What new literary genre was created by Turgenev. Brief biography of Turgenev

Ivan Sergeevich Turgenev is a Russian writer and poet, playwright, publicist, critic and translator. He was born on October 28, 1818 in the city of Orel. His works are remembered for their vivid descriptions of nature, vivid images and characters. Critics especially highlight the cycle of stories “Notes of a Hunter,” which reflects the best moral qualities of a simple peasant. There were many strong and selfless women in Turgenev's stories. The poet had a strong influence on the development of world literature. He died on August 22, 1883 near Paris.

Childhood and education

Turgenev was born into a noble family. His father was a retired officer. The writer's mother, Varvara Petrovna Lutovinova, was of noble origin. Ivan spent his childhood on her family's ancestral estate. The parents did everything to provide their son with a comfortable life. He was trained best teachers and tutors, and at a young age Ivan and his family moved to Moscow to receive higher education. Since childhood, the guy studied foreign languages, he was fluent in English, French and German.

The move to Moscow took place in 1827. There, Ivan studied at the Weidenhammer boarding school, and he also studied with private teachers. Five years later, the future writer became a student in the literature department of a prestigious Moscow university. In 1834 Turgenev transferred to the Faculty of Philosophy in St. Petersburg, as his family moved to this city. It was then that Ivan began to write his first poems.

In three years he created more than a hundred lyrical works, including the poem "The Wall". Professor Pletnev P.A., who taught Turgenev, immediately noticed the undoubted talent of the young man. Thanks to him, Ivan’s poems “To the Venus of Medicine” and “Evening” were published in the Sovremennik magazine.

In 1838, two years after graduating from university, he went to Berlin to attend philological lectures. At that time, Turgenev managed to receive his Ph.D. In Germany, the young man continues his studies; he studies the grammar of ancient Greek and Latin. He was also interested in studying Roman and Greek literature. At the same time, Turgenev makes acquaintance with Bakunin and Stankevich. He has been traveling for two years, visiting France, Italy and Holland.

Homecoming

Ivan returned to Moscow in 1841, at the same time he met Gogol, Herzen and Aksakov. The poet greatly appreciated getting to know each of his colleagues. Together they attend literary circles. The following year, Turgenev asks for admission to the exam for the degree of Master of Philosophy.

In 1843, the writer went to work in the ministerial office for some time, but the monotonous activity of an official did not bring him satisfaction. At the same time, his poem “Parasha” was published, which was highly appreciated by V. Belinsky. The writer also remembered the year 1843 for his acquaintance with the French singer Pauline Viardot. After this, Turgenev decides to devote himself entirely to creativity.

In 1846, the stories “Three Portraits” and “Bretter” were published. Some time after this, the writer creates other famous works, including “Breakfast at the Leader”, “Provincial Girl”, “Bachelor”, “Mumu”, “A Month in the Village” and others. Turgenev published the collection of stories “Notes of a Hunter” in 1852. At the same time, his obituary dedicated to Nikolai Gogol was published. This work was banned in St. Petersburg, but published in Moscow. For his radical views, Ivan Sergeevich was exiled to Spasskoye.

Later he wrote four more works, which later became the largest in his work. In 1856, the book “Rudin” was published, three years after that the prose writer wrote the novel “ Noble Nest" The year 1860 was marked by the release of the work “On the Eve”. One of the author’s most famous works, “Fathers and Sons,” dates back to 1862.

This period of his life was also marked by a break in the poet’s relationship with the Sovremennik magazine. This happened after Dobrolyubov’s article entitled “When will the real day come?”, which was filled with negativity towards the novel “On the Eve”. Turgenev spent the next few years of his life in Baden-Baden. The city inspired his most voluminous novel, “Nove,” which was published in 1877.

last years of life

The writer was especially interested in Western European cultural trends. He entered into correspondence with famous writers, among whom were Maupassant, Georges Sand, Victor Hugo and others. Thanks to their communication, literature was enriched. In 1874, Turgenev organized dinners together with Zola, Flaubert, Daudet and Edmond Goncourt. In 1878, an international literary congress was held in Paris, during which Ivan was elected vice-president. At the same time, he becomes a respected doctor at Oxford University.

Despite the fact that the prose writer lived far from Russia, his works were also known in his homeland. In 1867, the novel “Smoke” was published, dividing compatriots into two oppositions. Many criticized it, while others were sure that the work opens a new literary era.

In the spring of 1882, a physical illness called microsarcoma first manifested itself, which caused Turgenev terrible pain. It was because of him that the writer subsequently died. He fought the pain to the last, last work Ivan's work was "Poems in Prose", published a few months before his death. September 3 (old style August 22), 1883 Ivan Sergeevich died in Bougival. He was buried in St. Petersburg at the Volkovskoye cemetery. The funeral was attended by many people who wanted to say goodbye to talented writer.

Personal life

The poet's first love was Princess Shakhovskaya, who was in a relationship with his father. They met in 1833, and only in 1860 Turgenev was able to describe his feelings in the story “First Love.” Ten years after meeting the princess, Ivan meets Polina Viardot, with whom he falls in love almost immediately. He accompanies her on tour; it is with this woman that the prose writer subsequently moves to Baden-Baden. After some time, the couple had a daughter, who was raised in Paris.

Problems in the relationship with the singer began due to distance, and her husband Louis also acted as an obstacle. Turgenev starts an affair with a distant relative. They were even planning to get married. In the early sixties, the prose writer again became close to Viardot, they lived together in Baden-Baden, then moved to Paris. IN last years In his life, Ivan Sergeevich becomes interested in the young actress Maria Savina, who reciprocates his feelings.

Turgenev Ivan Sergeevich was born on October 28, 1818 (new November 9). Russian writer, corresponding member of the St. Petersburg Academy of Sciences (1860). In the cycle of stories “Notes of a Hunter” (1847-52) he showed the high spiritual qualities and talent of the Russian peasant, the poetry of nature. In the socio-psychological novels “Rudin” (1856), “The Noble Nest” (1859), “On the Eve” (1860), “Fathers and Sons” (1862), the stories “Asya” (1858), “Spring Waters” (1872) ) images of the passing noble culture and new heroes of the era of commoners and democrats, images of selfless Russian women were created. In the novels “Smoke” (1867) and “Nov” (1877) he depicted the life of Russians abroad and the populist movement in Russia. In his later years, he created the lyrical and philosophical “Poems in Prose” (1882). Master of Language and psychological analysis, Turgenev had a significant influence on the development of Russian and world literature.

He spent his childhood on his mother's estate - the village of Spasskoye-Lutovinovo, Oryol province, where the culture of the "noble nest" contrasted strikingly with the tyranny of serfdom. In 1833 he entered Moscow University, a year later he transferred to St. Petersburg University to the verbal department of the Faculty of Philosophy (he graduated as a candidate in 1837). T.'s first work that has come down to us is the dramatic poem "The Wall" (written in 1834, published in 1913), dedicated to a hero of a demonic nature. By the mid-30s. include T.’s early poetic experiments. The first work to see the light was a review of A. N. Muravyov’s book “Travel to Russian Holy Places” (1836); in 1838, T.’s first poems “Evening” and “To Venus of Medicea."

In 1838-40 (with interruptions) he continued his education abroad. At the University of Berlin he studied philosophy, ancient languages, and history. In Berlin, then in Rome he became close to N.V. Stankevich and M.A. Bakunin. In 1842, T. passed the examination for the degree of Master of Philosophy at St. Petersburg University. In 1842 he made another trip to Germany. Upon his return, he served in the Ministry of Internal Affairs as an official on special assignments (1842-44). In 1843 T. met the French singer P. Viardot. Friendly relations with her and her family continued throughout the writer’s life and left a deep mark on his work; affection for Viardot largely explains Turgenev’s frequent trips, and then his long stay abroad. It was extremely important for Ivan Sergeevich to meet V. G. Belinsky at the end of 1842; Turgenev soon became close to his circle, to St. Petersburg writers (including A. I. Herzen), whose activities developed in line with the ideas of Westernism. Belinsky's criticism and convictions contributed to the strengthening of Turgenev in anti-serfdom and anti-Slavophile positions; in some of Turgenev's essays from "Notes of a Hunter" ("The Burmaster" and "Two Landowners") there are traces of the direct influence of the "Letter to Gogol", written by Belinsky during his joint stay abroad with Turgenev (1847).

In 1843, the poem “Parasha” was published, highly appreciated by Belinsky; Following her, the poems “Conversation” (1845), “Andrey” (1846) and “The Landowner” (1846) were published - a kind of “physiological essay” in verse, which determined T.’s place in the circle of writers of the Gogol movement. In Turgenev's poetry there are two heroes - a dreamer, a man of a passionate and rebellious soul, full of inner anxiety, unclear hopes, and a skeptic of the Onegin-Pechorin type. Sad irony in relation to the homeless "wanderer", longing for the lofty, ideal, heroic - the main mood of Ivan Sergeevich's poems in the prose works of these years - "Andrei Kolosov" (1844), "Three Portraits" (1846), "Breter" (1847) -- Turgenev continued to develop the problem of personality and society put forward by romanticism. Epigon Pechorin, skeptic in the 2nd half of the 40s. Turgenev did not seem significant; on the contrary, he now sympathizes with an individual who is spontaneous and free in the manifestations of his will and feelings. At this time, Turgenev spoke with critical articles, with reviews (on the translation of “Faust” by M. Vronchenko, the play by N. V. Kukolnik, S. A. Gedeonov), which expressed the aesthetic position of the writer, close to Belinsky’s views on the high social purpose of literature.

In dramatic works - genre scenes "Lack of Money" (1846), "Breakfast with the Leader" (1849, published 1856), "Bachelor" (1849) and the social drama "Freeloader" (1848, staged 1849, published 1857) - in image" little man"The traditions of N.V. Gogol and the connection with the psychological manner of F.M. Dostoevsky (the image of Kuzovkin) were reflected in the plays "Where it is thin, there it breaks" (1848), "Provincial Girl" (1851), "A Month in the Country" ( 1850, published 1855) expresses the dissatisfaction characteristic of Ivan Sergeevich with the inaction of the reflective noble intelligentsia, the anticipation of a new hero - the commoner. From the drama of a man humiliated by serfdom, Turgenev comes to a deep psychological development of clashes between different social groups, different views (for example, the nobility and commoners). The dramaturgy of T. prepared the social plays of A. N. Ostrovsky and preceded the psychological drama of A. P. Chekhov with its hidden lyricism and acute sense of the fragmentation of the world and human consciousness.

The series of essays “Notes of a Hunter” (1847-52) is the most significant work of the young T. It had a great influence on the development of Russian literature and brought the author world fame. The book was translated into many European languages ​​and already in the 50s, being virtually banned in Russia, went through many editions in Germany, France, England, and Denmark. 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” (Collected works, vol. 9, 1970, p. 459). At the center of the essays is a serf peasant, smart, talented, but powerless. T. discovered a sharp contrast between the “dead souls” of the landowners and the high spiritual qualities of the peasants, which arose in communication with the majestic, mysterious and beautiful nature. In accordance with the general idea of ​​"Notes of a Hunter" about the depth and significance of the people's consciousness, T. in the most artistic manner of depicting peasants takes a step forward in comparison with the previous one and modern literature. The vivid individualization of peasant types, the depiction of the psychological life of the people in the change of mental movements, the discovery in the peasant of a personality that is subtle, complex, and deep, like nature—the discoveries of T. made in “Notes of a Hunter.”

Turgenev concept folk character was of great importance for the development of progressive social thought in Russia. Progressive people turned to T.'s book as a convincing argument in favor of the abolition of serfdom in Russia. In the 70s "Notes..." turned out to be close to the populists as a recognition of the moral heights of the peasant and his plight. They had a noticeable influence on the portrayal of the people in Russian literature (L.N. Tolstoy, V.G. Korolenko, Chekhov). With "Notes of a Hunter" began T.'s participation in Nekrasov's "Contemporary", in whose circle he soon took a prominent place.

In February 1852, T. wrote an obituary note about the death of Gogol, calling him a great writer who “... marked an era in the history of our literature” (Poln. sobr. soch., vol. 14, 1967, p. 72), which served as a pretext for T.'s arrest and exile under police supervision in the village of Spasskoye for a year and a half. The real reason this action is a criticism of serfdom in "Notes of a Hunter". During this period, T. wrote the stories “Mumu” ​​(published 1854) and “The Inn” (published 1855), which in their anti-serfdom content are similar to “Notes of a Hunter.”

In 1856, the novel “Rudin” appeared in Sovremennik—a unique result of T.’s thoughts about the leading hero of our time. The novel was preceded by novellas and stories in which the writer assessed the type of idealist of the 40s from different angles. If in the stories “Two Friends” (1854) and “The Calm” (1854) the portrait of an unstable, reflective person was given with disapproval, then in the stories “Hamlet of the Shchigrovsky District” (1849), “Diary extra person"(1850), "Yakov Pasynkov" (1855), "Correspondence" (1856) revealed the tragedy of the "superfluous man", his painful discord with the world and people. T.'s point of view on the "superfluous man" in "Rudin" is twofold: recognizing the significance of Rudin’s “word” in awakening the consciousness of people in the 40s, he notes the insufficiency of just the propaganda of high ideas in the conditions of Russian life in the 50s. As always, T. “verified” his hero with the sensitively grasped demands of modernity, which awaited the advanced. public figure. Rudin belonged to the generation that prepared the ground for him. N.G. Chernyshevsky and N.A. Dobrolyubov (in these years) were ready to support the protest against feudal reality, which consisted of many. psychological traits"an extra person"

In the novel "The Noble Nest" (1859), the question of the historical destinies of Russia is acutely raised. The hero of the novel, Lavretsky, is “more ordinary” than Rudin, but he is closer to folk life, better understands the needs of the people. He considers it his duty to alleviate the lot of the peasants. However, for the sake of personal happiness, he forgets about duty, although happiness turns out to be impossible. The heroine of the novel, Lisa, ready for great service or feat, does not find high meaning in a world where her moral sense is constantly insulted. Lisa’s departure to the monastery is a kind of protest and, albeit passive, but still a rejection of life. The image of Lisa is surrounded by “bright poetry,” which Saltykov-Shchedrin noted in “every sound of this novel.” If “Rudin” is a test of the idealist of the 40s, then “The Noble Nest” is the realization of his departure from the historical stage.

In connection with “The Noble Nest” and the stories that preceded it “Faust” (1856) and “Asya” (1858), a controversy arose in the press about duty, self-denial, and selfishness. In solving these problems, a divergence emerged between T. and the revolutionary democrats, who focused their attention on the weakness and indecisiveness of the “superfluous man” and the lack of civic feeling in him (as Chernyshevsky wrote about in the article “Russian man on rendezvous” in connection with T.’s story. "Asya"); they proceeded from the idea of ​​a morally integral person who has no contradiction between internal needs and social duty. The dispute about the new hero touched on the most significant issues of Russian life on the eve of the reform, in the conditions of a brewing revolutionary situation. Sensitive to the demands of the time, T. in the novel “On the Eve” (1860) expressed the idea of ​​the need for consciously heroic natures. In the image of the common Bulgarian Insarov, the writer brought out a man with an integral character, all of whose moral forces are concentrated on the desire to liberate his homeland. T. paid tribute to people of a heroic nature, although they seemed to him somewhat limited, one-line. Dobrolyubov, who dedicated the article “When will the real day come?” to “On the Eve?” (1860), noted that Insarov is not fully described in the novel, is not close to the reader, and is not open to him. And therefore, according to the critic, the main character of the novel is Elena Stakhova; it embodies “the social need for action, living action, the beginning of contempt for dead principles and passive virtues...” (Collected works, vol. 3, 1952, p. 36). Russia for T. is on the eve of the emergence of consciously heroic natures (for Dobrolyubov - revolutionary). T. could not accept the sharply journalistic interpretation of the novel proposed by Dobrolyubov, could not agree with the revolutionary position of the critic, expressed on the material and with the help of his novel. Therefore, the writer objected to the publication of the article. When, thanks to Nekrasov’s persistence, she finally appeared, he left Sovremennik. The main reason for the break was rooted in the fact that T., who took a liberal position, did not believe in the need for revolution; according to V.I. Lenin’s definition, he “... was disgusted by the peasant democracy of Dobrolyubov and Chernyshevsky” (Poln. sobr. soch., 5th ed., vol. 36, p. 206). At the same time, T. paid tribute to the high spiritual qualities of revolutionary democrats and connected the future of Russia with them.

Therefore, in the novel “Fathers and Sons” (1862), T. continued his artistic exploration of the “new man.” "Fathers and Sons" is a novel not just about the change of generations, but about the struggle of ideological trends (idealism and materialism), about the inevitable and irreconcilable clash of old and new socio-political forces. The novel revealed the cruel and complex process of breaking down previous social relations, conflicts in all spheres of life (between landowners and peasants who were disobedient; between nobles and commoners; within the noble class). This process appeared in the novel as a destructive element, exploding aristocratic isolation, breaking class barriers, changing the usual course of life. The arrangement of faces in the novel and the development of the action showed whose side the author was on. Despite his ambivalent attitude towards the hero, despite the dispute that T. is having with the “nihilist” Bazarov about his attitude to nature, love, art, this “denier” is portrayed as a courageous person, consistent in his convictions, who has great and important things ahead of him. "case". Rationalism of judgment is in conflict with his deep, passionate nature. Defenders of the old “principles” are the “cream” noble society(Kirsanov brothers) - they are inferior to the hero in moral strength and understanding of the needs of life. The tragic love story of Bazarov and Odintsova, revealing the discrepancy between the nature and some of the hero’s views, emphasizes his moral superiority over the best representatives of the nobility. T. soberly and seriously assessed not only the role of the hero, who is on the threshold of the future, constituting a “strange pendant with Pugachev,” but also the place of the people in this process. T. saw the disunity of the people with the advanced intelligentsia, who stood up to protect their interests. This, according to T., is one of the reasons for the tragic situation of the new leaders.

Contemporaries reacted sharply to the appearance of the novel. The reactionary press accused T. of currying favor with young people, while the democratic press reproached the author for slandering the younger generation. D.I. Pisarev understood the novel differently, seeing in it a true depiction of a new hero. T. himself wrote to K.K. Sluchevsky regarding Bazarov: “... If he is called a nihilist, then it should be read: revolutionary” (Complete collected works and letters. Letters, vol. 4, 1962, p. 380) . However, the well-known inconsistency of T.’s position still gives rise to disputes about the author’s attitude towards the hero.

After “Fathers and Sons,” a period of doubt and disappointment began for the writer. In an open dispute with A.I. Herzen, he defends educational views. The stories “Ghosts” (1864), “Enough” (1865) and others appear, filled with sad thoughts and pessimistic moods. The genre of Turgenev's novel is changing: the centralizing role of the protagonist in overall composition works. At the center of the novel “Smoke” (1867) is the problem of the life of Russia, shaken by the reform, when “... the new was poorly accepted, the old lost all power” (Works, vol. 9, 1965, p. 318). There are two main characters in the novel - Litvinov, tragic love which reflected both the “shaken way of life”, and the contradictory, unstable consciousness of people, and Potugin - the preacher of Western “civilization”. The novel was sharply satirical and anti-Slavophile in nature. The author's irony was directed both against representatives of the revolutionary emigration ("Heidelberg Arabesques") and against the highest government circles of Russia ("Baden generals"). However, condemnation of the post-reform reality (“smoke”), consideration of political opposition not as a phenomenon introduced from outside, but as a product of Russian life distinguish this novel from the “anti-nihilistic” works of other authors. Sad memories of the type of "superfluous man" ("Spring Waters", published 1872), thoughts about the people and the essence of the Russian character ("King Lear of the Steppes", published 1870) lead T. to the creation of the most significant work of the last period - the novel " Nov" (1877).

In an atmosphere of heated discussions about the fate of history and art, Nov appears - a novel about the populist movement in Russia. Paying homage heroic impulse youth, their feat of self-sacrifice, but not believing in the possibility of revolutionary changes, T. gives the participant in “going to the people”, the “romance of realism” Nezhdanov, the features of a “Russian Hamlet”. The sober gradualist practitioner Solomin with his theory of “small things,” in T.’s opinion, is closer to the truth. Deploying in the novel pictures of ideological disputes between representatives of liberal views (Sipyagin), conservative (Kallomeytsev) and populist (Nezhdanov, Marianna, Solomin) views, T. gives preference to populist views. “Nov”, although not immediately, reconciled the writer with the younger generation. In the last years of his life, T. created several small works, including “Poems in Prose” (part 1, published 1882); in the poems “The Threshold” and “In Memory of Yu. P. Vrevskaya” he glorified the feat of self-sacrifice in the name of the happiness of the people.

In the 70s, while living in Paris, T. became close with figures of the populist movement - G. A. Lopatin, P. L. Lavrov, S. M. Stepnyak-Kravchinsky; Provides financial assistance to the populist magazine "Forward". He follows the development of Russian and French art; included in the circle of the largest French writers- G. Flaubert, E. Zola, A. Daudet, the Goncourt brothers, where he enjoys a reputation as one of the largest realist writers. During these years and later, T., with his mature skill and refined art of psychological analysis, had an undoubted influence on Western European writers. P. Merimee considered him one of the leaders of the realistic school. J. Sand and G. Maupassant recognized themselves as students of T. In the Scandinavian countries, T.'s novels, in particular "Rudin", were especially popular and attracted the attention of prominent playwrights and prose writers. Swedish criticism noted the “Turgenev element” in the plays of A. Strindberg. T.’s role was also very great as a promoter of Russian literature abroad.

T.'s activities in the field of literature, science and art were highly appreciated in France and England. In 1878 he was elected vice-president of the International Literary Congress in Paris. In 1879, Oxford University awarded T. the degree of Doctor of Common Law. Coming to Russia (1879, 1880), T. participated in readings in favor of the society of lovers of Russian literature. In 1880 he gave a speech about Pushkin. Progressive Russia greeted him with applause.

T.'s creativity marked new stage in the development of Russian realism. Sensitivity to current issues of Russian life, philosophical understanding events and characters, the truthfulness of the image made T.'s books a kind of chronicle of Russian reality of the 40s-70s. 19th century His services to the development of the Russian novel are especially great. Continuing the traditions of Pushkin, Gogol, M. Yu. Lermontov, he created a special form of “biographical” or “personal” novel, a hero’s novel. The author focuses on the fate of one person, characteristic of his time. T. owns a deep and objective study of the “superfluous man” type, which received further development in the works of I. A. Goncharov, L. Tolstoy, Dostoevsky, Chekhov. Analysis of the character of the hero, his assessment from a socio-historical point of view determine the composition of T.’s novel. The same principle determines the arrangement characters. Main character the novel defends a certain position in life. His fate depends on how successfully he defends it. Other persons in the novel, expressing their views in debates and duels, correlate with the main character, highlighting the strengths and weaknesses of his beliefs and character.

A special place in T.’s prose is occupied by female images. In the author’s opinion, female nature, integral, uncompromising, sensitive, dreamy and passionate, embodies the expectation of the new, heroic, characteristic of a certain time. Therefore, T. gives his beloved heroines the right to judge the hero. The story of love has a central place in the composition of T.’s novel. The understanding of love not only as the greatest happiness, but also as the tragedy of human life, the analysis of the “tragic meaning of love” have conceptual significance in T. The inconsistency of social duty and happiness, which reveals the contradictions between the hero’s nature and beliefs, reveals T.’s idea of ​​the intractability of the conflict between a leading figure and society in feudal Russia, the impossibility of free manifestation of the human personality. T.’s deep coverage of the main life conflict and characters, approval of progressive social trends, and faith in the social ideal are combined with the awareness of the impracticability of the ideal in that historical period. Hence the duality in the author’s attitude towards the main character: respect for his high moral qualities and doubt about the correctness of his chosen position in life. This also explains the sad, lyrical atmosphere that arises around the hero, who fails to realize his beliefs, and the heroine, striving for active good.

The landscape in T.'s works is not only a backdrop for the development of action, but one of the main means of characterizing the characters. The philosophy of nature most fully reveals the features of the author’s worldview and artistic system. T. perceives nature as “indifferent,” “imperative,” “selfish,” “suppressive” (see Complete collection of works and letters. Letters, vol. 1, 1961, p. 481). T.'s nature is simple, open in its reality and naturalness, and infinitely complex in the manifestation of mysterious, spontaneous, often hostile to man forces. However, in happy moments, for a person it is a source of joy, vigor, heights of spirit and consciousness.

Turgenev is a master of halftones, dynamic, soulful lyrical landscape. The main tonality of Turgenev's landscape, as in works of painting, is usually created by lighting. T. captures the life of nature in the alternation of light and shadow and in this movement notes the similarity with the changeability of the mood of the heroes. The function of landscape in T.’s novels is multi-valued; it often acquires a generalized, symbolic sound and characterizes not only the hero’s transition from one state of mind to another, but also turning points in the development of the action (for example, the scene at Avdyukhin’s pond in “Rudin”, the thunderstorm in “On the Eve”, etc.). This tradition was continued by L. Tolstoy, Korolenko, and Chekhov.

In creating a psychological and satirical portrait, T. is a follower of Pushkin and Gogol. Portrait characteristics performed by T. in an objective manner (T. himself spoke about the need to “... be a psychologist, but secretly” - ibid., vol. 4, 1962, p. 135). The intensity of mental life with a subtly outlined change of various states is conveyed in its external manifestations - in facial expressions, gestures, and movement of the character, behind which the missing links of a single psychological chain seem to be guessed. T. continued the work of his great predecessors as an unsurpassed stylist, as a master of language, who in his prose merged the book culture of the Russian word with the riches of living folk speech.

The artistic system created by Turgenev had a noticeable influence on the poetics of not only Russian, but also Western European novels of the 2nd half of the 19th century. It largely served as the basis for the “intellectual” novel by L. Tolstoy and Dostoevsky, in which the fates central characters depend on their solution to an important philosophical question of universal significance. The traditions of T. are also developing in the works of many Soviet writers(A. N. Tolstoy, K. G. Paustovsky, etc.). His plays form an integral part of the repertoire of Soviet theaters. Many of Turgenev's works have been filmed.

Since the first years of the revolution, Soviet literary studies have been closely studying the legacy of T. Many works have been created devoted to the life and work of the writer, elucidating his role in the Russian and world literary process. A scientific study of the texts was carried out, and widely commented collected works were published. Museums of T. were created in the city of Orel and the former estate of his mother Spassky-Lutovinovo

• - Every happy love, as well as unhappy, is a real disaster when you give yourself completely to it.
• —You still don’t know if you have talent? Give it time to mature; and even if it doesn’t exist, does a person really need poetic talent in order to live and act?
• -- there are three categories of egoists: egoists who themselves live and let others live; egoists who live themselves and do not let others live; finally, egoists who themselves do not live and do not give to others...
• - life is nothing more than a constantly conquered contradiction
• - Nature... awakens in us the need for love...
• - Take care of our language, our beautiful Russian language - this is a treasure, this is an asset passed on to us by our predecessors! Handle this mighty weapon with respect.
• - Marriage based on mutual inclination and reason is one of the greatest blessings of human life.
• - Outside the people there is no art, no truth, no life, nothing.
• - 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!.. it is impossible to believe that such a language was not given to a great people!
• - Time sometimes flies like a bird, sometimes it crawls like a worm; but it feels especially good for a person when he doesn’t even notice whether it passes quickly or quietly.
• - Every Prayer boils down to the following: “Great God, make sure that twice two does not become four.”
• “If there’s a chance to do something, that’s great, but if it doesn’t work out, at least you’ll be pleased that you didn’t chatter in vain beforehand.”
• - Good by decree is not good.
• - If aspiration comes from a pure source, it still, even if it is not completely successful, without achieving the goal, can bring great benefit.
• —There are three categories of egoists: egoists who live themselves and let others live; egoists who live themselves and do not let others live; finally, egoists who do not live themselves and do not give to others.
• - Pathetic is the one who lives without an ideal!
• - Cosmopolitan - zero, worse than zero.
• “Whoever strives for a high goal should no longer think about himself.
• - Love is stronger than death and fear of death. Only her, only love holds and moves life.
• - Love... is stronger than death and the fear of death.
• - A man can say that twice two is not four, but five or three and a half, and a woman will say that twice two is a stearin candle.
• - Music is intelligence embodied in beautiful sounds.
• “He who doesn’t have even a drop of hope is not jealous.”
• “It is impossible to believe that such a language was not given to a great people.”
• “There’s nothing more painful than the consciousness of something stupid you’ve just done.”
• - The unfading laurel with which a great man is crowned also rests on the brow of his people.
• — Nowhere does time fly as fast as in Russia; in prison, they say, it runs even faster.
• “There is nothing more tiresome than a cheerless mind.”
• - Oh, youth! Youth! Maybe the whole secret of your charm is not the ability to do everything, but the ability to think that you will do everything.
• “You can talk about everything in the world with fervor... but you only talk with appetite about yourself.”
• - Before eternity, they say, everything is trifle - yes; but in this case, eternity itself is nothing.
• - Nature is not a temple, but a workshop, and man is a worker in it.
• “Russia can do without each of us, but none of us can do without her.” Woe to the one who thinks this, doubly woe to the one who actually gets along without it.
• - Selfishness is suicide. ... but self-love, as an active striving for perfection, is the source of everything great...
• - The strong do not need happiness.
• - Laughter for no reason is the best laughter in the world.
• - It’s funny to be afraid - not to love the truth.
• “Death is an old thing, but something new for everyone.”
• — Happiness is like health: when you don’t notice it, it means it’s there.
• - Only her, only love holds and moves life.
• “We all have one anchor from which, unless you want to, you will never break free: a sense of duty.”
• - A person without pride is insignificant. Self-love is an Archimedes lever with which you can move the earth from its place.
• - Man is weak, woman is strong, chance is omnipotent, it is difficult to come to terms with a colorless life, it is impossible to completely forget oneself... but here is beauty and compassion, here is warmth and light - where can one resist? And you will run like a child to a nanny.
• - A person needs to break the stubborn egoism of his personality in order to give it the right to express itself.
• - Honesty was his capital, and he took usurious interest from it.
• - Excessive pride is the sign of an insignificant soul.
• - This woman, when she comes to you, seems to bring all the happiness of your life towards you...
• “Every thought is like dough; if you knead it well, you can make anything out of it.”
• “Only those people who remain misunderstood are those who either don’t yet know what they want or are not worth being understood.”

In the history of Russian literature I.S.  Turgenev belongs to the place of “chronicler” of the life of the Russian intelligentsia of the second half of the 19th century. and an expert on the people's soul.

Turgenev's first literary, poetic and dramatic experiments were imitative romantic character. But in his prose works of this period there was already a desire for a realistic depiction of reality, which was revealed in full force in the first collection of stories, “Notes of a Hunter,” imbued with a sense of 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 underlying features were comprehended national character, the collection was supplemented by the development of issues related to psychology, ideology and the social role of the Russian intelligentsia. It was this line that became decisive in Turgenev’s novels, for which, despite all the differences, the common thing is the depiction of the ideological and spiritual quest of people belonging to the cultural stratum of Russian society.

In line with this theme, the writer created types of Russian intelligentsia characteristic of his time: the “superfluous man” at a new stage of its development (“Rudin”), the inhabitant of the “noble nest” (“Noble Nest”), the common revolutionary (“On the Eve”) , a nihilist (“Fathers and Sons”), a representative of the generation of ideological impassability and spiritual grinding (“Smoke”), a populist (“Nov”). Responding to topical issues of social life, Turgenev in his novels unfolded broad pictures of ideological struggle. Along with this, he raised issues of social order, moral life and relationship psychology. The writer paid special attention to the sphere of love feelings and the natural world, in the depiction of which he achieved high artistic skill.

In recent years, I. Turgenev moved away from social issues and focused on the “eternal” questions of life - love, death, happiness, suffering, the meaning of existence, the incomprehensible mysteries of existence, etc.

Being 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. began to be translated into leading European languages.  Pushkina, M.Yu.  Lermontova, 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 this time. The writer was amazingly perspicacious and knew how to capture and translate into artistic images the 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 the “noble” landowners (“Notes of a Hunter”).

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

Turgenev created a new type of heroine - a woman with progressive views, high impulses, readiness for heroism (“On the Eve”, “Nov”).

No one before Turgenev wrote so poetically and elegiacally about dying noble nests.

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Ivan Sergeevich Turgenev was born in 1818 and died in 1883.

Representative of the noble class. Born in the small town of Oryol, but later moved to live in the capital. Turgenev was an innovator of realism. The writer was a philosopher by profession. He had many universities to which he entered, but he did not manage to graduate from many. He also traveled abroad and studied there.

At the beginning of his creative path Ivan Sergeevich tried his hand at writing dramatic, epic and lyrical works. Being a romantic, Turgenev wrote especially carefully in the above areas. His characters feel like strangers in a crowd of people, alone. The hero is even ready to admit his insignificance before the opinions of others.

Ivan Sergeevich was also an outstanding translator and it was thanks to him that many Russian works were translated into foreign languages.

He spent the last years of his life in Germany, where he actively introduced foreigners to Russian culture, in particular literature. During his lifetime he achieved high popularity both in Russia and abroad. The poet died in Paris from a painful sarcoma. His body was brought to his homeland, where the writer was buried.

6th grade, 10th grade, 7th grade. 5th grade. Interesting facts from life

Biography by dates and Interesting Facts. The most important.

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1818 , October 28 (November 9) - born in Orel into a noble family. He spent his childhood on his mother’s family estate, Spasskoye-Lutovinovo, Oryol province.

1822–1823 – trip abroad of the entire Turgenev family along the route: p. Spasskoe, Moscow, St. Petersburg, Narva, Riga, Memel, Koenigsberg, Berlin, Dresden, Carlsbad, Augsburg, Konstanz, ... Kyiv, Orel, Mtsensk. The Turgenevs lived in Paris for six months.

1827 – The Turgenevs move to Moscow, where they buy a house on Samotek. Ivan Turgenev was placed in the Weidenhammer boarding house, where he stayed for about two years.

1829 , August - Ivan and Nikolai Turgenev are placed in a boarding house at the Armenian Institute.
november– Ivan Turgenev leaves the boarding school and continues his educational training with home teachers - Pogorelov, Dubensky, Klyushnikov.

1833–1837 – studies at Moscow (faculty of literature) and St. Petersburg (philological department of the faculty of philosophy) universities.

1834 , December – finishes work on the poem “Wall”.

1836 , April 19 (May 1) – is present at the first performance of “The Inspector General” in St. Petersburg.
The end of the year– submits the poem “Wall” for consideration by P. A. Pletnev. After a condescending review, he gives him a few more poems.

1837 - A. V. Nikitenko sends his literary works: “The Wall”, “The Old Man’s Tale”, “Our Century”. He reports that he has three completed small poems: “Calm on the Sea”, “Phantasmagoria on a Midsummer Night”, “Dream” and about a hundred small poems.

1838 , beginning of April – the book is published. I of “Contemporary”, in it: the poem “Evening” (signature: “---in”).
May 15 (27)- went abroad on the steamship "Nikolai". E. Tyutcheva, the first wife of the poet F.I. Tyutchev, P.A. Vyazemsky and D. Rosen left on the same ship.
Early October- the book comes out. 4 “Contemporaries”, in it: the poem “To the Venus of Medicine” (signature “---въ”).

1838–1841 – studies at the University of Berlin.

1883 , August 22 (September 3) - died in Bougival near Paris, buried in the Volkov cemetery in St. Petersburg.