in the West. Turgenev maintained close friendly relations with many Western European writers. He was well acquainted with P. Mérimée, J. Sand, G. Flaubert, E. Zola, A. Daudet, Guy de Maupassant, and knew many figures of English and German culture closely. They all considered Turgenev an outstanding realist artist and not only highly appreciated his works, but also studied from him. Addressing Turgenev, J. Sand said: “Teacher! “We all must go through your school!”
Turgenev spent almost his entire life in Europe, visiting Russia only occasionally. He was a prominent figure in the literary life of the West. He communicated closely with many French writers, and in 1878 he even chaired (together with Victor Hugo) the International Literary Congress in Paris. It is no coincidence that it was with Turgenev that the worldwide recognition of Russian literature began.
Turgenev's greatest merit was that he was an active promoter of Russian literature and culture in the West: he himself translated the works of Russian writers into French and German, edited translations of Russian authors, contributed in every possible way to the publication of the works of his compatriots in various countries of Western Europe, introduced the Western European public to works of Russian composers and artists. Turgenev said, not without pride, about this side of his activity: “I consider it the great happiness of my life that I have brought my fatherland somewhat closer to the perception of the European public.”
Connection with Russia
Almost every spring or summer Turgenev came to Russia. Each of his visits became an event. The writer was a welcome guest everywhere. He was invited to speak at all kinds of literary and charity evenings, at friendly meetings.
At the same time, Ivan Sergeevich retained the “lordly” habits of a native Russian nobleman until the end of his life. His very appearance betrayed his origins to the inhabitants of European resorts, despite his impeccable command of foreign languages. The best pages of his prose contain much of the silence of manor life in landowner Russia. Hardly any of the writers - Turgenev's contemporaries - have such a pure and correct Russian language, capable, as he himself used to say, of “performing miracles in skillful hands.” Turgenev often wrote his novels “on the topic of the day.”
The last time Turgenev visited his homeland was in May 1881. To his friends, he repeatedly “expressed his determination to return to Russia and settle there.” However, this dream did not come true. At the beginning of 1882, Turgenev became seriously ill, and moving was no longer out of the question. But all his thoughts were at home, in Russia. He thought about her, bedridden with a serious illness, about her future, about the glory of Russian literature.
Shortly before his death, he expressed a wish to be buried in St. Petersburg, at the Volkov cemetery, next to Belinsky.
The writer's last wish was fulfilled
"Poems in Prose".
“Poems in prose” are rightly considered the final chord of the writer’s literary activity. They reflected almost all the themes and motives of his work, as if re-experienced by Turgenev in his declining years. He himself considered “Poems in Prose” only sketches of his future works.
Turgenev called his lyrical miniatures “Selenia” (“Senile”), but the editor of “Bulletin of Europe” Stasyu-levich replaced it with another one that remained forever - “Poems in Prose”. In his letters, Turgenev sometimes called them “Zigzags,” thereby emphasizing the contrast of themes and motifs, images and intonations, and the unusualness of the genre. The writer feared that “the river of time in its flow” would “carry away these light leaves.” But “Poems in Prose” met with the most cordial reception and forever entered the golden fund of our literature. It is not for nothing that P. V. Annenkov called them “a fabric of the sun, rainbow and diamonds, women’s tears and the nobility of men’s thoughts,” expressing the general opinion of the reading public.
“Poems in Prose” is an amazing fusion of poetry and prose into a kind of unity that allows you to fit “the whole world” into the grain of small reflections, called by the author “the last breaths of... an old man.” But these “sighs” conveyed to this day the inexhaustible vital energy of the writer.
Monuments to I. S. Turgenev
Ivan Sergeevich Turgenev on his father’s side belonged to an old noble family, his mother, nee Lutovinova, was a wealthy landowner; In her estate Spasskoye-Lutovinovo (Mtsensk district of the Oryol province) the childhood years of the future writer passed, who early learned to have a subtle sense of nature and to hate serfdom. In 1827 the family moved to Moscow; At first, Turgenev studied in private boarding schools and with good home teachers, then, in 1833, he entered the literature department of Moscow University, and in 1834 he transferred to the history and philology department of St. Petersburg University. One of the strongest impressions of his early youth (1833) - falling in love with Princess E. L. Shakhovskaya, who was experiencing an affair with Turgenev's father at that time - was reflected in the story "First love" (1860).
In 1836, Turgenev showed his poetic experiments in a romantic spirit to the writer of Pushkin’s circle, university professor P. A. Pletnev; he invites the student to a literary evening (Turgenev ran into A.S. Pushkin at the door), and in 1838 he published Turgenev’s poems in Sovremennik "Evening" And "To the Venus of Medicia"(by this time Turgenev had written about a hundred poems, mostly not preserved, and a dramatic poem "Steno").
In May 1838, Turgenev went to Germany (the desire to complete his education was combined with rejection of the Russian way of life, based on serfdom). The disaster of the steamship "Nicholas I", on which Turgenev sailed, will be described by him in an essay "Fire at Sea"(1883; in French). Until August 1839, Turgenev lived in Berlin, listened to lectures at the university, studied classical languages, wrote poetry, communicated with T.N. Granovsky, N.V. Stankevich. After a short stay in Russia, in January 1840 he went to Italy, but from May 1840 to May 1841 he was again in Berlin, where he met M.A. Bakunin. Arriving in Russia, he visits the Bakunin estate Premukhino, becomes friends with this family: soon an affair with T.A. begins. Bakunina, which does not interfere with communication with the seamstress A.E. Ivanova (in 1842 she would give birth to Turgenev’s daughter Pelageya). In January 1843 Turgenev entered service in the Ministry of Internal Affairs.
In 1843 a poem based on modern material appeared "Parasha", which received high praise from V.G. Belinsky. Acquaintance with the critic, which turned into friendship (in 1846 Turgenev became the godfather of his son), rapprochement with his circle (in particular, with N.A. Nekrasov) changed his literary orientation: from romanticism he turned to an ironic-moral poem ( "Landowner", "Andrey", both 1845) and prose, close to the principles of the “natural school” and not alien to the influence of M.Yu. Lermontov ( "Andrey Kolosov", 1844; "Three Portraits", 1846; "Breuter", 1847).
On November 1, 1843, Turgenev meets the singer Pauline Viardot (Viardot-Garcia), whose love will largely determine the external course of his life. In May 1845 Turgenev retired. From the beginning of 1847 to June 1850, he lives abroad (in Germany, France; Turgenev is a witness to the French Revolution of 1848): he takes care of the sick Belinsky during his travels; communicates closely with P.V. Annenkov, A.I. Herzen, meets J. Sand, P. Merimee, A. de Musset, F. Chopin, C. Gounod; writes stories "Petushkov" (1848), "Diary of an Extra Man"(1850), comedy "Bachelor" (1849), “Where it’s thin, that’s where it breaks”, "Provincial"(both 1851), psychological drama "A Month in the Country" (1855).
The main thing of this period is "Notes of a Hunter", a cycle of lyrical essays and stories that began with the story "Khor and Kalinich"(1847; the subtitle “From the Notes of a Hunter” was invented by I.I. Panaev for publication in the “Mixture” section of the Sovremennik magazine); a separate two-volume edition of the cycle was published in 1852, stories were later added "The End of Tchertopkhanov" (1872), "Living Relics", "Knocking"(1874). The fundamental diversity of human types, isolated for the first time from a previously unnoticed or idealized mass of people, testified to the infinite value of every unique and free human personality; the serfdom appeared as an ominous and dead force, alien to natural harmony (detailed specificity of heterogeneous landscapes), hostile to man, but unable to destroy the soul, love, creative gift. Having discovered Russia and the Russian people, laying the foundation for the “peasant theme” in Russian literature, “Notes of a Hunter” became the semantic foundation of Turgenev’s entire further work: from here the threads stretch to the study of the phenomenon of the “superfluous man” (the problem outlined in "Hamlet of Shchigrovsky district"), and to understanding the mysterious ( "Bezhin Meadow"), and to the problem of the artist’s conflict with the everyday life that stifles him ( "Singers").
In April 1852 for responding to the death of N.V. Gogol, banned in St. Petersburg and published in Moscow, Turgenev, by the highest command, was put on the exit (the story was written there "Mu Mu"). In May he was sent to Spasskoye, where he lived until December 1853 (working on an unfinished novel, story "Two Friends", acquaintance with A.A. Fet, active correspondence with S.T. Aksakov and writers from the Sovremennik circle); A.K. played an important role in efforts to free Turgenev. Tolstoy.
Until July 1856, Turgenev lived in Russia: in the winter, mainly in St. Petersburg, in the summer in Spassky. His closest environment is the editorial office of Sovremennik; acquaintances took place with I.A. Goncharov, L.N. Tolstoy and A.N. Ostrovsky; Turgenev takes part in the publication of “Poems” by F.I. Tyutchev (1854) and provides it with a preface. Mutual cooling with distant Viardot leads to a brief, but almost ending in marriage, affair with a distant relative O.A. Turgeneva. Stories are published "Quiet" (1854), "Yakov Pasynkov" (1855), "Correspondence", "Faust"(both 1856).
"Rudin"(1856) opens a series of Turgenev’s novels, compact in volume, unfolding around a hero-ideologist, journalistically accurately capturing current socio-political issues and, ultimately, placing “modernity” in the face of the unchanging and mysterious forces of love, art, and nature. Inflaming the audience, but incapable of action, the “superfluous man” Rudin; Lavretsky, dreaming in vain about happiness and coming to humble self-sacrifice and hope for happiness for the people of modern times ( "Noble Nest", 1859; events take place in the context of the approaching “great reform”); “iron” Bulgarian revolutionary Insarov, who becomes the chosen one of the heroine (that is, Russia), but is “stranger” and doomed to death ( "The day before", 1860); “new man” Bazarov, hiding a romantic rebellion behind nihilism ( "Fathers and Sons", 1862; post-reform Russia is not freed from eternal problems, and “new” people remain people: the “dozens” will live, but those captured by passion or idea will die); characters sandwiched between “reactionary” and “revolutionary” vulgarity "Smoke"(1867); revolutionary populist Nezhdanov, an even more “new” person, but still unable to answer the challenge of a changed Russia ( "Nove", 1877); all of them, together with minor characters (with individual dissimilarity, differences in moral and political orientations and spiritual experience, varying degrees of closeness to the author), are closely related, combining in different proportions the features of two eternal psychological types of the heroic enthusiast, Don Quixote, and the absorbed himself as a reflector, Hamlet (cf. program article "Hamlet and Don Quixote", 1860).
Having departed abroad in July 1856, Turgenev finds himself in a painful whirlpool of ambiguous relationships with Viardot and his daughter, who was raised in Paris. After the difficult Parisian winter of 1856-57 (the gloomy “Trip to Polesie” was completed), he went to England, then to Germany, where he wrote "Asyu", one of the most poetic stories, which, however, can be interpreted in a social key (article by N.G. Chernyshevsky “Russian man on rendez-vous”, 1858), and spends the autumn and winter in Italy. By the summer of 1858 he was in Spassky; in the future, Turgenev’s year will often be divided into “European, winter” and “Russian, summer” seasons.
After “On the Eve” and the article dedicated to the novel by N.A. Dobrolyubova “When will the real day come?” (1860) Turgenev breaks up with the radicalized Sovremennik (in particular, with N.A. Nekrasov; their mutual hostility persisted until the end). The conflict with the “younger generation” was aggravated by the novel “Fathers and Sons” (pamphlet article by M.A. Antonovich “Asmodeus of Our Time” in Sovremennik, 1862; the so-called “schism in the nihilists” largely motivated the positive assessment of the novel in the article by D. I. Pisarev “Bazarov”, 1862). In the summer of 1861 there was a quarrel with L.N. Tolstoy, which almost turned into a duel (reconciliation in 1878). In the story "Ghosts"(1864) Turgenev condenses the mystical motifs outlined in “Notes of a Hunter” and “Faust”; this line will be developed in "Dog" (1865), "Stories of Lieutenant Ergunov" (1868), "Dream", "The Story of Father Alexei"(both 1877), "Songs of Triumphant Love" (1881), "After Death (Klara Milic)"(1883). The theme of the weakness of man, who turns out to be a toy of unknown forces and doomed to non-existence, to a greater or lesser extent colors all of Turgenev’s late prose; it is most directly expressed in the lyrical story "Enough!"(1865), perceived by contemporaries as evidence (sincere or flirtatiously hypocritical) of Turgenev’s situationally determined crisis (cf. F. M. Dostoevsky’s parody in the novel “Demons”, 1871).
In 1863, a new rapprochement between Turgenev and Pauline Viardot took place; until 1871 they lived in Baden, then (at the end of the Franco-Prussian War) in Paris. Turgenev is closely associated with G. Flaubert and, through him, with E. and J. Goncourt, A. Daudet, E. Zola, G. de Maupassant; he assumes the function of an intermediary between Russian and Western literatures. His pan-European fame is growing: in 1878, at the international literary congress in Paris, the writer was elected vice-president; in 1879 he received an honorary doctorate from the University of Oxford. Turgenev maintains contacts with Russian revolutionaries (P.L. Lavrov, G.A. Lopatin) and provides material support to emigrants. In 1880, Turgenev took part in the celebrations in honor of the opening of the monument to Pushkin in Moscow. In 1879-81, the old writer experienced a violent infatuation with the actress M.G. Savina, which colored his last visits to his homeland.
Along with stories about the past ( "King Lear of the Steppes", 1870; "Punin and Baburin", 1874) and the above-mentioned “mysterious” stories in the last years of his life, Turgenev turned to memoirs ( "Literary and everyday memories", 1869-80) and "Poems in prose"(1877-82), where almost all the main themes of his work are presented, and the summing up takes place as if in the presence of approaching death. Death was preceded by more than a year and a half of painful illness (spinal cord cancer). The funeral in St. Petersburg resulted in a mass demonstration.
Fantastic in creativity
The fantastic side of Turgenev's talent was revealed to readers in the 60s. XIX century, but the first - still uncertain - attempts to master the secrets of a new genre for him were made by Ivan Sergeevich in 1842. It was a special time - the heyday of romanticism in Russian literature, the fanfare of the “fantastic romantics” of Prince Vladimir Odoevsky, Anthony Pogorelsky, Alexander had not yet ceased Veltman... But Turgenev was never able to truly join the movement of the romantics. The first story - "The Adventures of Second Lieutenant Bubnov", written under the obvious influence of Gogol's grotesque fiction "Nose" And "Enchanted Place", the writer did not dare to publish. Perhaps Ivan Sergeevich felt the “lack of independence” of his work? One way or another, this story (called a “novel” by the writer) was published, however, after the author’s death, in 1916, as an archival publication.
Also in 1842, he began work on the drama "The Temptation of Saint Anthony", in which he again paid tribute to devilry. In the drama, built on historical and mythological material, “hellish” characters are in full force: Satan, little devils and the “devil’s mistress” Annuciatus. However, the writer abandoned work on this essay, barely finishing half of it... It can be assumed that these two works were an accidental phenomenon in Turgenev’s work; they are not even listed in the same row as the writer’s other “mysterious” stories.
However, this moment in the writer’s creative biography is just a prehistory.
Among approximately thirty-five stories by Turgenev, a group of “mysterious” short stories, written mainly in the 60s and 70s, clearly stands out. These are, first of all, four short stories in which a supernatural phenomenon is at the center of the entire developing action: "Ghosts"(a fantasy about the fantastic flights of a romantic hero across countries and eras in company with a mysterious creature named Alice), "Dog", "Dream" And "The Story of Father Alexei", in which the writer continued to explore topics defined by the idea of the influence on a person of mysterious forces hidden both inside him and outside in nature: the secrets of the laws of heredity, hypnosis, the mysteries of the nature of sleep, the mysterious power of the dead over the feelings and, especially, over the will alive. These main four short stories include several others, in which a mysterious phenomenon is included as a more or less important part (or detail) in the overall development of an action of a different order (everyday, psychological, etc.): "Faust", "Clara Milic" and, to a much lesser extent, "Unfortunate"(on the night when Susanna dies, the hero’s “inner voice” tells him that something terrible is happening at the Ratchas at that moment) and "Song of Triumphant Love"(the spell of Mucius; the resurrection of Mucius by the witchcraft medicine of a Malay). To these eight short stories in total it is possible to add, at least conditionally, "Strange story"(for the phenomenon described in it, although it belongs to the category of “hypnosis”, “animal magnetism”, but in terms of the psychological and everyday atmosphere surrounding it, is clearly akin to Turgenev’s “mysterious” stories) and “Knock... knock... knock!..”(in which there is no direct supernatural phenomenon, but there is an atmosphere of unbearable fear of the mysterious); are in some distant and already very weak relation to this entire group "Watch"(“This thing is amazing!.. We can’t get rid of this clock. They’re enchanted, really.”) In addition, it must be borne in mind that such a purely mysterious story as “Ghosts” is connected with a number of philosophical and lyrical-emotional threads and "Trip to Polesie", And "Enough"; all three works form a trilogy, united by a common ideological concept and common genre characteristics (plotlessness). Thus, one quarter of all Turgenev’s short stories is directly related to belief in supernatural phenomena, and if we add here the short stories adjacent to them to varying degrees and in different senses, then this share will increase to one third. Moreover: from among this large and diverse group there is one story, “Klara Milich” - Turgenev’s last great work, his dying masterpiece, perhaps the best of all the stories he wrote.
When we read the “mysterious prose” of I.S. Turgenev, a completely different Turgenev is opening before us - one of the most poetic and brilliant science fiction writers of pre-revolutionary Russia... Does it sound unusual? Alas, even today the ossified tendency to reject Russian pre-revolutionary fiction from the artistic pedigree of world fantasy and science fiction prose has not been completely eliminated.
Steno's room
Steno (one)
It's easier for me. Everything that I carried in my chest, grief and suffering, I poured into someone else’s chest. This old man - He understood me. Oh, at least 535 I will know that there is one living being under this sky, to whom I, perhaps, can trust myself.
Until now, I trusted the Silent Night with my suffering. Oh, if only 540 She could retell everything that lies here (placing her hand on her chest) like a stone on a grave, people wouldn’t believe her. No, no, they wouldn't understand me. People with an ordinary soul, 545 No, will not understand me. I am tall to them. When I was young at heart and believed in love, I knew one creature who was equal to me. Oh, I will never forget her!
550 We were kindred souls, And we understood each other. Two of us made up the world - and it was wonderful, Like everything that is not human on earth.
In her eyes I read her soul, 555 In my eyes there was my soul...
But her spirit was too wet and large for the body of a gentle maiden.
He tore with contempt the barrier of His mighty powers. And I... damned, 560 Stayed here. And from then on I searched in vain for a strong, great soul.
All this is so insignificant in front of her.
People with their petty passions are disgusted with me. _My_ world was empty for me, 565 And this world was small for me. A proud desire arose within me so that no one would know my suffering, And I entered into a struggle with my fate, And if I fall, then people will know, 570 What the will of a person means. They put this name low, And I want to raise it - despite the fact that people are not worth it.
Silence
(Approaches the window.) There is a storm in the sky. The wind drives the clouds 575 with its black wings. Sometimes the sky explodes with lightning. The sea moves in high foamy waves.
As if indignant that he couldn’t rush to the ground. Oh, wonderful!
580 How I love it when nature, angrily, mighty, gathers all its strength and bursts into a storm. There is something dear to me in the wild torment of the sky, And inspiration will light up like lightning 585 In the sanctuary of the soul, and my heart As if it’s ready to burst out of my chest...
Oh, I love - I love destruction!
(Mattheo enters.)
Signor!.. Silent. Again! Some wanderer wants to see you.
What do people care about me 590 What do I care about them? Who is he?
He pleads with you to those who once saved you.
Oh, it's Giacoppo! Well... enter it.
(Ugh<оит>Matteo, in<одит>Giacoppo.)
Giacoppo, I wasn't waiting for you.
Giacoppo
Right, sir?
What's the question, fisherman?
Giacoppo
Yes, I'm a fisherman.
595 And thank God! I'm not like you, I don't know what's good and bad, Between people. And I am free, sir, I have fun looking at God’s world and at people. I can live freely, 600 But I have a sister.
A! Julia!
Giacoppo
Better I swear by Saint Gennoarius (*) - it would be better, (* Saint, patron of fishermen.
(Note in the first printed text.)) If only you didn’t know her name!
Yes, sir. And you don’t look at me with such contempt and pride. I am pure 605 Before God and people, and I boldly meet your gaze. I am at peace.
Listen...
Well, continue.
Giacoppo
You may have forgotten that I once brought you into my house without life and cold. I thanked God 610 for allowing Me to do good. And, sir, you seemed kind to me. Until then we did not know grief. My Juliet was playful and cheerful. One day 615 I saw tears in her eyes and sadness on her young brow. And I found out what she loves. You... _you_, Steno, They answered her that she was sorry for you... sir. I swore by God, 620 That I would learn everything from you. I'm here and waiting for an answer.
Listen. I listened to you in cold blood. And I felt sorry for you. I understand. But I swear that Julia is innocent. I am not able 625 to love her... Giacoppo, You cannot understand me, but I don’t know love.
Giacoppo
I believe you. But my Julia...
Oh, how much trouble you have caused, Stheno!
It will kill her. And before me 630 She will wither. God! God, you sent us a time of trial, but I swear to you, if my Julia...
If she’s gone, oh then I won’t need to know who’s guilty.
635 Then let God judge me.
Jacoppo...
I feel sorry for him. I looked at him as the ideal of what man once was. And I put the fire of torment in his chest 640 And stood between him and happiness. Steno, Yes, it will be hard for you to die. . .
. . . . . . . . . . . . . . . . .
(Loudly and imperiously.) Matteo!
(In<одит>Matteo.)
Wall (muffled and gusty)
Ah!.. stay here!..
Stay here, Matteo... I'm scared 645 To be alone... and a secret horror is pressing and pressing in my chest... My heart is telling me that something menacing is approaching me...
My demon is coming towards me...
Signor, signor, I'm scared...
Steno (getting wilder and wilder)
The candle goes out
He's close. It blows over me, 650 Matteo... something unearthly...
Oh... shut up! He approaches with silent steps, and woe to me!.. But, Stheno, are you like a timid maiden... Oh, I’m ashamed - Let my blood freeze in my chest 655 And my eyes dry up when I meet someone who has no name... But I... here he is!
Madonna... help!
(He faints.)
A sound is heard above, as if a string has broken. A white bloody figure gradually forms in the darkness
Wall... Wall... Wall...
Steno (leaning on the table)
Silence
Oh, in the name of him 660 Who has power over you - to everyone who is higher than you, I conjure You - who are you?
Silence
By my knowledge...
With my torment I conjure You - who are you?
Your demon.
You... My demon, 665 And this blood...
I took the purest blood of your breast.
Steno (whispers)
In you I saw a wondrous mind, seething with power, full of thoughts.
And I said: he won’t be great.
670 With my destructive breath I will defile his soul.
He will be mine, or I will be his... With you, a stubborn battle was difficult for me, But I fulfilled the prediction...
675 I am your lord!
You... Lord Stheno!
And you're telling me this! Damn it!
I know - there is a secret before which You are a pale slave.
But there is no power in the world before which 680 I would kneel. And even, When the heart that suffers so much is crushed in my chest, I will be Stheno.
Everything disappears.
Oh, I feel sick! He disappeared, but I know that he is here. I don’t want 685 minutes to stoop to sorrow; But it’s hard for me to be under him forever.
Torment! and live like that! no, better, oh, better to die! It's too hard for me!
(After a minute of silence.) But, Stheno... just think... what to choose - 690 Insignificance or suffering?
And van Turgenev was one of the most significant Russian writers of the 19th century. The artistic system he created changed the poetics of the novel both in Russia and abroad. His works were praised and harshly criticized, and Turgenev spent his entire life searching in them for a path that would lead Russia to well-being and prosperity.
“Poet, talent, aristocrat, handsome”
Ivan Turgenev's family came from an old family of Tula nobles. His father, Sergei Turgenev, served in a cavalry regiment and led a very wasteful lifestyle. To improve his financial situation, he was forced to marry an elderly (by the standards of that time), but very wealthy landowner Varvara Lutovinova. The marriage became unhappy for both of them, their relationship did not work out. Their second son, Ivan, was born two years after the wedding, in 1818, in Orel. The mother wrote in her diary: “...on Monday my son Ivan was born, 12 vershoks [about 53 centimeters] tall”. There were three children in the Turgenev family: Nikolai, Ivan and Sergei.
Until he was nine years old, Turgenev lived on the Spasskoye-Lutovinovo estate in the Oryol region. His mother had a difficult and contradictory character: her sincere and heartfelt care for the children was combined with severe despotism; Varvara Turgeneva often beat her sons. However, she invited the best French and German tutors to her children, spoke exclusively French to her sons, but at the same time remained a fan of Russian literature and read Nikolai Karamzin, Vasily Zhukovsky, Alexander Pushkin and Nikolai Gogol.
In 1827, the Turgenevs moved to Moscow so that their children could receive a better education. Three years later, Sergei Turgenev left the family.
When Ivan Turgenev was 15 years old, he entered the literature department of Moscow University. It was then that the future writer first fell in love with Princess Ekaterina Shakhovskaya. Shakhovskaya exchanged letters with him, but reciprocated with Turgenev’s father and thereby broke his heart. Later, this story became the basis of Turgenev’s story “First Love.”
A year later, Sergei Turgenev died, and Varvara and her children moved to St. Petersburg, where Turgenev entered the Faculty of Philosophy at St. Petersburg University. Then he became seriously interested in lyricism and wrote his first work - the dramatic poem “Steno”. Turgenev spoke of her like this: “A completely absurd work, in which, with frenzied ineptitude, a slavish imitation of Byron’s Manfred was expressed.”. In total, during his years of study, Turgenev wrote about a hundred poems and several poems. Some of his poems were published by the Sovremennik magazine.
After his studies, 20-year-old Turgenev went to Europe to continue his education. He studied ancient classics, Roman and Greek literature, traveled to France, Holland, and Italy. The European way of life amazed Turgenev: he came to the conclusion that Russia must get rid of incivility, laziness, and ignorance, following the Western countries.
Unknown artist. Ivan Turgenev at the age of 12 years. 1830. State Literary Museum
Eugene Louis Lamy. Portrait of Ivan Turgenev. 1844. State Literary Museum
Kirill Gorbunkov. Ivan Turgenev in his youth. 1838. State Literary Museum
In the 1840s, Turgenev returned to his homeland, received a master's degree in Greek and Latin philology at St. Petersburg University, and even wrote a dissertation - but did not defend it. Interest in scientific activities replaced the desire to write. It was at this time that Turgenev met Nikolai Gogol, Sergei Aksakov, Alexei Khomyakov, Fyodor Dostoevsky, Afanasy Fet and many other writers.
“The other day the poet Turgenev returned from Paris. What a man! Poet, talent, aristocrat, handsome, rich, smart, educated, 25 years old - I don’t know what nature denied him?”
Fyodor Dostoevsky, from a letter to his brother
When Turgenev returned to Spasskoye-Lutovinovo, he had an affair with a peasant woman, Avdotya Ivanova, which ended in the girl’s pregnancy. Turgenev wanted to get married, but his mother sent Avdotya to Moscow with a scandal, where she gave birth to a daughter, Pelageya. Avdotya Ivanova’s parents hastily married her off, and Turgenev recognized Pelageya only a few years later.
In 1843, Turgenev’s poem “Parasha” was published under the initials T.L. (Turgenesis-Lutovinov). Vissarion Belinsky appreciated her very highly, and from that moment their acquaintance grew into a strong friendship - Turgenev even became the godfather of the critic’s son.
“This man is unusually smart... It’s gratifying to meet a person whose original and characteristic opinion, when colliding with yours, produces sparks.”
Vissarion Belinsky
In the same year, Turgenev met Polina Viardot. Researchers of Turgenev’s work are still arguing about the true nature of their relationship. They met in St. Petersburg when the singer came to the city on tour. Turgenev often traveled with Polina and her husband, art critic Louis Viardot, around Europe and stayed in their Parisian home. His illegitimate daughter Pelageya was raised in the Viardot family.
Fiction writer and playwright
In the late 1840s, Turgenev wrote a lot for the theater. His plays “The Freeloader”, “The Bachelor”, “A Month in the Country” and “Provincial Woman” were very popular with the public and warmly received by critics.
In 1847, Turgenev’s story “Khor and Kalinich” was published in the Sovremennik magazine, created under the impression of the writer’s hunting travels. A little later, stories from the collection “Notes of a Hunter” were published there. The collection itself was published in 1852. Turgenev called it his “Annibal's Oath” - a promise to fight to the end against the enemy he hated since childhood - serfdom.
“Notes of a Hunter” is marked by such a powerful talent that has a beneficial effect on me; understanding nature often appears to you as a revelation.”
Fedor Tyutchev
This was one of the first works that openly spoke about the troubles and harm of serfdom. The censor who allowed “Notes of a Hunter” to be published was, by personal order of Nicholas I, dismissed from service and deprived of his pension, and the collection itself was prohibited from being republished. The censors explained this by saying that Turgenev, although he poeticized the serfs, criminally exaggerated their suffering from landlord oppression.
In 1856, the writer’s first major novel, “Rudin,” was published, written in just seven weeks. The name of the hero of the novel has become a household name for people whose words do not agree with deeds. Three years later, Turgenev published the novel “The Noble Nest,” which turned out to be incredibly popular in Russia: every educated person considered it his duty to read it.
“Knowledge of Russian life, and, moreover, knowledge not from books, but from experience, taken from reality, purified and comprehended by the power of talent and reflection, appears in all of Turgenev’s works...”
Dmitry Pisarev
From 1860 to 1861, excerpts from the novel Fathers and Sons were published in the Russian Messenger. The novel was written on the “spite of the day” and explored the public mood of the time - mainly the views of nihilistic youth. Russian philosopher and publicist Nikolai Strakhov wrote about him: “In Fathers and Sons he showed more clearly than in all other cases that poetry, while remaining poetry... can actively serve society...”
The novel was well received by critics, although it did not receive the support of liberals. At this time, Turgenev's relations with many friends became complicated. For example, with Alexander Herzen: Turgenev collaborated with his newspaper “Bell”. Herzen saw the future of Russia in peasant socialism, believing that bourgeois Europe had outlived its usefulness, and Turgenev defended the idea of strengthening cultural ties between Russia and the West.
Sharp criticism fell upon Turgenev after the release of his novel “Smoke”. It was a novel-pamphlet that equally sharply ridiculed both the conservative Russian aristocracy and revolutionary-minded liberals. According to the author, everyone scolded him: “both red and white, and above, and below, and from the side - especially from the side.”
From “Smoke” to “Prose Poems”
Alexey Nikitin. Portrait of Ivan Turgenev. 1859. State Literary Museum
Osip Braz. Portrait of Maria Savina. 1900. State Literary Museum
Timofey Neff. Portrait of Pauline Viardot. 1842. State Literary Museum
After 1871, Turgenev lived in Paris, occasionally returning to Russia. He actively participated in the cultural life of Western Europe and promoted Russian literature abroad. Turgenev communicated and corresponded with Charles Dickens, George Sand, Victor Hugo, Prosper Merimee, Guy de Maupassant, and Gustave Flaubert.
In the second half of the 1870s, Turgenev published his most ambitious novel, Nov, in which he sharply satirically and critically portrayed members of the revolutionary movement of the 1870s.
“Both novels [“Smoke” and “Nov”] only revealed his increasing alienation from Russia, the first with its impotent bitterness, the second with insufficient information and the absence of any sense of reality in the depiction of the powerful movement of the seventies.”
Dmitry Svyatopolk-Mirsky
This novel, like “Smoke,” was not accepted by Turgenev’s colleagues. For example, Mikhail Saltykov-Shchedrin wrote that Nov was a service to the autocracy. At the same time, the popularity of Turgenev’s early stories and novels did not decrease.
The last years of the writer’s life became his triumph both in Russia and abroad. Then a cycle of lyrical miniatures “Poems in Prose” appeared. The book opened with the prose poem “Village”, and ended with “Russian Language” - the famous hymn about faith in the great destiny of one’s country: “In days of doubt, in days of painful thoughts about the fate of my homeland, you alone are my support and support, oh great, powerful, truthful and free Russian language!.. Without you, how not to fall into despair at the sight of everything that is happening at home . But one cannot believe that such a language was not given to a great people!” This collection became Turgenev's farewell to life and art.
At the same time, Turgenev met his last love - actress of the Alexandrinsky Theater Maria Savina. She was 25 years old when she played the role of Verochka in Turgenev's play A Month in the Country. Seeing her on stage, Turgenev was amazed and openly confessed his feelings to the girl. Maria considered Turgenev more of a friend and mentor, and their marriage never took place.
In recent years, Turgenev was seriously ill. Parisian doctors diagnosed him with angina pectoris and intercostal neuralgia. Turgenev died on September 3, 1883 in Bougival near Paris, where magnificent farewells were held. The writer was buried in St. Petersburg at the Volkovsky cemetery. The writer's death came as a shock to his fans - and the procession of people who came to say goodbye to Turgenev stretched for several kilometers.
“The Life and Work of Turgenev” - Library. Having settled in Berlin, Turgenev diligently took up his studies. Issues for discussion. Last years of life. The image of Turgenev's girl was not motionless. L. N. Tolstoy. I.S. Turgenev was born on October 28, 1818 in Orel. Project topics. Since 1850, Spasskoye-Lutovinovo began to belong to I. S. Turgenev.
“Ivan Sergeevich Turgenev” - mother, Varvara Petrovna, is from the wealthy landowner family of the Lutovinovs. Ivan Sergeevich Turgenev. In a noble family. Turgenev spent his childhood on the family estate Spassky-Lutovinovo. I.S. Turgenev. Great Russian writer. The shield is topped 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 influence on the development of Russian and world literature. Social revival began among students and among broad sections of society. The following essays from folk life were published in the same magazine for five years. Master of Language and Psychological Analysis. In his later years, he created the lyrical 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. St. Petersburg University. "Turgenev's girl" The writer's childhood.
“Turgenev biography” - “Erudite”. One of the main themes in the novel is the theme of relations between generations. Heroes and works 3 (5 minds). Novel “Fathers and Sons” 1 (1 mind). Contemporaries 2 (3 minds). Pig in a poke 2 (3 minds). Heroes and works 2 (3 minds). Imposed by love. Biography 2 (3 minds). Contemporaries 3 (5 minds). Which of the heroes of the novel “Fathers and Sons” is depicted below?
“Turgenev as a writer” - I.S. Turgenev. Tombstone at 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. Even under Turgenev’s mother, the dining room was one of the main rooms of the house. A group of employees of the Sovremennik magazine.
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