Biography Turgenev in literature. Brief biography Turgenev Most importantly

1. Belletist and dramaturg.
2. From "smoke" to "poems in prose"

And Van Turgenev was one of the most significant Russian writers of the XIX century. The artistic system created by him changed the poetics of the novel both in Russia and abroad. His works were praised and rigidly criticized, and Turgenev was looking for a way all their lives in them, which would lead Russia to well-being and prosperity.

"Poet, talent, aristocrat, handsome"

The family of Ivan Turgenev came from the ancient kind of Tula nobles. His father, Sergey Turgenev, served in the cavalry regiment and led a very wasteful lifestyle. For amendment of the financial situation, he was forced to marry elderly (according to the standards of that time), but a very wealthy landowner Varvar Lutovinova. Marriage has become both unhappy for them, their relationships did not develop. Their second son, Ivan, was born two years after the wedding, in 1818, in Orel. Mother recorded in her diary: "... On Monday, the son of Ivan was born, the height of 12 tops [approximately 53 centimeters]. In total children in the Turgenev family were three: Nikolai, Ivan and Sergey.

Until nine, Turgenev lived in the estate of Spassky-Lutovinovo in the Oryol region. His mother had a difficult and controversial character: her sincere and heart care for children was combined with a harsh despotism, Varvara Turgenev often beat his sons. However, she invited the best French and German governors to children, spoke with sons solely in French, but at the same time remained a fan of Russian literature and read Nikolai Karamzin, Vasily Zhukovsky, Alexander Pushkin and Nikolai Gogol.

In 1827, Turgenev was moved to Moscow so that children could get better education. Three years later, Sergey Turgenev left the family.

When Ivan Turgenev was 15 years old, he entered the verbal faculty of Moscow University. At the same time, the future writer first fell in love with Princess Catherine Shakhovskaya. Shakhovskaya exchanged letters with him, but he answered the reciprocity of the Father Turgenev and thereby broke his heart. Later, this story has become the basis of the story of Turgenev "First Love".

A year later, Sergey Turgenev passed away, and Barbara with children moved to St. Petersburg, where Turgenev entered the University of St. Petersburg at the Faculty of Philosophy. Then he seriously became interested in lyrics and wrote the first work - the dramatic poem "Wallo". Turgenev responded about her like this: "A completely ridiculous work, in which the slave imitation of Bayronovsky Manfred was expressed with maddenness.. In total, during the years of study, Turgenev wrote about hundreds of poems and several poems. Some of his poems published the magazine "Contemporary".

After studying, 20-year-old Turgenev went to Europe to continue their education. He studied antique classics, Roman and Greek literature, traveled in France, Holland, Italy. European way of life struck Turgenev: he came to the conclusion that Russia should get rid of non-ultimate, laziness, ignorance, following Western countries.

Unknown artist. Ivan Turgenev at the age of 12. 1830. State Literary Museum

Eugene Louisa Lami. Portrait of Ivan Turgenev. 1844. State Literary Museum

Kirill Gorbunkkov. Ivan Turgenev in youth. 1838. State Literary Museum

In the 1840s, Turgenev returned to his homeland, he received a Master of Greek and Latin Philology in St. Petersburg University, even wrote the dissertation - but she did not protect it. Interest in scientific activity crowded the desire to write. It was at that time that Turgenev met Nikolai Gogolam, Sergey Aksakov, Alexei Khomyakov, Fedor Dostoevsky, Afanasius Fetom and many other writers.

"The poet of Turgenev returned from Paris the other day. What a man! Poet, talent, aristocrat, handsome, rich, smart, formed, 25 years old, - I do not know what nature refused to him? "

Fedor Dostoevsky, from a letter to brother

When Turgenev returned to Spasskoy-Lutovinovo, he had a novel with the peasant of Avdotia Ivanova, who ended with the pregnancy of the girl. Turgenev wanted to marry, but his mother with a scandal sent Avdota to Moscow, where she gave birth to Pelague's daughter. Parents of Avdoti Ivanova hastily issued her married, and Pelagey Turgenev recognized only in a few years.

In 1843, under the initials of T. L. (Turgenev-Lutovinov), the poem of Turgenev "Parasha" was published. Her highly appreciated Vissarion Belinsky, and from this point on their acquaintance turned into a strong friendship - Turgenev even became a criticism's contestant.

"This person is unusually smart ... It is gratifying to meet a person, the original and characteristic opinion of which, hurrying with yours, extracts sparks."

Vissarion Belinsky

In the same year, Turgenev met Polina Viardo. The truth nature of their relationship is still arguing researchers of the creativity of Turgenev. They met in St. Petersburg, when the singer came to the city with tour. Turgenev often traveled with Polina and her husband, art historian Louis Viardo, in Europe, stayed in their Parisian house. In the family, Viardo was brought up his extramarital daughter Pelagia.

Belletist and dramaturg.

In the late 1840s, Turgenev wrote a lot for theater. His plays "Hebler", "Bachelor", "Month in the village" and "provincial" were very popular among the public and warmly taken critics.

In 1847, the story of Turgenev "Horing and Kalinich" came out in the magazine "Contemporary", created under the impression of the Hunting Travel of the Writer. A little later, stories from the collection "Hunter's Notes" were also published. The collection itself was published in 1852. Turgenev called him with his "Annibal Owl" - the promise to fight to the end with the enemy he hated since childhood - with serf right.

"Hunter's notes" are marked by such a power of talent, which has a beneficial effect on me; Understanding nature often seems to you as a revelation. "

Fedor Tyutchev

It was one of the first works, openly talking about the troubles and the dangers of serfdom. The censor that made the "Hunter's notes" to the press, on the personal order of Nicholas I fired from the service with deprivation of a pension, and the collection itself was banned from reissued. Czensors explained that Turgenev, although poeticized the fortress, criminally exaggerated their suffering from landlords.

In 1856, the first large novel of the writer was released in the print - "Rudin", written in just seven weeks. The name of the Hero of the Roman became nominative for people who do not agree with the case. Three years later, Turgenev published the novel "Kozhalyansky nest", which turned out to be incredibly popular in Russia: each educated person considered his duty to read it.

"Knowledge of Russian life, and with moreant knowledge is not a book, but an experienced, made out of reality, purified and meaningful power of talent and reflections, it turns out in all works of Turgenev ..."

Dmitry Pisarev

From 1860 to 1861, excerpts of the novel "Fathers and Children" were published in the Russian Bulletin. The novel was written in the "Evil of the Day" and explored the public sentiment of that time - basically the views of nihilistic youth. Russian philosopher and publicist Nikolai Prachi wrote about him: "In the" fathers and children ", he showed effectably than in all other cases that poetry, remaining poetry ... can actively serve society ..."

The novel was perfectly accepted by critics, however, without having received the support of liberals. At this time, Turgenev's relationship with many friends were complicated. For example, with Alexander Herzen: Turgenev collaborated with his newspaper "Bell". Herzen saw the future of Russia in the peasant socialism, believing that the bourgeois Europe was outlived, and Turgenev defended the idea of \u200b\u200bstrengthening cultural relations between Russia and the West.

Acute criticism collapsed on Turgenev after the exit of his novel "Smoke". It was a novel pamphlet, which equally acutely ridiculed and conservative Russian aristocracy, and revolutionary liberals. According to the author, everything was scolded: "And red, both white, and from above, and from the bottom, and from the side - especially on the side."

From "smoke" to "poems in prose"

Alexey Nikitin. Portrait of Ivan Turgenev. 1859. State Literary Museum

Osip Braz. Portrait of Maria Savina. 1900. State Literary Museum

Timofey Neff. Portrait of Polina Viardo. 1842. State Literary Museum

After 1871, Turgenev lived in Paris, occasionally returning to Russia. He actively participated in the cultural life of Western Europe, promoted Russian literature abroad. Turgenev communicated and rewritten with Charles Dickens, Georges Sand, Viktor Hugo, Prosper Merim, Gi de Maupassan, Gustave Flauber.

In the second half of the 1870s, Turgenev published his largest novel "Nov'", in which sharply satirically and critically depicted members of the revolutionary movement of the 1870s.

"Both novels [" Smoke "and" Novy "] only revealed him all the increasing alienation from Russia, the first one's impossible bitterness, the second - insufficient awareness and the lack of any feeling of reality in the image of the mighty movement of the seventies."

Dmitry Svyatopolk-Mirsky

This novel, like "smoke", was not accepted by the colleagues of Turgenev. For example, Mikhail Saltykov-Shchedrin wrote that Novost was a self-adjusting service. At the same time, the popularity of early ages and Romanov Turgenev has not decreased.

The last years of the writer's life was his triumph both in Russia and abroad. Then the cycle of lyrical miniature "poem in prose" appeared. The book opened a poem in the prose "Village", and completed her "Russian language" - the famous anthem about faith in the great destination of his country: "In the days of doubt, in the days of painful thinking about the fate of my homeland, you are one support and support, about the great, mighty, truthful and free Russian language! .. Don't be you - how not to fall into despair at the sight of everything that is done at home . But it is impossible to believe that such a language is not given to the Great People! " This collection was a goodbye to Turgenev with life and art.

At the same time, Turgenev met his last love - an actress of the Alexandrinsky Theater Maria Savin. She was 25 years old when she played the role of the windows in the play of Turgenev "Month in the village". Seeing her on stage, Turgenev was amazed and openly admitted to the girl in feelings. Maria considered Turgenev rather than another and mentor, and their marriage did not take place.

In recent years, Turgenev has heard hard. Paris doctors have diagnosed with breasting toad and intercostal neuralgia. Turgenev passed away on September 3, 1883 in Buzhval under Paris, where the magnificent farewell passed. Buried the writer in St. Petersburg on the Volkovsky cemetery. The death of the writer became a shock for his fans - and the procession of people who came to say goodbye to Turgenev, stretched a few kilometers.

Ivan Sergeevich Turgenev was born in the noble family in 1818. It must be said that almost all major Russian writers of the 19th century emerged from this environment. In this article we will look at the life and creativity of Turgenev.

Parents

It is noteworthy acquaintance of Ivan's parents. In 1815, a young and beautiful cavalryard Sergey Turgenev came to Spassky. At Varbar, Petrovna (mother of the writer) he made a strong impression. According to the contemporary, Barbara ordered to convey Sergey through acquaintances to make a formal offer, and she will gladly agree. For the most part, it was Turgenev belonged to the noble class and was the hero of war, and Varvara Petrovna had a great condition.

Relations in the new family were stretched. Sergey did not even try to argue with a full-awake mistress of their entire state. In the house of Vitala only alienation and barely contained mutual irritation. The only thing spouses came out - in the desire to give their children a better education. And they did not spare for her strength, no money.

Moving to Moscow

That is why the whole family moved to Moscow in 1927. At that time, wealthy nobles gave their children exclusively in private educational institutions. Here, the young Ivan Sergeevich Turgenev was given to the boarding school at the Armenian Institute, and in a few months translated into Waydenhammer Pension. Two years later, he was excluded from there, and parents no longer made attempts to arrange a son in any establishment. To prepare for admission to the university, the future writer continued at home with tutoring.

Study

Enrolling in Moscow University, Ivan studied there just a year. In 1834, he moved along with his brother and his father in St. Petersburg and was transferred to the local educational institution. Young Turgenev graduated in two years later. But in the future, he always mentioned Moscow University more often, giving him the greatest preference. This was explained by the fact that the St. Petersburg institute was known for his hard supervision of students from the government. There were no such control in Moscow, and the winsted students were very satisfied.

First works

It can be said that the work of Turgenev began with a university bench. Although Ivan Sergeevich himself did not like to remember the literary experiments of that time. The beginning of his writer career he considered the 40s. Therefore, most of his university works so did not reach us. If you consider Turgenev with a decisive artist, he came correctly: the available samples of its writings of that time belong to the category of literary apprenticeship. Of interest they can only be represented for historians of the literature and those who want to understand where the work of Turgenev began and how his writing talent was formed.

Passion philosophy

In the middle and end of the 1930s, Ivan Sergeevich wrote a lot to catch up with writing skill. On one of his works he received a critical review of Belinsky. This event had a great influence on the work of Turgenev, briefly described in this article. After all, it was not only that the great critic corrected the mistakes of the inexperienced taste of the "green" writer. Ivan Sergeevich changed his views not only on art, but also to life itself. By observing and analyzing, he decided to study the real reality in all its hypostatas. Therefore, in addition to literary classes, Turgenev fucked by philosophy, and so seriously, he was thinking about professorship at the department of some university. The desire to pull out this area of \u200b\u200bknowledge led it already into the third participation of the University - Berlin. With great breaks, he spent about two years there and was very well studied the work of Hegel and Feyerbach.

First success

In 1838-1842, the work of Turgenev did not differ rapid activity. He wrote little and mostly only lyrics. Published poems did not attract attention either critics or readers. In this regard, Ivan Sergeevich decided to pay more genres more time as drama and poem. The first success on this field came to him in April 1843, when the "Porosh" was published. And after a month in the "domestic notes", Belinsky's laudation was printed on it.

In fact, this poem did not differ in originality. It became uncomfortable only thanks to the review of Belinsky. Yes, and in the review itself, he spoke not so much about the poem as the talent of Turgenev. But still Belinsky was not mistaken, he had clearly saw in the young author outstanding writing abilities.

When Ivan Sergeevich read the review, she caused him no joy, but rather embarrassment. The reason for this was doubts about the correctness of the choice of his vocation. They defeated the Writer from the beginning of the 40s. Nevertheless, his article priocted him and made the plank of the requirements for their activities. From this time, the work of Turgenev, briefly described in the school program, received an additional stimulus and went to the mountain. Ivan Sergeevich felt responsibility before critics, readers and, above all,. Therefore, he worked hard on improving the writing skill.

Arrest

In 1852, Gogol died. This event greatly affected the life and creativity of Turgenev. And the point here is not at all in emotional experiences. Ivan Sergeevich wrote a "hot" article on this occasion. The Censored Committee of St. Petersburg forbade her, calling Gogol with a "Lacées" writer. Then Ivan Sergeevich sent an article to Moscow, where she was printed by the efforts of his buddies. Immediately the investigation was immediately appointed during which Turgenev and his friends were declared the perpetrators of the State University. Ivan Sergeevich received a month of conclusion, followed by an expulsion to his homeland. Everyone understood that the article was only a pretext, but the order proceeded from the very top. By the way, during the "rejection" of the writer, one of his best stories came into circulation. On the cover of each book, the inscription was collapsed: "Ivan Sergeevich Turgenev" Bezhin Mead ".

After liberation, the writer went to the link to the Spasskoy village. There he spent almost a year and a half. At first, nothing could pass it: neither hunting, nor creativity. He wrote very little. The letters of Ivan Sergeevich were aburchased by complaints about loneliness and requests to visit him at least for a while. He asked the fellow on the craft to visit him, as he felt a strong need for communication. But there were positive moments. As the chronological table of Turgenev's creativity says, it was at that time a writer originated the idea of \u200b\u200bwriting "fathers and children." Let's talk about this masterpiece.

"Fathers and Sons"

After the publication in 1862, this novel caused a very stormy controversy, during which most readers dubbed Turgenev reactionary. This controversy scared the writer. He believed that he would no longer be able to find mutual understanding with young readers. But it was precisely the work was addressed. In general, hard times experienced the work of Turgenev. "Fathers and children" have become the cause. As at the beginning of the writer career, Ivan Sergeevich doubted his own vocation.

At that time, he wrote the story of "Ghosts", which perfectly handed his thoughts and doubts. Turgenev reasoned that the writer fantasy is powerless before the secrets of the people's consciousness. And in the story "pretty" generally doubted the fruitfulness of the activities of a separate person for the benefit of society. It was created that Ivan Sergeevich no longer worries the success of the public, and he thinks about the completion of a writer's career. Create your decision Turgenev helped the work of Pushkin. Ivan Sergeevich read the reasoning of the Great Poet regarding the opinion of the public: "It is inconvenient, a multi-sided and is subject to fashion trends. But the true poet always refers to the public given to him by fate. Its duty is to awaken good feelings in it. "

Conclusion

We looked at the life and creativity of Ivan Sergeevich Turgenev. Sincere time, Russia has changed much. Everything that the writer exhibited in his works to the fore, it remained in a distant past. There are no longer the majority of the Barsquets found on the pages of the author's compositions. Yes, and the theme of evil landlords and nobility no longer has social acute. And the Russian village is now completely different.

Nevertheless, the fate of the heroes of that time continue to initiate genuine interest in the modern reader. It turns out that everything that I hated Ivan Sergeevich, hatefully and us. And the fact that he saw him is good, is one and from our point of view. Of course, you can disagree with the writer, but it is unlikely that someone will argue with the fact that the work of Turgenev is out of time.

Biography Turgenev

Ivan Sergeevich Turgenev (1818 - 1883) - the famous Russian writer and poet, publicist and playwright, the classic of Russian literature of the 19th century. The work of Turgenev includes six novels, many stories, leads, articles, plays.

early years

Ivan Sergeevich Turgenev was born on October 28 (November 9) of 1818 in the city of Eagle. His family and mother, and his father belonged to the nobility class.

The first education in the biography of Turgenev was obtained in the estate of Spassky-Lutovinov. The guilty of the boy was taught by German and French teachers. Since 1827, the family moved to Moscow. Tourgeyshev's training was then in private boarding rooms of Moscow, after which - at Moscow University. Without graduating from him, Turgenev was transferred to the Faculty of Philosophy of St. Petersburg University. He also studied abroad, after which he traveled in Europe.

The beginning of the literary path

Studying at the third year of the Institute, in 1834, Turgenev writes its first poem under the name "wall". And in 1838, the two of its first poems come to the seal: "Evening" and "to Venus Medica".

In 1841, returring to Russia, engaged in scientific activities, wrote dissertation and received a master's degree in philology. Then, when the thrust for science has cooled, Ivan Sergeevich Turgenev served as an official in the Ministry of the Interior until 1844.
READ ALSO: Gogol Nikolai Vasilyevich Biography

In 1843, Turgenev meets Belinsky, their friendships are tied. Under the influence of Belinsky, new poems of Turgenev, poems, stories, among whom are: "Parasha", "Pop", "Breter" and "Three Portrait" are being printed.

Flowering creativity

Since 1847, at the invitation of Nekrasov, in the converted magazine "Contemporan", its "modern notes" and the first chapters of the "Hunter's Notes" ("Hammer and Kalinic"), who brought a great success to the author, and he began working on the rest of the stories about the hunt .

Work in the "contemporary" brought Turgenev a lot of interesting acquaintances, Dostoevsky, Goncharov, Ostrovsky, Fet and other famous writers were also printed in the journal.

In 1847, with his friend Belinsky leaves abroad, where it becomes witness to the February Revolution in France.

In the late 40s - early 50s, played by dramaturgy, writes the plays "where it is thin, there and breaks" and "fucking" (BBA-1848), "Bachelor" (1849), "Month in the village" (1850) , "Provincial" (1851), which are put on theatrical scenes and have success among the public.

Turgenev translated into Russian the works of Bairon and Shakespeare, they had learned by the skill of possession of literary techniques.

In August 1852, one of the most important books of Turgenev - "Hunter's Notes" is published.

After the death of Gogol, Turgenev wrote a necrologist, for which Ivan Sergeevich was sent for two years in a reference to his native village. It is believed that the true cause of the reference was the radical views of the writer, as well as a sympathetic attitude towards the serf peasants, which he expressed in his work.

During the link, Turgenev writes the story "Mumu" (1852). Then, after the death of Nikolai I, the most famous works of Turgenev appear in the press: "Rudin" (1856), "noble nest" (1859), "On the eve" (1860) and "fathers and children" (1862).

Another famous works of the writer include: "Smoke" novels (1867) and "New" (1877), Tale and stories "Diary of an extra person" (1849), "Bezhin Luga" (1851), "Asya" (1858), "Wounds" (1872) and many others.

In the autumn of 1855, Turgenev met Lvy Tolstoy, who soon published the story of the "Riding Forest" with the dedication to I. S. Turgenev.

Last years

Since 1863 he went to Germany, where he meets the outstanding writers of Western Europe, promotes Russian literature. It works as an editor and consultant, he deals with translations from the Russian language to German and French and vice versa. It becomes the most popular and readable Russian writer in Europe. And in 1879 he receives the title of Honorary Dr. Oxford University.

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

It is worthwhile to note that in the biography of Ivan Turgenev in the late 1870s - early 1880s, his popularity has quickly increased, both in the homeland and abroad. And criticism began to rank it to the best writers of the century.

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

Chronological table
If you need a biography of Turgenev by dates - we advise you to see the Turgenev chronological table page.

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Interesting Facts about Turgenev

• In his youth, Turgenev was frivolous, spent a lot of parental money for entertainment. For this, his mother once lectured, drove instead of money in the package of bricks.
• The personal life of the writer was not very successful. He had a lot of novels, but none of them ended with marriage. The greatest love in his life was the opera singer Polina Viardo. For 38 years, Turgenev was familiar with her and her husband Louis. He traveled around their family, lived with them in different countries. Louis Viardo died and Ivan Turgenev in one year.
• Turgenev was a purebred man, dressed tidy. The writer loved to work clean and order - without it, never started to create.
• See all

Ivan Sergeevich Turgenev He is a famous Russian writer, poet, publicist and translator. He created his own artistic system, which had an impact on the poetics of the novel of the second half of the 19th century.

Brief biography Turgenev

Ivan Sergeevich Turgenev was born on November 9, 1818 in Orel. He was brought up in the old nobility family and was the second son of his parents.

His father, Sergey Nikolayevich, served in the army and retired in the rank of Colonel of the Kirassirian Regiment. Mother, Varvara Petrovna, came from a wealthy noble family.

It is worth noting that this marriage was not happy because the father of Turgenev married the calculation, and not for love.

Childhood and youth

When Ivan was 12 years old, his father decided to leave the family, throwing his wife and three children. By that time, the younger son of Seryozha died of epilepsy.

Ivan Turgenev in Youth, 1838

As a result, the upbringing of both boys, Nicholas and Ivana, fell on the shoulders of the mother. In their nature, she was an overly strict woman with a bad character.

This is largely due to the fact that in childhood it was brutally treated, and as a mother, and stepfather, who often beat her. As a result, the girl had to escape from the house to his uncle.

Soon the mother of Turgenev was married the second time. Despite the fact that she strictly belonged to sons, she managed to instill good qualities and manners.

She was a competent woman and spoke with all family members exclusively in French.

She also supported friendly relations with writers and Mikhail Zagoskin. It is not surprising that she wanted to give her sons a good education.

With both boys, one of the best teachers in Europe, on which she did not regret funds.

Education Turgenev

During the winter holiday, he went to Italy, who fascinated the future writer by beauty and unique architecture.

Returning to Russia in 1841, Ivan Sergeevich successfully passed the exams and received a master's degree in philosophy in St. Petersburg University.

After 2 years, he was entrusted with the post in the Ministry of the Interior, which could completely change his biography.

However, interest in the writing case took over the benefits of the official position.

Creative biography of Turgenev

When she read her famous critic (see), he appreciated the talent of a novice writer and even wanted to meet him. As a result, they became good friends.

Later, Ivan Sergeevich had the honor to get acquainted with Nikolai Nekrasov (see), with whom he also had a good relationship.

The following works of Turgenev became "Andrei Kolosov", "three portrait" and "Breater".

He argued that his name was not worthy of mentioning in society, and also called him a "Lac of Writer". Musin-Pushkin immediately wrote the report of the king Nicholas 1, in all details describing the incident.

Because of frequent trips abroad, Turgenev was under suspicion, because he communicated with the Opt Belinsky and. And now because of the necrologist, his position has deteriorated even more.

It was then that in the biographies of Turgenev begins problems. He was detained and put in prison for a month, after which he was for another 3 years under house arrest without the right to travel abroad.

Works of Turgenev

At the end of the conclusion, he published the book "Notes of the Hunter", in which there were such stories like "Bezhin Luga", "Biryuk" and "singers". Censors saw in the works of serfdom, but it did not lead to any serious consequences.

Turgenev wrote for both adults and children. Once after spending some time in the village, he composed the famous story "Mumu", which was widely popular in society.

In the same place, from under his pen there were such novels as the "noble nest", "on the eve" and "fathers and children". The last work caused a real extension in society, as Ivan Sergeevich managed to hand over the problem of the relationship between fathers and children.

In the late 50s, he visited several European countries in which the writing activity continued. In 1857, they were written by the famous story "Asya", which was subsequently transferred to many languages.

According to some biographers, the prototype of the main character was his extramarital daughter Polina Bruer.

The lifestyle of Turgenev caused criticism from many of his colleagues. They condemned him for the fact that most of his time he spent abroad, while considering himself a patriot of Russia.

Employees of the magazine "Contemporary". Top row L. N. Tolstoy, D. V. Grigorovich; Lower row, I. S. Turgenev, A. V. Druzhinin ,. Photo S. L. Levitsky, February 15, 1856

So, for example, he was in a serious confrontation with, and. Despite this, the talent of Ivan Sergeevich, as a novelist, was recognized by many well-known writers.

Among them were the gangura brothers, Emil Zol and Gustave Flaubert, who later became his close friend.

In 1879, 61-year-old Turgenev came to St. Petersburg. He was very warmly accepted by the young generation, although the authorities still treated him with suspicion.

In the same year, the Prosper went to Britain, where he received the title of Honorary Dr. Oxford University.

When Ivan Sergeevich learned that the monument to Alexander Pushkin will be held in Moscow, he also visited this solemn event.

Personal life

The only love in the biography of Turgenev was the singer Polina Viardo. The girl did not have beauty, but rather the opposite, caused disgust for many men.

She was a sutural and had gross features. Her mouth was disproportionately, and his eyes fell out of orbits. Heinrich Heine even compared her with a scenery, which was "both monstrous and exotic".

Turgenev and Viardo

But when Viardo began to sing, she immediately fascinated the listeners. It was in this image that Turgenev saw Polina, and immediately fell in love with her. All the girls with whom he had close relationship to meeting with the singer immediately ceased to interest him.

However, there was a problem - the beloved writer was married. Nevertheless, Turgenev did not destroy the goal and did everything possible to see the Viaro more often.

As a result, he managed to settle in the house in which Polina lived and her husband Louis. The husband of the singer through his fingers looked at the relationship "Guest" with his wife.

A number of biographers believe that the reason for this was considerable amounts that Russian Barin left in the house of his mistress. Also, some researchers believe that the real father of the field, the child of Polina and Louis is Ivan Turgenev.

The writer's mother was against the Son's relationship with Viardo. She hoped for the fact that Ivan would throw her and finally find a suitable pair.

Interestingly, in his youth, Turgenev had a fleeting novel with a catshower Avdota. As a result of their relationship, the daughter of Pelagia, which he acknowledged only 15 years later.

Varvara Petrovna (Mother Turgenev) was very cold to his granddaughter because of its peasant origin. But Ivan Sergeevich himself very much loved the girl, and even agreed to take her to his house, after living with Viardo.

Love Idyll with Polina lasted long. This was largely due to the three-year-old arrest of Turgenev, due to which the lovers could not see each other.

After parting, the writer began to meet with Young Olga, who was henger than 18 years. However, Viardo still did not come out of his heart.

Not wanting to spoil the life of a young girl, he confessed to her that he still loves Polina.

Portrait of Turgenev performed

The next hobby of Ivan Sergeevich was the 30-year-old actress Maria Savina. At that time, Turgenev was 61 years old.

When the couple went to, Savina saw in the writer's house a large number of things Viaro and guessed that she would never be able to achieve the same love.

As a result, they did not get married, although they retained friendly relations until the death of the writer.

Death

In 1882, Turgenev seriously fell ill. After the examination, the doctors diagnosed he had cancer bones of the spine. The disease proceeded very hard and accompanied by permanent pain.

In 1883, he had a surgery in Paris, but this did not give any results. The only joy for him was the fact that in the last days of life, there was a beloved woman - Viardo.

After his death, she inherited all the property of Turgenev.

Ivan Sergeevich Turgenev died on August 22, 1883 at the age of 64 years. His body was delivered from Paris to St. Petersburg, where it was buried on a wolf cemetery.

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... If Pushkin had a full reason to say about herself that he awakened the "good feelings", the same thing and the same justice could say about himself and Turgenev.
M. E. Saltykov-Shedry

Creativity Ivan Sergeyevich Turgenev is a kind of artistic chronicle, capturing Russia's life during the transition from the feudal-serpentic to bourgeois-capitalist system. In his works, the most important stages of the Russian social movement were reflected, starting with student circles of Moscow University of 1830s and ending with the movement of public revolutionaries in the 1870s.
The works of Turgenev were always closely associated with modernity, with urgent questions of Russian reality. "He quickly guessed new needs," wrote N. A. Dobrolyubov, - new ideas introduced into public consciousness, and in their works certainly turned (how much circumstances allowed) attention to the question that was over the queue and already vaguely starting to worry society. " None of any significant event of public and literary life passed by the attention of the writer. "In modern Russian society, there is hardly at least one major phenomenon, to which Turgenev did not get the most sensitiveness, which he did not try to interpret," said M. E. Saltykov-Shchedrin.
All his life, Turgenev fought against serfdom and reaction. He was not a political wrestler and on many issues disengaged with representatives of the revolutionary democracy, but his entire literary and social activities were directed against the oppression and violence reigning in Russia, and objectively served as the ideals of democracy and progress.
In his works, Turgenev with the deepest sympathy depicted representatives of advanced democratically tuned young people who selflessly fancing against the arbitrariness of the royal government. He admired the fearless Russian revolutionaries, who joined the open struggle with autocracy.
Turgenev was the creator of wonderful images of Russian women, he revealed their high moral appearance, spiritual purity and passionate desire to escape from the scope of personal life on extensive expanses of social activities and the struggle. "Turgenev," said L. N. Tolstoy A. P. Chekhov, - made a great deal of what the amazing portraits of women wrote. "
Turgenev has a merit in the creation of a social and chicological novel, in which the personal fate of heroes was inextricably linked with the fate of his country. Turgenev was an unsurpassed master in the disclosure of the inner world of a person in all its complexity. The works of the writer were characterized by deep lyricism and clarity of the narrative. Amazes accuracy and expressiveness, fragrant and simplicity of Turgenev language. Naeda V. I. Lenin wrote that "... Turgenev, Tolstoy, Dobrolyubov, Chernyshevsky - great and mighty."
The work of Turgenev had a huge impact on the development of Russian and world literature. According to M. Gorky, he left "excellent inheritance." The largest writers have repeatedly noted that the beneficial effects that the great Russian writer had on them.
The whole life and creativity of Turgenev were inseparable bonds associated with the fate of Russia and the Russian people. The writer immensely loved his homeland, sacredly believed in his people, in his great destination. "We ...- He wrote," the people of the young and strong, who believes and has the right to believe in their future. "

CHILDHOOD. Years of exercise
1818, October 28, on Monday, the son of Ivan, the growth of 12 vershkov, in Orel, in his house, at 12 o'clock in the morning, "such a record did in his memorable book of Varvara Petrovna Turgenev.
Ivan Sergeevich was her second son. The first - Nikolai was born two years earlier, and in 1821 another boy appeared in the Turgenev family - Sergey.
It is difficult to imagine more disrescribe people than parents of the future writer.
Mother - Varvara Petrovna, nee Lutovinova, - Woman powerful, intelligent and fairly educated, did not blame beauty. She was a small growth, squat, with a wide face, painted with smallpox. And only the eyes were good: large, dark and shiny.
Early lost his father, Varvara Petrovna was brought up in the father's family, where he felt someone else's dysfunction. Without withstanding the oppression, she was forced to escape from the house and found shelter from his uncle, Ivan Ivanovich Lutovinov, a man of harsh and dislike. He paid attention to his niece, but he kept her in rigor and for the slightest disobey, threatened to drive out of the house. Sudden Death Death unexpectedly turned the scored survival in one of the richest brides in the district, the owner of huge places and almost five thousand fortress peasants.
Varvar Petrovna was already thirty years old when she met a young officer Sergey Nikolayevich Turgenev. He came from an old nobleman, who, however, by that time he had already sank. Only a small estate remained from the former wealth. Sergey Nikolayevich was beautiful, elegant, smart. And it's not surprising that at Varbar Petrovna, he made an irresistible impression, and she made it clear that if Sergey Nikolaevich would laugh, then the refusal would not follow.
The young officer was thinking not long. And although the bride was six years older than him and attractiveness did not differ, but the huge land and thousands of the fortress shower, which she owned, determined the decision of Sergei Nikolayevich.
In early 1816, marriage was held, and the young settled in Orel.
His husband of Varbara Petrovna Banutor and was afraid. She gave him complete freedom and did not limit anything. Sergey Nikolayevich lived as he wanted without burding herself with concerns about the family and the economy. In 1821, he retired and together with his family moved to the estate of Spasskoy-Lutovinovo's wife, in seventy versts from the eagle. In the summer of the same year, Turgenev with all households made a long passing journey, and returned from him, healed, as Ivan Sergeevich recalled, "noble, slow, spacious and petty life ... with the usual setting of governors and teachers, Swiss and Germans, homegrown unuse and fortress nites. "
The estate of Turgenev Spassky-Lutovinovo was located in a birch grove on the canopy hill. Around the spacious two-story domain of the house with the columns to which the semicircular galleries were adjacent, a huge park was broken with lime alleys, fruit gardens and flower beds. The park was amazingly beautiful. Mighty oaks grew in it near the centenary firs, high pines, slender poplars, chestnuts and aspen. At the foot of the hill, on which the estate was stood, ponds were dug, served by the natural border of the park. And then, as far as the eye grabbed, fields and meadows stretched, occasionally intermitted by small hills and groves. Here, among the amazing and unique beauty of the middle strip of Russia, and the childhood of the future writer passed.
The upbringing of children was predominantly Varvara Petrovna. Movered at one time in the house of the stepfather and uncle suffering did not in the best way of its character. The wayward, capricious, hysterical, to the children of their own was unevenly. The gusts of caringness, attention and tenderness were replaced by the attacks of fierce and small quianism. By her order, children were punished for the slightest misdeed, and sometimes without any reason. "I have nothing to remember my childhood," Turgenev said many years later. "There is a single bright memories. I was afraid of my mother like fire. I was punished for every trifle - in one word, Mustered as recruit. A rare day passed without ropted; When I dared to ask, for which I was punished, the mother categorically stated: "You better know about it, guess."
Life is preserved in the consciousness of the writer, bitterness for unfair resentment and humiliation.
With my father, Ivan Sergeevich relations were complex. This is how he himself told about it in his largest autobiographical story "First Love": "There was a strange influence on me - and weird were our relationship. He was almost not engaged in my upbringing, but never insulted me; He respected my freedom - he was even, if I could say so, polite with me ... Only he did not allow me to himself. I loved him, I admired them, he seemed to me a sample of a man - and, my God, no matter how passionately to him, if I didn't constantly feel his defering hands! .. I would have become looking at his smart, beautiful, bright face ... My heart tremendous, and my whole being rushed to him ... He seems to feel that it happens in me, having sinking me in the cheek - and either goes, or something like something, or suddenly it will freeze One knew how to stick, and I will immediately eat and too felt. "
When Turgenev has grown, the paintings of violence and the arbitrariness were terribly terrified, with whom he came across every step. The boy saw the cruelty of his mother in relation to the courtyards. She did not endure when someone dared to contradict her. And her anger was terrible. A rare day was shown without the stables of the stables, the cries of people were punishable. And, hearing it, the boy gave himself an oath before and under no circumstances to raise his hands on a person, even in something addicted to him. "Hate for the fastener right then lived in me," he wrote later Turgenev, "by the way, it was the reason that I, who grew up among the beatings and tortures, did not defile the hands of his hands with a single blow - but before the" hunter's notes "was long away. I was just a boy - almost a child. "
Alive, impressionable, not by years, the developed boy carefully listened to the conversations of adults, eagerly communicated with the yard people, from whom he learned a lot of new and interesting things: different stories, stories, legends, visuals. The toys have occupied little. With a larger hunt, he spent time, walking in the park, where he had her favorite corners, Surprised in a pond, caught birds. He was often able to see among the foresters and Spasski hunters, who taught him to shoot from the gun, find out the habits of wild ducks, quail, partridges and singers of birds. Gradually, a passion for the hunt was born in the boy, which became later for him not only to his favorite entertainment, but also time when he could get closer to simple people and better learn the peasant life in his entire urgentness.
In the house of Turgenev was a rather large library. In huge closets were kept by the works of antique writers and poets, the compositions of the French encyclopedists: Voltaire, Rousseau, Montesquieu, V. Scott's novels, de Stelle, Shatubria; Works of Russian writers:
Lomonosov, Susharov, Karamzin, Dmitriev, Zhukovsky, as well as books on history, natural science, nerd. Soon the library became for Turgenev's most favorite place in the house where he sometimes spent all days. In a considerable degree of interest in the literature, the mother supported the mother, who read a lot and well knew French literature and Russian poetry of the late XVIII - early XIX century.
In early 1827, the Turgenene family moved to Moscow: it was time to prepare children to enter educational institutions. At first, Nikolai and Ivana was placed in Private Pension Winterkeller, and then to the Pension Crause, named later by the Lazarevian Institute of Oriental Languages. Here the brothers learned for long - just a few months. Their further education was charged with home teachers / me. With them they studied Russian literature, history, geography, mathematics, foreign languages \u200b\u200b- German, French, English, - drawing. Russian history was taught the poet I. P. Klyvnikov, and the Russian language was taught D. N. Dubensky, a well-known researcher "Words about the regiment of Igor".
The brothers studied easily, and their parents were satisfied with their successes. However, the Father was upset that the sons wrote to his letters not in Russian. In one of the letters, Sergey Nikolayevich, who was treated at the time abroad, noticed: "You all write me in French or in German, and for which our natural is neglecting - if you are very weak in it, it surprises me. It's time! It's time! To be able to not only in words, but also to explain in Russian in the letter - it is necessary ... "
Turgenev was also not fifteen years old when he, successfully handing up the entrance examinations, became a student of the verbal branch of Moscow University.

University years.
The first literary experiments.
SERVICE
Moscow University at that time was the main center of advanced Russian thought. According to A. I. Herzen, "in it, as in the general reservoir, the young forces of Russia were poured on all sides, from all layers; In his halls, they were cleaned of prejudices captured at the home of the hearth, came to one level, squeezed together and pour out again in all directions of Russia, in all the layers of it. " In his walls, such wonderful figures of Russian culture were almost simultaneously studied, like A. I. Herzen, N. P. Ogarev, V. G. Belinsky, M. Yu. Lermontov, I. A. Goncharov and others.
Among the young people who came to the university in the late 1820s and in the early 1830s, the memory of the Decembrists was sacred, with a weapon in the hands of opposed autocracy. "We were sure, I wrote to A. I. Herzen, - that the phalanx will be released from this audience, which will come after Pestel and Ryleev, and what we will be in it."
Students carefully followed the events that took place in Russia and in Europe. The July 1930 Revolution in France, an uprising in Poland, cholera risks, rushing throughout Russia, contributed to the formation of winsted aspirations in the medium. Turgenev later said that it was during these years he began to develop "very free, almost republican convictions."
Of course, the whole and consistent worldview of Turgenev in those years has not yet developed. He almost passed sixteen years. It was a period of growth, a period of search and doubt.
At that time, the university did not give student profound and thorough knowledge. "More lectures and professors developed students to the audience with a young clashes, exchange of thoughts, reading ..." - recalled A. I. Herzen.
Especially interested in Turgenev lectures of Professor M. G. Pavlova - active propagandist of the philosophical teaching of Schelling and his followers. Pavlov taught students to think independently, waking up interest in the study of various philosophical systems.
In Moscow University, Turgenev was held only one year. After his elder brother Nicholas entered the Guards Artillery housed in St. Petersburg, his father decided that the brothers should not be separated, and therefore in the summer of 1834, Turgenev filed a request for the transfer to the philological department of the Philosophy of St. Petersburg University.
The Turgenene family did not have time to settle in the capital, as Sergey Nikolayevich unexpectedly died. The death of the father deeply shocked Turgenev and forced him for the first time to seriously think about life and death, about the place of man in the eternal movement of nature. The thoughts and experiences of the young men were reflected in a number of lyrical poems, as well as in the dramatic poem "wall".
The first literary experiments of Turgenev were created under the strongest impact of the dominant romanticism, and above all Byron's poetry. This is especially felt in the "wall" poem. Her hero is a torture, passionate, full of enthusiastic aspirations a person who does not want to put up with the evil environment around him, but cannot find applications to his forces and in the end tragically dies. Later, Turgenev very skeptically responded about this poem, calling it "a ridiculous work, in which the slave imitation of the Bayronovsky Manfred was expressed with the children's inefficiency."
However, it should be noted that in the poem "wall" there was a reflection of the thinking of a young poet about the meaning of life and about the appointment of a person in it, that is, questions that many great poets of that time were trying: Goethe, Schiller, Byron.
After the Moscow, the Metal University founded Turgenev colorless. Everything was different here: there was no that atmosphere of friendship and the partnership to which he was accustomed, did not feel the desire for living communication and disputes, few people were interested in issues of public life. Yes, and the staff was different. Among them were a lot of young men of aristocratic families who were not very interested in science.
Teaching at the university was carried out on a fairly wide program. But students did not receive serious knowledge. There were no interesting teachers. Almost P. A. Plenev turned out to be closer to Turgenev, which he later wrote: "As a professor of Russian literature, he did not differ in great information; But he sincerely loved "his subject," possessed a somewhat timid, but clean and delicate taste and said simply, clearly, not without warmth. The main thing: he knew how to report to his listeners those sympathies that were fulfilled himself, - I knew how to interest them ... "
Pletnev was a benevolent man and very warmly treated young people. He honored special attention to students who had interested in literature: always supported, helped them, invited to his literary evenings. One of these students was Turgenev. He began to be in the house of the Plenev and met there with famous writers - A. V. Koltsov and V. F. Odoyevsky. And once the face to face collided with A. S. Pushkin, whom he was idle: "Pushkin was at that time for me, as well as for many of my peers, something like a demigod. We really worshiped him. "
For almost three years, Turgenev spent at the university and left him in the summer of 1837 with a degree of candidate. On the university years of the writer, little information has been preserved. It is only known that he closely came down and made friends with T. N. Granovsky. Together with him, Turgenev survived the time of passionate passion to romanticism. Young people read out the works of Marlinsky, the drama of the puppeteer and verses Benedictova. Interestingly, Granovsky wrote poems at that time and seriously intended to devote himself to literary activities. Turgenev is the same, on the contrary, more inclined to scientific exercise, although it was already the author of many poetic works. But fate ordered otherwise: Granovsky became an outstanding historian scientist, and Turgenev is a great writer.
During his studies at the university, Turgenev manifested a deep interest in music and the theater. He often visited concerts, opened and drama theaters. In 1836, he was lucky to attend two famous premieres - in the Alexandrian theater he saw the Gogol "Auditor", and in Mariinsky he listened to Opera Glinka "Life for the King" ("Ivan Susanin").
After graduating from the University, Turgenev decided to continue his education and in May 1838 went to Berlin. A trip to Germany was caused not only to the knowledge and desire to prepare himself to scientist, but also the deep dissatisfaction of the young man with all the way of life of autocrete-fastened Russia. Subsequently, Turgenev explained his "flight" abroad: "I could not breathe with one air, staying next to the fact that I was having hated ... I needed to be removed from my enemy then, so that from my myself was giving harder to attack him. In my eyes, this enemy had a certain way ^, I wore a famous name: this enemy was serfdom. Under this name I collected and focused everything, against which I decided to fight to the end, with which I swore never reconcile ... It was my Annibalovskaya oath; And I didn't give it myself then. "
After St. Petersburg, Berlin appeared to Turgenev's city is a reference and a bit boring. "What do you want to say about the city," he wrote, "where we get up at six o'clock in the morning, dinner two and go to bed earlier, about the city, where at ten o'clock in the evening some melancholic and loaded beer woven wandered around the deserted streets ... Berlin - still not the capital; At the very least, the metropolitan life in this city does not have a trace, although you, having stayed in it, still feel that you are in one of the centers or focuss of the European movement. "
The University of Berlin was doing this center, in the auditoriums of which was always crowded. Not only students were gathered at the lecture, but also the walkers - officers, officials who sought to join science.
Already the first classes in Berlin University found the gaps in his education in Turgenev. Later he wrote: "I was engaged in philosophy, ancient languages, history and with special zeal studied Hegel ... In proof of how it was not enough to education, received at the time in our highest places, I will give the following fact: I listened to Latin antiquities in Berlin At Zumpta, the history of Greek literature at Boehka, and the Latin grammar and Greek, who knew badly, was forced to the house. And I was not from the worst candidates. "
Turgenev diligently compiled wisdom of German philosophy, and in his free time, theaters and concerts visited. Music and theater have become a true need for him. He listened to the Operas of Mozart and Glitch, Beethoven's Symphony, watched Shakespeare and Schiller's drama.
The time spent in the University of Berlin has played a very important role in the formation of the worldview of Turgenev. Of particular importance was the acquaintance and friendship with one of the wonderful people of that time - N. V. Stankevich, who, according to the writer, marked the beginning of his soul to the new development of his soul. Stankevich made his young friend believed that the human thought would be able to heal the world and indicate people the way to exit contradictions. He spoke to Turgenev about the great transformative force of enlightenment and art, that sooner or later "light will win the darkness." Having learned about the untimely death of Stankevich, Turgenev wrote: "As I greedily ate him, I, intended to be the last companion, whom he devoted to the service of the truth with his example. Poet for his life, his speeches!, He enriched me silence, the lot of completeness - I was still unworthy ... Stankevich! I owe my revival: You handed me a hand - and pointed me the goal ... "
And one more meeting in Berlin left a marked mark in the life of Turgenev. Shortly after the death of Stankevich, he met and became friends with M. A. Bakunin, who became the famous revolutionary and anarchism theorist. Bakunina fiery speeches, his ability to inflict their enthusiasm around them, the ability to captivate everyone who communicated with him, the ideas of serving the highest ideals did not pass without a trace and for Turgenev. He later handed over his impressions of communicating with Bakuunin and Stankevich in Rudin's novel.
Living abroad, Turgenev did not stop thinking about his homeland, about his people, about his present and future. So, traveling in Italy, he was in a letter to Granovsky shared his impressions from what he saw: "... confused me in Rome the position of the people, feigned holiness, systematic enslavement, lack of true life ...
All movements, oscillating the northern and middle Europe, do not switch apennins. No! The Russian people have innumerable more hopes and strength ... "
Already then, in 1840, Turgenev believed in the great destination of his people, in its power and resistance.
Finally, the hearing of the course of lectures in Berlin University has ended, and in May 1841, Turgenev returned to Russia and began to prepare themselves in the most serious way. He dreamed of becoming a professor of philosophy.
Passion for philosophical sciences is one of the characteristic features of the social movement in Russia of the late 1830s and early 1840s. Advanced people of that time tried using abstract philosophical categories to explain the world around the world and the contradictions of Russian reality, to find the answers to the consecration of their top-length questions. Recalling this time, Turgenev wrote: "We still believed in the reality and importance of philosophical and metaphysical conclusions, although ... and did not have the ability to think abstract, on the German manner ... However, we were then looking for everything in the world except pure thinking. "
However, the dream of the philosophical department at Moscow University had to leave: For more than ten years, philosophy was not taught there at all, and Turgenev refused to take even master exams. They had to hand over in St. Petersburg University. And when these tests remained behind and should begin work on the dissertation, Turgenev's plans changed. He was disappointed in idealistic philosophy and left hope with its help to solve his questions who worried his questions. In addition, Turgenev came to the conclusion that science is not his vocation.
In early 1842, Ivan Sergeyevich filed a petition in the name of the Minister of Internal Affairs to enroll him to the service and soon he was adopted by an official of special instructions in the office under the head of V.I. Dalya, a famous writer and ethnographer. However, Turgenev served not long and in May 1845 resigned.
Staying in the civil service gave him the opportunity to collect a large life material associated primarily with the tragic position of peasants and with the destructive power of serfdom, because in the office, where Turgenev served, cases were often considered by the punishments of serfs, about all kinds of abuses of officials, etc. P. It is at this time that Turgenev has developed a sharply negative attitude towards the bureaucratic orders that dominate in government agencies, to worry and egoism of St. Petersburg officials. And in general, St. Petersburg life produced an oppressive impression on Turgenev. In the "memories of Belinsky", he wrote about this period of his life: "Throw around myself a mental eye: bribery flourishes, serfdom costs like a rock, barracks in the foreground, no courts, rumors about closing universities ..."

The beginning of literary activities.
Acquaintance with Belinsky
Whatever Turgenev is engaged in all these years: he studied, she was preparing for scientific activities, he served - he did not leave his literary lessons for a minute.
The first work of Turgenev appeared in the press in 1836, when he studied at the St. Petersburg University. It was a small review of the book A. N. Muravyov "Travel through the holy places of Russian." Many years later, Turgenev so explained the appearance of this first printed work: "I was then just over seventeen years old, I was a student of St. Petersburg University; My relatives, in view of the provision of my future career, have resented me Serbinovich, to the then publisher of the "Journal of the Ministry of Education". Serbinovich, whom I have seen just once, wanting, probably, to experience my abilities, I handed me ... The book of Muravyov so that I disassemble her; I wrote something about her - and now, almost after forty years, I recognize that this "something" was awarded embossing. "
The main attention of young Turgenev paid poetry. Its poem from the end of the 1830s began to appear in the magazines "Contemporary" and "Domestic Notes". They were clearly heard the motives of the dominant romantic direction, the essay of the poetry of Zhukovsky, Kozlov, Benedictova. Most of the poems are Elegy meditation of love, about the aimlessly lived youth. They, as a rule, were permeated with the motives of sadness, sadness, longing. Turgenev himself later very skeptically referred to his poems and poems written at this time, and never included them in the collected works. "I feel a positive, almost physical antipathy to my poems ...- He wrote in 1874," would dearly gave them to do not exist in the world. "
Turgenev was unfair, so severely recalled his poetic experiments. Among them, it is possible to find a lot of talented written poems, many of which received a high estimate of readers and critics: "Ballad", "Again one, one ...", "Spring Evening", "Morning Misty, Morning Sedoy ..." and others . Some of them later were laid on music and became popular romances.
The beginning of his literary activities of Turgenev believed 1843, when his poem "Parasha" appeared in the press, which opened a number of works devoted to the debate of the romantic hero. Parasha met a very sympathetic review of Belinsky, who saw in the young author "extraordinary poetic talent" in the young author, "loyal observation, deep thought," the Son of our time, who is in his chest of all the grief and his questions. " According to Critica, the hero of the poem Victor - "This is one of those great little people who are now so much divorced and which the smile of contempt and ridicule covers the skinny heart, the idle mind and the mediocrity of their nature." Moreover, Belinsky noted that the reason for the appearance of "great little people" lies in social conditions of Russian life, which does not give opportunities for the development of public interests and forming characters with big claims, but internally devastated and not capable of active activities.
The publication of the poem coincided with a personal acquaintance of Turgenev with V. G. Belinsky. Event This played a huge role in the life of the writer. He forever retained the feeling of deep respect and worship the personality of the Great Criticism.
For the first time, the name Belinsky became known to Turgenev in the years of exercise at the St. Petersburg University. "One morning," said the writer later, "the comrade student came to me and with indignation I told me that the" Telescope "number appeared in the confectionery beach with the Belinsky article in which this" criticism "dared to bring his hand to our common idol. on Benedictova. I immediately went to Beranta, read the entire article from the board to the board - and, of course, also pounded with indignation. But - a strange thing! And while reading and after, to my own amazement, and even annoyance, something in me involuntarily agreed with "Critician", found his arguments convincing ... irresistible. I was ashamed of this already an unexpected impression, I tried to drown out this inner voice; In the circle of friends, I often had sharpness about Belinsky itself and about his article ... But in the depths of the soul, something continued to whisper to me that he was right ... a few times passed - and I have not read Benedictova. "
And the name of Turgenev was known to Belinsky. After all, the poems of the young poet quite often printed in the journal "Patrican Notes", where Belarusian collaborated. And here is their first meeting. "I saw a man of little growth," Turgenev wrote in his memoirs, - stubbed, with a wrong, but wonderful and original face, with bonded blond hair and with the harsh and restless expression, which is so often found in shy and lonely people; He spoke and swayed at the same time, asked us to sit down and hurriedly sat down on the sofa, running through the sex in the floor and turning around tobacco in small and beautiful handles ... The conversation began. First, Belinsky spoke quite a lot and soon, but without an animation, without a smile ... But he lived his little, raised his eyes, and his whole face was transformed. The former harsh, almost painful expression was replaced by another: open, lively and light; Attractive smile played on his lips and lit up with gold sparkers in his blue eyes, whom I only noticed the beauty ... I must say that there was no shine in his speeches; He willingly repeated the same jokes, not even intricate; But when he was in shock ... There was no possibility to submit a person more eloquent, in the best, Russian sense of the word ... It was an uncontrolled outpouring of an impatient and impudent, but light and sound, warmed by all the heat of pure and passionate heart and led Thus, the subtle and faithful little truth and beauty that you can't replace almost anything. "
It took quite a bit of time, and warm friendships were established between Belinsky and Turgenev. This is what Belinsky wrote in one of the letters about his young friend: "This person is unusually smart, and indeed a good man. Conversations and disputes with him took me a soul ... It is gratifying to meet a person, the original and characteristic opinion of which, hurrying with yours, extracts sparks ... He understands Rus. In all his judgments, the character and reality is visible. "
Communication with Belinsky had the most significant impact on the spiritual development of Turgenev. Belinsky strengthened hatred in it to the fastening right, to a self-adjacent rank, helped him work out the correct understanding of the phenomena occurring in the world. And it is
Linnie convinced Turgenev in the fact that literary creativity in the conditions of autocratic Russia is the only way of activity, allowing to put and solve topical social issues, and that the Russian reader "sees in Russian writers of his only leaders, defenders and saviors."
Turgenev was often met with Belinsky, for a long time talked with him about the most important problems of the social life of Russia, about the development of Russian literature. Sometimes conversations moved to hot spores. "The overall flavor of our conversations," wrote later Turgenev, "the philosophical-literary, critical-aesthetic and, perhaps, social, rarely historical. Sometimes it went very interesting and even strongly ... "
By the time of rapprochement of Turgenev with Belinsky, there is a detailed sharp controversy between Slavophiles and Westerns. Slavophiles (A. S. Khomyakov, I. V. Ki-Rievsky, Brothers K. S. and I. S. Aksakov, etc.) believed that Russia is a special country, with his own, only to her inherent in historical development. In their opinion, Russia should not focus on the West, should not follow him. They argued that the constant struggle of the estate, which resulted in revolutionary shocks, was characterized by the public and public path of Europe. In Russia, Slavophilas spoke, the unity of the people and the government always existed, since patriarchal and religious popular masses never sought to political power, handing over to its government, retaining only the opportunity to express their opinion to which the ruling circles should be lisked. Slavophiles believed that it was necessary to return to the patriarchal orders of Russian life, which in due time destroyed Peter I, striving to put the Western orders and customs in Russia.
In essence, the teaching of Slavophiles was reactionary. At the same time, there was a lot of positive. So, for example, Slavophiles were opponents of serfdom, ratified the freedom of speech and press, sharply criticized the bureaucratic apparatus of autocratic Russia, opposed political and judicial arbitrariness.
This Party of the Slavophilov program caused respect even to their opponents - Westerners.
Recognizing the individual provisions of Slavophilov's teachings, Westerns nevertheless, at all, attempted, attempts to artificially slow down the social development of Russia, the desire to reverse its history. They were neglected by the idealization by the Slavophiles of Patriarchal Starny, the lunizing in admiring the humility and the God-fearing of the Russian people. They advocated the Europeanization of Russia, for the introduction to the advanced social ideas of the West, fought for the liberation of the people from the oppression and violence, for changing existing orders in the country.
Turgenev fully shared the views of Westerners and accepted the most active part in the controversy with Slavophiles.
By the end of the 1840s, two currents were determined in the camp of the Westerners: the revolutionary-democratic, headed by Belinsky and Herzen, and the moderately liberal, which was joined by Turgenev, Granovsky, Botkin, Annenkov and others. However, at that time, the contradictions between revolutionary democrats and Liberals-Westerns were not antagonistic. Both of these trends united the common tasks of the struggle against serfdom and the main managers of the autocratic system. The occasion between them occurred later, in the second half of the 1850s.
On the eve of acquaintance with Belinsky Turgenev was at a crossroads. He is all in doubt, the search for his place in life, determining the nature of his behavior. Communication with Belinsky largely changed the socio-political and aesthetic views of the young writer. By the mid-1840s, he finally passes into the position of realism and becomes one of the followers and comrades of criticism. In his review of the Russian translation of the "Faust" Goethe, made by Vronchenko, Turgenev, following Belinsky, disclaimed the need to appeal to the issues of modernity, to the needs of Russian life, spoke against Romantics, accusing them to indifference to social issues, ridiculous people employed exclusively with their joys and sorrows. He condemned the spiritual poverty of romantic heroes, with time turning into egoists and vocals.
Our aesthetic principles of Turgenev implemented in a number of artistic works in a number. One after another appear in the press of his story "Andrei Kolosov", "Brener", "Three Portrait". All of these stories permeates the idea that the time of romantic heroes has passed that now the romantic fler serves only for the cover of egoism and ignorance of people of small and limited.
A sharply negative attitude towards romanticism as the worldview and behavior in the everyday life of modern man Turgenev persistently conducted not only in artistic works, but also in a number of critical articles written under the undoubted impact of Belinsky. In them, he defended the principles of realism and nationality, ratified for simplicity and clarity in art, insisted on the need to solve current issues of modern issues in the literature.
In a number of works of Turgenev, continuing the tradition of Gogol, satirically portrayed the poor existence of representatives of the nobility, their indifference to public issues, cruelty in relation to the serfs. This writer spoke about this in the "landowner" poem, after reading, Belinsky noted that "it seems, here the talent of Turgenev found its true genus, in this kind he is incentive."
In the mid-1840s, Turgenev becomes one of the active figures of "Natural School", which united in its ranks of the best writers of the time: A. I. Herzen, N. A. Nekrasova, I. A. Goncharov, F. M. Dostoevsky, I. I. Panayeva, D. V. Grigorovich. Writers of "Natural School" sought to bring closer to the literature with reality, give it a democratic nature. The heroes of their works were the representatives of all layers of Russian society, but first of all they were interested in the life of social bases: fortress peasants and urban workers.
Turgenev takes part in the collections of "Physiology of St. Petersburg" and "Petersburg Collection", published by Nekrasov with the assistance of Belinsky and those who were peculiar manifestos of "Natural School".
In different ways, the relations of Turgenev with the writers, who constituted at this time of the Belinsky circle at this time. With criticism of P. V. Annenkov, with a publicist and criticism of V.P. Botkin, the writer has kept warm and friendly relations for life. They were brought together with general political views, common thoughts on the tasks of literature. They all adhered to quite moderate liberal views and were supporters of gradual reforms. With N. A. Nekrasov, F. M. Dostoevsky, I. A. Goncharov Turgenev for a number of reasons later differed. But in the second half of the 1840s, all of them united by the genius of Belinsky. Naeda I. I. Panayev wrote: "A circle in which Belinsky lived, was closely solid and preserved in all purity until his death. He was supported by the strength of his spirit and belief. "
And another very important event happened at this time in the life of the writer - he met with an outstanding French singer Polina Viardo. "I have not seen anything in the world better than you ..." wrote Turgenev Viardo several years later. "To meet you on my path was the greatest happiness of my life, my loyalty and gratitude do not have borders and die only with me."
By the time of exploring Turgenev, the name Polina VI Ardo was enjoying great popularity in Europe. The largest musicians admired her voice, poets devoted to her poems, writers and critics devoted her enthusiastic articles. "Viardo, the artist is brilliant ...- noted the historian of St. Petersburg theaters A. K. Wolf. - Her voice was the purest mezzo-soprano, the most tender timbre ..."
Polina Viardo was not only a wonderful singer, but also a charming woman, a widely educated person and an interesting interlocutor. Love for her Turgenev carried through life. Until the end of his days, he remained faithful to this feeling, having sacrificed much. The Viardo family house becomes the second home for the writer. He long lives in their estates of the Kurtavel, not far from Paris, accompanies Viardo in her numerous touring trips, and from the beginning of the 1860s, finally brings together the actress (her husband Louis Viardo, translator and criticism, the writer helped translate Russian classics), Constantly lives abroad, only occasionally coming to Russia.

"CONTEMPORARY". "Hunter's Notes." DRAMATURGY
Belinsky and his like-minded people have long dreamed of having their own printed organ. This dream was realized only in 1846, when Nekrasov and Panayev managed to buy a magazine "Contemporary", founded at one time A. S. Pushkin and after his death published by P. A. Pletnev. Turgenev accepted the most direct participation in the organization of the new magazine. According to P. V. Annenkova, Turgenev was "the soul of the whole plan, the organizer of him ... Nekrasov was consulted with him everyday; The magazine was filled with his works. "
In January 1847, the first issue of the updated "contemporary" was published. Turgenev published several works in it: the cycle of poems, a review on the tragedy of N. V. Kuzmachnik "General-Lieutenant Petkul ...", "Modern notes" (together with Nekrasov). But the authentic decoration of the first book of the magazine was an essay "Chorine and Kalinich", who opened a whole cycle of works under the general name "Hunter's notes".
"Hunter's notes" were created by Turgenev at the turn of the forties and early fifties and appeared in press in the form of individual stories and essays. In 1852, they were united by a writer in a book, which became a major event in Russian public and literary life. According to M. E. Saltykov-Shchedrin, "Notes of the Hunter" "marked the beginning of a whole literature having their objects and his needs."
Standing in the 1840s, the rise in the liberation movement set the task of Russian society to truthfully to reflect the life of Russian society, and first of all the life of social bases. In the article "A look at Russian literature of 1847" Belinsky wrote: "Nature is an eternal sample of art, and the greatest and noblest subject in nature is a person. Isn't a man - not a man? - But what could be interesting in a rough, uneducated person? - Like what? "His soul, mind, heart, passion, tendency," in a word, all the same as in an educated person. "
This thought was close to Turgenev. Shortly before the appearance of the first stories from the "Hunter's Notes" in the review of the book V. I. Dal "Tale, Fairy Tales and Stories of the Cossack Lugansk", he argued that "the germ of future great deeds, the Great People's Development ... " With this deep faith in the inexhaustible forces of their people of Turgenev and wrote the "Hunter's Notes".
"Notes of the Hunter" is a book about folk life in the era of the domination of serfdom. The writer drew a wide picture of the Russian reality of the middle of the last century in it, captured the image of the Great People, his living soul, not broken by the serfs, and the preserved high spiritual and moral qualities, a sense of self-esteem, thirst for will, faith in life, a decent person.
Like the living stands from the pages of the Hunter's notes, images of peasants, distinguished by an acute practical mind, a deep understanding of life, a sober look at the world around the world, capable of feeling and understanding the beautiful, respond to someone else's grief and suffering. Such people in Russian literature before Turgenev did not depict. And it's not by chance that, after reading the first essay from "Hunter's notes," Chorine and Kalinich "," Belinsky noted that Turgenev "went to the people from such a part, with which no one came to him." At the same time, the critic pointed to a deeply humane image of a writer of folk characters. "With what participation and good nature the author describes us his heroes," Belinsky wrote, "as he knows how to force the readers to love them from the whole soul."
With a sense of respect and understanding, he draws Turgenev in the "notes of the hunter" of the peasants in which he saw the features of the awakening self-consciousness, discontent with his distress. It is captured in the images of the peasants who applied to the landowner with a complaint against the oppression and bullying of the burmistra ("Burmister"), the peasant intercession of the Mithi's allocating, which "the peasants of the request compounds, reports, hundreds of ages, led, leaving the surveyors for clean water ..." (" Ovsyannikov monodhworets "), tireless bellying Kasyan (" Kasyan with a beautiful sword "). The expressive figure of the rebellion painted Turgenev in the image of a rod peasant, brought to the last degree of poverty ("Biryuk"), in whose speeches hears the accumulated hatred of his oppressors, ready to pour out in open outrage.
"Hunter's Notes" was written in the years of cruel censored oppression, and Turgenev understood that much, what he would like to tell readers cannot be published. It is known that the writer was going to write a story "Landored", in which he intended to show the outdoor protest against his oppressants. "In this story," the study of the story with P. V. Annenkov shared the intention of the story, "I hand out the fact that the peasants worryed their landowner, who annually drove the land from them and whom they called for the land, forcing him to eraine the pounds of 8 excellent. Chernozem.
With a special sympathy, Turgenev depicted the inner beauty and the greatness of the spirit of the fortress peasants. In the story "Living Power", the writer with admiration speaks of the Dreasury of Lucier. Chained to bed is incurable illness, it least thinks about himself. All her thoughts are aimed at ensuring that other people lived easier.
In the story, "singing" Turgenev revealed the striking ability of Russian peasants to feel and understand art, their craving for the beautiful.
With love and tenderness draws Turgenev in the story "Bezhin Meadow" of peasant children, their rich spiritual world, their ability to finely feel the beauty of nature. The writer sought to awaken in the reader not only a sense of love and respect for the village kids, but also forced them to think about their fate.
The images of the peasants in the "Notes of the Hunter" are shown by no means definitely. Turgenev saw in the peasant environment not only talented and freedom-loving nature, but also people who humble with their slave position, spiritually crippled and corrupted, who took the habits and the concepts of their Lords. Such, for example, Victor Victor, contemptuously related to his fabulous to his simple peasant girl ("Date"), and the county lover of Akulina, who took the head of his head for spilled on the dress chocolate ("Malinovaya Water"),
In the "Notes of the Hunter", Turgenev reflected also the process of class bundle of the village and the appearance of a new one, the emerging class - fists. This is a burmart of the Safon, about which the peasants say: "The dog, not a man" ("burmart"); Button Nikolai Tail, buses his lady and actually managing in her estate ("office"), but, as L. N. Tolstoy, Turgenev said quite rightly, Turgenev was looking for a simple people "more good than bad."
In the "Notes of the Hunter", Turgenev showed not only the life of the fortress village. Peasants the writer contrasted in his book of landowners. Among them, we encounter such mischievous serfs as Mordary Apolloovich Scheguhunov ("Two landlords"), which listens with pleasure to the sounds of "dimensional and frequent blows, driving in the direction of the stable." With undisguised sarcasm draws Turgenev and the image of the Steppe landowner Yermil Lukich Chertopkhanov ("Chertophans and Nedochkin"), who, from boredom, almost every day came up with the most ridiculous ventures: "... then from the burdock, the soup cooked, then horses tails string on the courtyard People, then Len was going to replace the nettle, feeding the mushrooms, "or all the yard ordered" to renounce and everyone on the collar to put his numeron. "
But, perhaps, the most unpleasant feeling causes the image of the "humane" destroyer drawn by Turgenev in the "Burmister" story. Pammy's landowner at first glance man brought up and cultured. However, behind his external decency is hidden by a soulless and cruel serpent. The image of Pochochina was attracted by V. I. Lenin, who wrote: "Before us is a civilized, educated landowner, cultural, with soft forms of circulation, with a European gloss. The landowner treats guest wine and leads sublime conversations. "Why is the wine not heated?" He asks Lacey. Lacrey is silent and pale. The landowner calls and, without increasing the voice, says the incident servant: "About Fedor ... order." ... He is so humane, which does not care about the urine in salt water rogue, which the Sing of Fedor. He, this landowner, will not allow himself either to hit, nor chosen the lake, he only "manages" from published, as an educated person, in soft and humane forms, without noise, without a scandal, without "public transmission" ... "
The meaningless cruelty of the landowners who had unlimited authorities to dispose of the fate of their serfs, showed Turgenev and in other stories of "Hunter's notes": "LRV", "office", "Ermolai and Melnichikha". For the first time in Russian literature, before the reader appeared in all its unsightly disgusting succinor of "activities" of serve-gunners. A. I. Herzen called the book Turgenev "accusatory act of serfdom." He wrote that "Never an inner life of the landlord house was not exhibited in this form for universal dying, hatred and disgust."
"Hunter's notes" were a significant event in the creative development of Turgenev. "I am glad. That this book came out, "the writer said," it seems to me that she will remain my impoverished in the treasury of Russian literature ... "
In the second half of the 1840s, Turgenev has a lot and fruitfully worked in the field of drama. His plays - deep innovative works. Turgenev avoided complex plot constructions and scenic effects. He reduced an external action to a minimum, focusing on the disclosure of the ingenuous internal movement and in the development of characters. In this Turgenev, the appearance of Pieces A. P. Chekhov has largely prepared.
Since 1843, one after another appear in the press and on the stage are small, as a rule, one-acting and double plays of Turgenev: "negligence", "lack of money", "Breakfast at the leader", "Nahlebnik", "Breakfast", dedicated to various sides and Problems of Russian life.
The most significant work in the dramaturgical heritage of Turgenev is the play "Month in the village" (1850). Its conflict is based on the clash of representatives of the noble and allocating intelligentsia, their social and spiritual distinction. The bored inhabitants of the noble estate - Spouses Islaev, Rakitin - the play in the play is opposed by a student-dispenser Belyaev, a man with a strong character and advanced convictions. The writer showed the moral superiority of Belyaeva over the representatives of the nobility, revealed the inner emptiness of the inhabitants of the noble nests, the limitations of their interests, the desire to escape from solving complex life issues.
Nobatorskaya, in its essence, the drama of Turgenev did not immediately receive recognition. Due to the permanent persecution of censorship, his plays could not see the ramp lights for a long time. Yes, and their printing was conjugate with great difficulties. So, the play "Month in the village" was published only five years after writing, and it was possible only in 1872.
For more than three years, from 1847 to 1850, Turgenev lived downwardly abroad. Only in the summer of 1850, Turgenev returned to Russia. And a few months later, Varvara Petrovna died. It is time when Turgenev was able to fulfill his "Annibalov oath" - to deal with serfdom. Later, the question of what he did for his peasants, Turgenev said: "... I immediately let go of the courtyard on the will, who wished the peasants to translated on the lifts, in every way promoted the success of the general liberation, when redeemed everywhere I lost the fifth part and did not take anything in the main estate For the estate land, which amounted to a large amount. "

Arrest and link. CRIMEAN WAR
On February 21, 1852, Gogol died. His death Turgenev perceived as a terrible grief, which fell into Russian literature, and responded to her a necrologist, in which, in particular, wrote: "Gogol died! What Russian soul will not shook these two words? .. Yes, he died, this man whom we now have the right, the bitter right given to us death, to name the Great: a person who referred to the era in the history of our literature; The people we are proud of how one of our glory! "
In St. Petersburg, the obituary was not printed. The censorship forbidden to generally publish any materials about Gogol. Taking advantage of the fact that Moscow has not yet come to Moscow, Turgenev published a necrologist in the Moscow News newspaper.
The government regarded it as eviling. Nikolai 1 ordered to plant Turgenev on "a month to arrest and send a residence permit to his homeland, under a supervision ...".
Of course, everyone understood that the cause of the writer's arrest was not so much printed necrologist as the general direction of his literary activity, which was clearly anti-refresh and antisair-containing character. The government could not forgive the Turgenev of his "Hunter's Notes", which at this time came out with a separate publication.
Being under arrest, the writer continued to work hard. Coming out for freedom, he read his friends a story "Mummy."
At its ideological orientation, this story was very close to the "hunter's note." In it, Turgenev not only expressed his negative attitude towards serfdom once again, but again he expressed his faith in the uncomfortable spiritual greatness of a person from the people.
The history of the life of a serf peasant Gerasim's life was simply told by Turgenev, according to Herzen, forced "tremble from rabies in the image of this serious, inhuman suffering, under the burden of which one generation fell after the other ...".
In the summer of 1852, Turgenev went to serve a reference to the estate of Spassky-Lutovinovo. During the forced privacy (in the link he spent almost a year and a half), Turgenev wrote a lot, read, diligently studied Russian history.
In an effort to be aware of the literary and socio-political events, he led an active correspondence with friends, interested in the news of the capital's life, reported Nekrasov his comments on the works published in the "Contemporary". The circle of observations of the writer above the life of the provincial nobility, officials and peasants.
Being still under arrest, Turgenev shared Viardo's spouses with his creative plans: "I will continue my essays about the Russian people, the most strange and most amazing people, which only is in the world. I will work on my novel, topics with greater freedom of thought that I will not think about passing it through censorship claws. "
In a short time, Turgenev was written several leaders and the first part of the unfinished novel "two generations", in which he intended to recreate a wide and holistic picture of Russian reality.
In the new works, the writer began to move away, as he himself said, from the "old manner" of the letter, most clearly manifested in the "Notes of the Hunter". The essence of this "old manner" Turgenev revealed in a letter to P. V. Annenkov. "It's necessary to go to another expensive - it's necessary to find it - and to speak forever with the old manner," he wrote. "Pretty Essences tried to extract from human characters ... To pour them into small flashes - sniff, they say, respectable readers, - Appear and sniff - is it not true, it smells like a Russian type? Pretty - pretty! But here is the question, can I be able to something big, calm! Are you simple, clear lines ... "
However, "simple, clear lines", the new manner of writing was given to Turgenev with great difficulty. The novel "Two generations" was met by the writer's friends restrained. And Turgenev left work on him. Only his plan and an excerpt called the "Own Lord of the Offer", which was published in 1859 was preserved.
Turgenev is looking for not only new forms and new genres. He seeks to expand the theme of his works. It is at this time that he comes to the thoughts to part with the theme of the village.
"The peasants completely overcame us in the literature," wrote Turgenev in one of the letters. "It would be nothing, but I begin to suspect that we, so much weighted with them, all the same, nothing in them does not make sense. Moreover, all this - for known reasons (mean censorship conditions. - N. Yak.) - Begins to receive ... Idyllic flavor. "
From now on, the main attention of Turgenev focused on the image of the life of representatives of the noble intelligentsia. This problem was not new in Russian literature. To solve it, A. S. Pushkin was treated in the novel "Yevgeny Onegin", M. Yu. Lermontov in "Hero of our time", A. I. Herzen in the story "Who is to blame?". These works disclosed the characters of the best people from the environment of nobles, doomed in the conditions of a political response to inaction and suffering from the consciousness of the uselessness of their existence.
Turgenev decided to show the fate of noble intellectuals in new social conditions, during the so-called "gloomy seventhion". Already in the stories "Death" and "Hamlet Schigrovsky County", which included in the "Hunter's Notes", the writer tried to portray representatives of the noble intelligentsia. But the most fully and deeply their life is revealed by Turgenev in the "Diary of an extra person", "calm", "correspondence", "Jacob Pasynkov", as well as in the later ones "Asya" and "Faust" written. The concept of "extra person" was introduced into the literature Turgenev, and it was he who gave the most complete and deep analysis of this remarkable phenomenon in Russian reality.
In the audience on "extra people", Turgenev condemned the representatives of the noble intelligentsia for inactivity, for the inability to find their place in life, for the lack of solid and deep convictions.
However, the writer not only criticized "unnecessary people." He saw rich spiritual powers in them, high thoughts. The best of them, in his opinion, expressed their rejection of the existing self-sufficient-serfdom and awakened in the surrounding desire to fight against her.
Such, for example, the hero of the story "Calm" Obietov, a man is talented and distinctive. He is looking for something that is looking for something, but it does not find applying its forces.
And the writer with bitterness noted that "I never go out of the rules."
A fragile, immersed in the self-analysis of "excess people" Turgenev opposes in its lead the images of women endowed with solid and purposeful character. They were fateful, as a rule, tragic: left the beloved Lisa Ozhogan ("Diary of an extra person"), cums the life of the suicide Maria Pavlovna ("Calm"), marries Sophia Nikolaevna Zoltsitskaya ("Jacob Pasynkov"), but in those The tests through which they had happened to pass, the best mental qualities of the Russian woman - the will and mind, the ability to decisive actions, selfless love, moral purity.
The new manner of the writer is already clearly visible on the "unnecessary people" ones - organic fusion of lyrics with an objective image of life, deeper and comprehensive disclosure of the inner world of heroes.
These stories largely prepared the emergence of problematic socio-psychological novels of Turgenev.
In early March 1853, Turgenev received permission to return to Petersburg. The opaire writer was warmly met with friends, and first of all the employees of the contemporary. The circle of acquaintances of Turgenev significantly expanded. In addition to their previous friends and buddies - N. A. Nekrasova, I. I. Panayev, P. V. Annenkova, V. P. Botkin, A. V. Druzhinina, D. V. Grigorovich, - Turgenev met with poet A. K. Tolstoy, I was in the house of architect A. I. Shockenshneera, I got acquainted with the future revolutionary ^ Emocrats - Publicist P. V. Kul-Gunov and Poet M. L. Mikhailov.
In the apartment of Turgenev there were many Petersburg and Moscow writers. There were disputes on the most varying issues, read their new works.
A. F. Pisemsky, N. P. Ogarev, A. N. Ostrovsky, and I. A. Goncharov, who recently returned from the world journey, shared his new novel with the Turgeneh intent.
After returning from the link, the long-standing friendly relations of Turgenev with Nekrasov became even closer. "I got in a relationship to you to that high love and faith," Poet Turgenev wrote, "that the most impending my truth says about yourself." Nekrasov sent Turgenev his works with a request to express their judgment about them. "Except you, I do not believe anyone!" - he said. The role of Turgenev and in the editorial business of the "contemporary" has increased. No wonder, gathering abroad, Nekrasov wrote L. N. Tolstoy: "... Turgenev will take my role in the editorial office of the" contemporary "- at least until that time, until it is annoying."
The return of Turgenev from the reference coincided with the beginning of the Crimean War. The writer carefully followed the progress of hostilities, which evolved far from Russia. In the Finnish bay, English squadrons appeared. There were rumors about the possible shelling of the capital. The events came from Sevastopol. In the midst of Sevastopol battle, on March 2, 1855, Nikolai I died. The outcome of the Crimean War was predetermined - everyone said that Russia would suffer a crushing defeat. According to V. I. Lenin, the Crimean War showed the world "Rotia and the powerlessness of serfs of Russia". Many advanced people of that time understood that the country was on the threshold of important historical transformations that now the question arose about the further path of development of Russia. In this regard, it was necessary to decide who will lead in the new conditions of a public movement - representatives of the noble intelligentsia from the Pleiads of the so-called "extra people" or the democrats' differences, which will soon be called "new people." Turgenev has already tried to answer this question to some extent to respond to their audience on "extra people."
He made it more deeply and consistently in his first socio-psychological novel Rudin, in which it sought to capture a certain stage of the historical development of Russia, closely related to its present and future.

"Rudin". Spiritual crisis. "Asya"
In the early spring of 1855, Turgenev went to Spasskaya, intending to spend all summer there. After the loaf of the metropolitan life, he always pulled him into the village. Here it was easier for him and worked. However, I did not find the desired silence and rest of Turgenev in the village. The Crimean War has not yet ended. On the roads to the south to replenish the broken parts, there were regular troops and militias. The peasants were worried, waited for "will", refused to obey the landowners. In one of the letters, Turgenev wrote: "... We live in the unexpected time. The war is growing, it grows - and she does not see the end, the best people (poor fucks) are dying - illness, crowns, podes ... there is still no lumen ... "
In mid-May, Botkin, Grigorovich, Druzhinin, were located in Spassky. Together with them, Turgenev hunted, committed long-range riding, and endless disputes about literature led in the evenings. The main subject of disputes was newly protected by N. G. Chernyshevsky thesis "Aesthetic attitudes of art to reality." The opinion of Turgenev about Chernyshevsky at that time was significantly different from the judgments of Botkin and Druzhinin. He believed that Chernyshevsky was needed and useful, although he did not agree with many provisions of his dissertation.
After departure, Turgenev's guests devoted himself entirely to work on Roman "Rudin", which he wrote, according to his own admission, is very "actor", "with love and thought." The first editorial office of the novel was written unusually quickly. Turgenev recorded: "Rudin. Started on June 5, 1855, on Sunday, in Spassky; Confed on July 24, 1855, on Sunday, there, in 7 weeks. "
Returning to Petersburg, Turgenev introduced to the novel of friends. "The story read His," he wrote the sister L. N. Tolstoy Maria Nikolaevna and her husband, "she liked it - but I made several delight comments that I took note." Comments, however, turned out to be much, and Turgenev had to rewrite the novel. Only in mid-December 1855, he completed the work on Rudin and printed it in the first two rooms of the "Contemporary" for 1856.
In Rudin's novel, Turgenev summed up with his many years of observations on the character of the "excess person" and in the image of the main character of his work, a expressive portrait of a man, in which the thoughts and feelings were concentrated, the most characteristic of the "Russian cultural layer" era of the 40s last century. According to a fair remark of Druzhinin, Turgenev in his novel sought "to build a lot of sympathetic images of its long, conscientious observations over modern ailments of modern workers of life" and create "something like the confession of a whole generation that had an important impact on our own development."
One of the central issues affected by Turgenev in the novel was the question of the advanced figure of modernity, which could lead the struggle for the country's social transformations, the question of whether people like Rudin can take on this role. Therefore, his character has become the object of the most close study in the novel. The writer knew well that atmosphere in which such personalities were formed. "I could never work out of my head," he wrote. "In order to bring some fictional face, it is necessary to elect a living person who would serve me as if leading thread." Speaking about the philosophical circle of Poorasky, in whose environment, the hero's youth was held, Turgenev had in mind the Stankevich's circle. "When I depicted Poorsky," he noted, "the image of Stankevich was rushed in front of me ..."
Rudin is depicted in the novel as a man's smart and talented, dreaming of the good of mankind, about useful and fruitful activities. He believes in the celebration of great ideals. In his opinion, the value of any person is determined primarily by his education, culture, knowledge, his faith in science, art, faith in himself, by virtue of his mind. "People need this faith," he says. "The skepticism always was distinguished by infertility and powerlessness ..." Just relying on knowledge, on a solid faith, a person can understand the meaning of his destination in life. "... if a person does not have a strong start, in which he believes, there is no soil on which he stands firmly, as he can give himself a report in the needs, in meaning, in the future of his people? How can he know what he should do himself? .. "
The meaning of the life of Rudin sees in labor directed towards the generally-heard business. He condemns laziness and failing, calls for active activities. "This man knew how to not only shake you, he shifted you from his place, he did not give you to stop, he turned over to the ground, he lit up," the student's student of bassists talked about Rudine.
However, Rudin himself turned out to be at absolutely not able to protort his ideals into life, he failed to apply his rich opportunities in practice. He had a mind, knowledge, high aspirations, but there was no will, no character, no skill to work. His desire to be useful, bring some benefit to people invariably ended. In addition, Rudin did not know the life of the true needs of his country. "The misfortune of Rudden is," his comrade on the mug of Poorsky Lenzov said him, - that he does not know Russia, and this is his great misfortune. " And then: "But, again, I will say, it's not wine Rudin: this is his fate, the fate is bitter and heavy, for which we will not blame him."
These words include the Rudine tragedy itself by Turgenev. The writer believed that the character of his hero is generated by the circumstances of Russian reality. Rudin turned out to be, according to Herzen, "intelligent unnecessaryness", his full drama fate was the source of all the mistake of the public life of autocrete-fastened Russia.
The tragedy of the position of Rudda was aggravated by the fact that he himself clearly understood the weaknesses and disadvantages of his character. In a farewell letter, confession to Natalia La Sun Rudin made a merciless and harsh sentence: "Yes, I gave me a lot of nature; But I will die without making anything worthy of my forces, without leaving any beneficial trail. All my wealth will disappear for nothing: I will not see the fruits from the seeds of my ... I will remain the same unfinished creature as it was still ... The first obstacle - and I was completely crumbled; The incident with you proved to me. If I at least brought my love to my future business, my vocation; But I was just scared of responsibility that fell on me, and therefore I, exactly, not fit you. "
Rudina is opposed in the novel image of Natalia La Sun. Natura is ardent and enthusiastic, she sincerely and deeply loved the Rudine and is determined to sacrifice all for the sake of happiness to be with her beloved. "... who seeks to a great goal, should no longer think about themselves," says Natalia. The hot sermon of Rudine awakened in her thirst for activity, the desire for life that meets the high ideals.
In the chief of his heart, she sees an advanced public figure. To her, the roads and the ideals and desires of Rudin. Natalia believed in him, in its power and ability to actively. And therefore it was bitterly her disappointment. "... I still believed you," she says Rudin during the last date, "you believed to each your word ... Forward, please weigh your words, do not utter them to the wind. When I told you that I love you, I knew what it means this word: I was ready for everything ... "
The image of Natalia Lasunskaya opened a whole gallery of beautiful female characters in the work of Turgenev, who devoted her life to serving public ideals, in the name of which they were ready to go to any victims and tests.
Showing the inability of Rudin in his novel, Turgenev, at the same time, pointed out that the positive role was played by the Russian public self-awareness of their time, such as Rudin and Pokor. "Eh! The glorious time was then, "says about his student years and about the mug of Poorsky Lena," and I don't want to believe that it disappears for nothing! "
Wanting to emphasize the historical importance of the activities of advanced noble intellectuals and their connection with the liberation movement of their time, Turgenev, who preparing in 1860 a new edition of his novel, included the scene of the death of Rudine in Paris barricades during the revolution of 1848.

In July 1855, L. N. Tolstoy arrived from Sevastopol from Sevastopol. The first visit he inflicted Turgenev. The meeting of two writers was prepared by their correspondence acquaintance. Turgenev enthusiastically welcomed the first works of Tolstoy, published in the "contemporary", and became interested in the fate of the young writer. In the author of "Sevastopol stories" he saw a big artist. "Your destination is a writer, an artist of thought and words ..." - wrote Turgenev Tolstoy in the fall of 1855.
In the summer of 1856, Turgenev left abroad. With a heavy heart, he was sent in the distant way in a letter to one of the closest familiar friends, E. E. Lambert, the writer recognized: "... it would be better for me to go. In my years, go abroad - it means: to determine ourselves finally on Gypsy life and throw all the thinking about family life! What to do! It can be seen, this is my fate. "
Thoughts about their past youth, about their unresolved life increasingly came to his head. Many letters of Turgenev this period are permeated with sad sentiments, his works "Faust" and "Trip in Polesie". In the story "Faust", the writer tried to convince himself, and the reader is that the pursuit of a person for a non-abundant dream of happiness prevents him from fulfilling his duty to society. "One conviction I carried out from the experience of the last years," TURGEN wrote in the final of the story, "life is not a joke and not fun, life is not even pleasure ... Life is hard work. Renunciation, the renunciation is constant - here is its secret meaning, her attenuation: not the fulfillment of loved thoughts and dreams, no matter how sublimenses were not, - the execution of debt, which is what a person take care of; Without imposing on the chains, the iron chains of the debt, he can not walk, not falling, until the end of his field ... "
In the story "The trip in Polesie" sounds a thought of weakness, about the loneliness of a person in front of the forever living nature, who says to man: "I don't have things to do it ... I kingdom, and you do not die ..."
Sad sentiments aggravated the disease. All this led to a deep spiritual crisis. Unusually demanding to themselves, Turgenev began to doubt his vocation of the writer and even intended to leave literary activities. "As for me, he wrote Botkin at the beginning of 1857," I will say ... not one of my string has been printed (and it's written) will not be until the end of the century ... Talent with special physiognomy and integrity - I do not have , there were poetic strings - yes they sounded and disguised, - I don't want to repeat - resign! This is not an outbreak of annoyance, believe me, is an expression or fruit of slowly matured beliefs. "
Living abroad, Turgenev hurt and painfully worried the separation from the homeland. All he saw around himself abroad, annoyed and caused sharp discontent. The writer expressed his impressions in a letter to S. T. Aksakov: "There is some kind of lifeless, cordlessness, or a plane of powerlessness ... The lack of any faith, all conviction, even artistic belief - that's what you meet you, wherever you look ... ... And the overall level of morality decreases every day - and the thirst for gold is Tomit of everyone and everyone - here is France! "
Turgenev pulled home, all his thoughts were there, in their homeland, in Russia. "What do not say," he wrote Botkin, "And I still have my Russia more than just in the world - especially abroad I feel it!" However, he returned home soon. It was necessary to continue treatment. Turgenev moves from the city to the city, from the country to the country. He is looking for oblivion from bitter thoughts, wants to gain peace of mind and peace. And he will eventually succeed. Settling in the summer of 1857 on the advice of doctors in the small German spa town Zinzig, Turgenev tries to start working. And soon the first pages of the story "Asya" appear on his writing desk. "It was strange to me for the pen after annual inaction," the writer recognized as a writer in a letter to I. I. Panayev, - and first it was difficult, then went easy. "
Work on the tale was delayed and was completed only in November 1857, and in December sent to St. Petersburg, to the "contemporary".
Nekrasov enthusiastically welcomed the story of Turgenev. "Itifies peaceful youth from it," he wrote, "all of it is pure gold of poetry. Without stretch, all this beautiful furnishings came to the poetic plot, and something unprecedented with our beauty and purity came out. Even Chernyshevsky in sincere delight from this story. "
Already the story "Asya" was published in the "contemporary" (1858, No. 1), as Chernyshevsky responded to her by article "Russian man on Rendez-Vous", in which, noting the poetic advantages of the new work of the writer, drew attention to the connection of the nature of the chief hero With such images like Lestes and Rudin. "He is not used to understanding anything of great and living," the critic pointed out, "because his life, chalks and soulless were soulless, and the cases, to which he was accustomed. This is the first. The second - he robeth, he redeemly retreats from everything that he needs a broad determination and noble risk, again because life taught him only to pale petties in everything. "
The Chernyshevsky wrote his article at that moment when the peasant question was "the only subject of all thoughts, of all conversations," and this allowed him to give the hero to the negotiation of the symbolic figure, personified the foolishness, inability to active actions. The critic convincingly proved that the time of liberal noble intellectuals, similar to the hero of the story "Asya", was held that "there are people better than him."

New creative rise. "NOBLE NEST"
In June 1858, Turgenev finally returned to his homeland. For two years there has been no lack of much in the country. The crisis of the serf system, aggravated in connection with the events of the Crimean War, continued to deepen. Peasant uprisings broke out one after another. In Russia, the revolutionary situation began to develop. V.I. Lenin wrote that even "the most cautious and sober politician was to recognize the revolutionary explosion quite possible and peasant uprisings - the danger is quite serious." How soon I had sharply a question about the release of peasants. Even Alexander II, who joined the throne, was forced to admit that "it is better to free it from above, than waiting for the bottom to be overthrown."
Much has changed in the editorial office of the contemporary. N. G. Chernyshevsky and N. A. Dobrolyubov became the socio-political and literary direction of the journal. Turgenev was concerned about the fortunate ideological proximity of Nekrasov with revolutionary democrats. His frank preaching of the ideas of the peasant revolution, with which the Chernyshevsky and Dobrolybov appeared on the pages of the "contemporary", who considered that only a revolutionary way could conquer genuine freedom. Turgenev himself was a supporter of gradual transformations. He welcomed the decision of the government to hold the peasant reform and, like other liberal figures, was sincerely convinced that the peasants can be released only by reforms "over".
These liberal-utopian illusions largely identified Turgenev's social and literary position in the late 1850s.
After the return of Turgenev, he stayed for a long time in St. Petersburg - went to Spasskaya, where she continued to work on the novel "noble nest", the plan of which he had an abroad.
In this novel, Turgenev summed up its reflections over the spiritual drama of "extra people", again raised the question of the role of the noble intelligentsia in modern public movement. At the same time, in the new product, Turgenev tried to solve a number of moral and ethical problems.
Through the entire novel passes the thought of the historical inevitability of the death of the "noble nests", about the impossibility of reasonable and truly happy life in the conditions of the domination of serfdom and the noble morality.
Drawing the image of the main character of the novel Lavretsky, Turgenev showed those social conditions in which the formation of its character and worldview occurred. The historic excursion in the past family of Laurets helps better understand the reasons for the tragic destiny of the Hero of the Roman. The ugly upbringing obtained by Laurek doubted his will, deprived of his character character, and, having a living, he was very long, "continued to stand in one place, closed and compressed in herself." The ignorance of the laws of the surrounding life, naivety and the gullibility caused severe trials that had fallen into his share. "The drama of his position," wrote about the Loveview Dobrolyubs, "lies no longer in the fight against his own powerlessness, but in a collision with such concepts and the larenches that the struggle should really have even the most energetic and bold man."
But life vitality did not break Laurezza. He begins to realize the emptiness and worthlessness of his life and seeks to at least be useful and necessary for his homeland. He is going to "steal the Earth," to find ways to rapprocheate with the people. At the same time, it is well aware that Russia needs transformation, Lavretsky understands that neither he himself nor representatives of his generation can do them. All of its hopes and aspirations are associated with those new people who need to change such as it, in the arena of a social struggle. Turning to them, Lavretsky says: "Play, having fun, young forces ... You have ahead of you, and it will be easier for you to live: you don't have to go, how to find the road, fight, fall and get up among the gloom; We have troubled about how to survive - and how much of us survived! "And you need to do, work, and the blessing of our brother, an old man, will be with you."
High moral qualities, honesty, deep patriotism of Laurezza attracted to him the heart of Lisa Kalitina, with the way in the novel, the solution is associated with the problem of personal happiness and debt, supplied by the writer in the story "Faust".
Lisa Kalitin is a man of amazing moral purity and sensitivity. Like Lavretsky, she is aware of the viciousness of the life built for someone else's account, the wake of noble morality and morality. She knows how many grief and suffering brought her father to people, and considers himself responsible for the sins of the parents. "It is necessary to pierce all this," she says. After making sure that it was impossible to be with a loved one, Lisa decides to refuse personal happiness, from love that folk her heart, and goes to the monastery to cherish the "sins of fathers." "It was not desolation for her in the monastery," Pisarev said quite rightly, "she was not oblivious from a solitary and contemporary life: no! She thought to bring his cleansing sacrifice, thought to make the last senior feming of self-sacrifice. "
In Lisa, everything was noted by Pisarev, to "love, enjoy happiness, bring happiness to another and bring reasonable benefits", but "fanatical passion for incorrectly understood moral debt", which arose under her influence of religious education, led her to the abandonment of personal happiness in The name of falsely understood debt.
The novel "The noble nest" ends tragically. There was no happiness of two beautiful, hot people who love each other: Lisa goes to the monastery, Lavretsky grief about in vain lively life and sadness thinks about the impending lonely old age. Nevertheless, light motives are played in the Roman Turgenev's novel, the hope that the new generation is made any other fate, life, complete joy and faith in the future.
The "noble nest" is one of the most poetic creatures of Turgenev. In this work, an amazing gift of the writer was manifested fine and penetrately disclose the inner life of his heroes, to transmit the finest movements of human feelings and experiences.
The "noble nest" had the greatest success, which ever stepped out to Turgenev. He himself said: "... since the appearance of this novel, I began to be considered among the writers who deserve the attention of the public."
From now on, the name of Turgenev becomes one of the most revered names in Russian literature. Chernyshevsky considered him an "honor of our literature", and Herzen called the "greatest modern Russian artist."
Despite the huge success of the novel, the "noble nest", Turgenev understood that the heroes of his future works should be people, not similar to Rudin and Lavretsky, nor Banga Natalia Lasunsk and Lisa Kalitina. The writer saw that in Russia there were figures of new type, energetic, volitional, with solid convictions. These were the differences, whom V. I. Lenin described as "educated representatives of the liberal and democratic bourgeoisie, who belonged not to the nobility, and to the officials, burghers, merchants, the peasantry, which" tried to enlighten and wake the sleeping peasant masses. " The differences perceived the suffering of people as their own, dreamed of indigenous social transformations, on the destruction of all forms of violence and arbitrariness. However, until the end of the 1850s, the image of the difference, as a public figure, has not yet attracted the attention of Russian writers. Turgenev decided to fill this gap and at the beginning of 1859 began to work on the novel "On the eve".

"On the eve." Gap with a "contemporary"
The initial idea of \u200b\u200b"the day before" originated at Turgenev still in reference: "... the figure of the main character, Elena, then another new type in Russian life, was quite clearly described in my imagination; But the hero was lacking, such a person who Elena, when she was still a vague, although a strong desire for freedom could have to go. "
The case has helped such a "face" to the writer. Living in Spassky, Turgenev often met with her neighbor - a young landowner Karate. Going in the composition of the militia to war and fear that it would not return back alive, Karateev handed over to Turgenev a small notebook. The story of the love of the Russian girl to revolutionar Bulgarine Katranov was told in it.
Turgenev tried to print the manuscript of Karateeva, but he failed, because she did not possess any artistic advantages.
Figure Katrans is extremely interested writer. He saw that hero, who was looking for, active and active. And since Karateev allowed Turgenev to use the materials of his notebook at his own discretion, the writer decided to put them in the basis of his new work. However, a lot of time passed before Turgenev began to write it: this was prevented by the work on Rudin novels and the "noble nest".
The topic of "unnecessary people", developed by Turgenev in the ones, in Rudin novels and the "noble nest", did not seem to be the only one. Already then the writer understood. What the time is approaching when people like Catranow will come to the arena of public life. He did his prototype of the hero of the new novel - Insarov.
The events of the following years - the crisis of an autocrete-serpentine system, deepened by the defeat in the Crimean War, the beginning of the ideological and political conflict between the noble liberals and the Democra-Tami allocates - convinced Turgenev in the topicality of the work conceived by him, the content of which he intended to tie with the main problem of that time - preparation and holding of peasant reform. Hence the name of it. Turgenev himself said that the story "the day before" was named "so in view of its appearance (1860s before the liberation of the peasants) ... The new life began then in Russia, and such figures like Elena and Insarov are proclaimers of this new life." .
The main idea of \u200b\u200bhis work, the writer formulated as follows: "In the foundation of my story, the idea of \u200b\u200bthe need for consciously heroic natures is laid ... In order for the case to come forward." Such "in nature" in the "on the eve", according to Turgenev's plan, should be the difference-democrat Insarov.
Already, the one in the center of the new work was the hero of the dispenser - the medium, the internally alien to the writer, indicated the desire of Turgenev to overcome its former attachment to representatives of the noble intelligentsia. He felt that their time was that there were other warehouse people, with other thoughts and aspirations. In the nature of Insarov, there was no egoistic desire to approve himself, so characteristic of the heroes of the previous works of the writer. The new hero of Turgenev is a person who has completely revealed from the whole personal, who dedicated his life to one great goal - to save his people from enslavement, release his native Bulgaria from the blowing of foreign invaders. And it is dedication and purposefulness that was struck in Insaro to Elena Stakhov.
But, by recognizing the chief leaders of the heroic struggle for the liberation of the Bulgarian people of the Democrats of the Democrats, Turgenev, however, thought that Russian revolutionary democrats could not claim such a role.
This is explained by the fact that the writer decided to make the hero of the novel "the day before", and Bulgarian, who believed that for the liberation of his country from foreign yoke, there should be forgotten by class contradictions and combine all the forces in the name of a single goal. But it was possible in Bulgaria, where in the process of the liberation struggle did not have a clear differentiation of political flows and where the Democratic differences performed on behalf of the entire Bulgarian society as expressivers of the ideas of nationwide liberation movement. "Notice," says Insar Elena, "the last man, the last beggar in Bulgaria and I," we wish the same. We have one goal. Understand what confidence and fortress it gives. "
Turgenev believed that in Russia there should be their insarms inspired by the ideas of the fight against serfdom, capable of rally and then head all the progressive forces of Russian society. He believed that "and we have people" that Russia is "on the eve of" the appearance of heroic natures.
However, in Russia there was a completely different socio-political situation. Russian revolutionaries-Democrats protruded not only against anti-descendants, but also against the liberal landlord camp, since his representatives, instead of supporting the struggle of democrats for the decision of the peasant question in the interests of the people, went on collusion with the reaction and did everything to keep the privileges of their Class. Thus, the Democratic Revolutionaries and Liberals pursued completely different purposes, and therefore "conscious and heroic nature" could not get out of the environment of Sobin and Bersenev, because in this case they would have to be renounced from the views, the concepts and interests of the noble class. And they were not capable of it. And it was well aware of Turgenev. With all its positive human advantages, the talented sculptor Shubin and a novice scientist Bersenev - people socially doomed, unable to rise above their individualistic interests, become Russian insar.
I convincingly showing the impossibility of the appearance of "conscious and heroic natures" from the number of Shubins and Bersenev, Turgenev simultaneously caught the possibility of ideological rupture of a part of the advanced noble youth with her class and transition to her on the path of revolutionary struggle against an autocably-serf system. A similar perspective is clearly visible in the fate of the main character of the novel of Elena Stakhova, in whose character should not be seen of many features of future Russian revolutionaries.
The image of Elena Stakhova is revealed in the novel most fully. An active man, purposeful, she passionately wants to be useful and necessary to people and lives the expectation of the present. "Oh, if somebody said: That's what you should do! Be kind - it's not enough! do good ... yes; This is the main thing in life. But how to do good? " - That's what questions are disturbing and suffer from Elena. Awakening in her thirst for activity reflected the growth of public self-consciousness in Russian society in the second half of the 1850s, and first of all in the youth environment.
"In Elena," Dobrolyubov wrote, "that vague longing for something, that almost unconscious, but the irresistible need for a new life, new people, which now covers all Russian society ..."
In the environment of its surrounding people, Elena did not meet a single person with a pronounced active start, with targeted public aspirations. And therefore, so deeply conquered her passionate obsession of Insarov to devote himself to serving a great goal. "Release your homeland! - Elena exclaims. - These words will even unsubscribe, so they are great! " In Insarov, she saw a person for whom there is no difference between personal and public, between the word and the case. "He not only says, he did and will do," Elena is convinced. She loved Insarov and is ready to divide all the difficulties of his full danger of life with him. After the death of Insarov, Elena is ready to continue his business.
The novel "On the eve" caused hot spores. The most profound interpretation of the new work of Turgenev did Dobrolyubov in the article "When will the real day come?". The critic primarily noted that the novel was the result of an attentive study by the writer of modern life: "Create that the former heroes have already done their work and cannot be initiated by the former sympathy in the best part of our society, he decided to leave them and, causing a few fragmentary manifestations. Life requirements, I tried to be on the road at which the advanced movement of the present time is happening ... "
In his article, Dobrolyubov announced the imminent appearance of Russian insarov, who would be struggled not with external, but with inner enemies, about the approach of the day of the revolution. "And we will not long wait for it," the critic spoke convinced, "the feverish painful impatience swells for it, with whom we expect His appearance in life ... He finally comes! And in any case, the eve of not far from the following day follow him: all the night some night shares them! .. "
An open call to the revolution, which sounded in the work of Dobrolyubov, frightened Turgenev. Having become acquainted with the content of the article before it is published, he asked Nekrasov not to print it. Nekrasov tried to persuade Dobrolyubov to go for some concessions and soften the individual provisions of the article. However, the critic did not agree. Nekrasov was before the need to make a choice between Turgenev and Dobrolyubov. And he made this choice: the article "When will the real day come?", Although with some abbreviations, was published in the "contemporary", after which Turgenev refused to further participate in the journal.
The article Dobrolyubov appeared, of course, only the reasons for Alya, the departure of Turgenev from the "contemporary". The true reason for the rupture was ideologically political disagreements between Turgenev and revolutionary democrats.
Later, Turgenev recognized the justice of the Dobrolyubov article and called it "the most outstanding" among the works of the Great Criticism.
At the end of April 1860, Turgenev went abroad again. From this time, he almost constantly lives in Europe, only occasionally coming to his homeland. However, his connections with Russia do not stop for a minute. Trips to St. Petersburg, to Moscow, to Spasskoy, meetings with friends were needed. They allowed the writer to be aware of the events occurring in the country, carefully follow the social and political and literary struggle.

"FATHERS AND SONS"
In early March 1861, the royal manifesto on February 19 was published on the liberation of peasants. With centuries-old slavery was ending. The peasants finally received long-awaited freedom. However, as assumed revolutionaries-democrats, the reform was not carried out in the interests of the people. The land still remained in the hands of the landowners, and for those small put on the peasants, they were obliged to either pay the lifts, or to work out the barbecine. The wave of peasant unrest and rebounds swept throughout the country, which were suppressed by the government with incredible cruelty.
The revolutionary situation has emerged in Russia. Revolutionary Democrats began to prepare an uprising: the secret society "Earth and Volya", the ideological inspiration of whom was Chernyshevsky, distributed proclamations that called for a decisive fight with autocracy.
At first, Turgenev enthusiastically welcomed the liberation of the peasants. But by the end of 1861, his enthusiasm has noticeably cooled, he could not not see that the reform did not solve the peasant question. True, he still hoped that "the case would go well", but more and more often in his letters of this period begin to sound notes of disappointment. "We live in a dark and hard time," he wrote in December 1861 to his friend N. P. Borisov, "so do not get out of it."
In this difficult period, Turgenev and creates the novel "Fathers and Children". It was a work of acutely polemic, which reflected the struggle of two opposing forces of Russian society - Liberals and revolutionary democrats. "Liberals of the 1860s and Chernyshevsky," wrote V. I. Lenin, is the essence of the representatives of two historical trends, two historical forces, which since then and right up to our time determine the outcome of the struggle for the new Russia. "
The collision of these "two historical forces" during the preparation of the peasant reform and found its artistic embodiment in the new product of the writer.
As a ideological opponent of revolutionary democracy, Turgenev in the "fathers and children" nevertheless did not change the basic principles of his work - to be an objective artist, despite personal addiction. Later, he so formulated this its principle: "... accurately and strongly reproduce the truth, the reality of life is the highest happiness for the writer, even if this truth does not coincide with its own sympathies."
And Turgenev in the novel managed to rise over "own sympathies" and with extraordinary sympathy and historically painted the image of a figure of a new different-chinno-democratic generation - Bazarov. In the process of working on the novel, Turgenev involuntarily imbued with sympathy for his hero, experienced "involuntary attraction" for him. These feelings, he sought to call the reader. "... if the reader does not like Bazarov with all his rudeness, heartlessness, ruthless dryness and sharpness - if he does not love him, I repeat - I am guilty and has not achieved my goal," Turgenev wrote.
The image of Bazarov was a logical continuation of Insarov's image. But if the hero of the novel "On the eve" - \u200b\u200ba fighter for the national interests and the purpose of His life was the liberation of the Motherland from foreign opposite, the bazaarov sets themselves other tasks: to destroy the old way of life, fight against those who slow down social development. Moreover, if Insarov was depicted by Turgenev mixedy, "only in the pale and general outlines" (Dobrolyubov), the nature of the Bazarov discloses the writer deeply and comprehensively. He is a living person, a difficult, seeking, in something doubting, and in something firmly convinced.
In the form of Bazarov, many features of the revolutionary configured intelligentsary intelligentsia of the 1860s were found: hatred for self-sufficiently serfdom, contempt for aristocratic barbecue and liberalism, Love for work, deep interest in natural sciences.
The creation of "fathers and children" was the result of the communication of the writer with the "contemporary", where, according to M. E. Saltykov-Shchedrin, "there were unpleasant mischievous, but which were forced to think, indignant, return and recycle themselves." Under the "mischievous", Great Satiri meant, first of all, Dobrolyubov, who truly forced Turgenev to "think", peeringly peeringly into the essence of the events occurring, in the essence of the leading political struggle. It is the articles of Dobrolyubov, who always read Turgenev with attention, with whom he argued and sometimes did not agree, served as a real basis for the image of ideological disagreements that divided the heroes of the novel into two opposing camps. And even the word "nihist" was taken by Turgenev from the review of Dobrolyubov on the book of Professor V. Bervi "Physiological and psychological comparative look at the beginning and end of life." Moreover, the critic interpreted this word, unlike a conservative scientist, in a positive sense and secured him at the young generation. But in a wide use of the word "nihilist" launched Turgenev, and it became synonymous with the word "revolutionary".
In the image of Bazarov, many features of the characters of people who collaborated in the "Contemporary" were reflected. In his speeches, the echoes of the thoughts and judgments of Chernyshevsky and Dobrolyubov are heard. Just like they, Bazarov acts with a sharp criticism of modern public orders, uncompromisingly denying and rejecting the unzipped forms of the autocratic-landlord, idealistic philosophy, liberal chatter, etc. At the same time, the bazaarov is not for partial improvement in life, not For the correction of individual deficiencies, it requires a change in all the basics of the modern society.
However, creating the image of the main character of the novel, Turgenev was more focused not on people like Chernyshevsky and Dobrolyubov with their socialist convictions and sermons of the revolutionary struggle, but on representatives of another part of the revolutionary-democratic movement, preferred the propaganda of natural-scientific knowledge and naturally scientific Materialism, that is, that of his part, which a little later was headed by D. I. Pisarev. Therefore, the Bazarova does not have enough well-pronounced political ideals, there is no clear positive program. True, he is trying to bring a certain theoretical basis under his denial. Thus, the source of unfair public relations and public ailments, in his opinion, lies in the nature of society itself. "We approximately know," he says, "therefore, bodily diseases occur, and moral diseases occur from evil education, from any trivia, with whom the human heads are stuffing, from the ugly state of society, in one word, correct society, and there will be no disease."
But how to "correct society", the bazarov imagines very uncertain. He just proposes to destroy everything to clear the place for the future. But what it will be, this is the future, the hero of the novel does not know.
Bazarov - Natura whole and consistent. It is characterized by a constant work of thought, his judgments are original and distinctive. The nature of the Bazarov is especially fully revealed in clashes with its ideological opponents, with representatives of the nobles - Pavlom Petrovich and Nikolai Petrovich Kirsanov. There was not a single important issue in which there would be no fundamental differences between them. The disputes were conducted on the most different problems: political, scientific, moral, aesthetic, etc. They reflected the views of two ideologically opposite camps - the Liberals and Democratic Midworkers. Turgenev expressed its attitude to these disputes as follows: "My entire story is directed against the nobility, as an advanced class. Press in the face H (Ikola) I p (ETRO-HIV) A, P (AVL) A P (ETROVICH) A, Arkady. Weakness and lethargy or limitation. Aesthetic feeling made me take exactly good representatives of the nobility, so that it is more or rather to prove my topic: if the cream is bad, what is milk? .. They are the best of the nobles - and it is because they are chosen to prove their inconsistency. "
Indeed, the bazaars in all respects turned out to be higher than their ideological opponents: he is alien to soothe, eager for the present case, stands for the root break of existing orders. Therefore, bazaars denies everything related to the old, outgoing autocratic-fastened lifestyles: his philosophy, culture, art, principles of education, etc. But it would be wrong to see only the negative in the bazaareas and all. What is verified by practice, experience, he does not reject. Bazarov, for example, recognizes that the basis of life is the work and that the main purpose of man is to work, which is the basis of the worldview of a person should be a natural approach in assessing reality phenomena.
Bazarov acts in the novel as a militant materialist and an atheist. True, his materialism is of different character, rather than the materialism of Chernyshevsky and Dobrolyubov. And this, by the way, noticed Herzen, who reproached Turgenev for the fact that, with the characteristics of Bazarov, he showed the injustice to the realistic view, mixing it with "somehow rough, boastful materialism." In
The views of the Bazarov felt the influence of vulgar materialism, which considered the consciousness not by the span of public relations, but a special type of matter. This direction in Russian philosophy represented Pisarev. So the real basis for the image of the philosophical worldview of Bazarov in Turgenev was. The same can be said about the attitude of the hero of the novel to the problems of art.
All this is confirmed by the testimony of I. I. Mechnikov: "Among young people, the conviction spread that only positive knowledge could lead to true progress that art and other manifestations of spiritual life can, on the contrary, only slow down the movement forward. The most sensitive to all the aspirations of the younger generation, Turgenev portrayed the type of a young man who believes solely into science and relating contemptuously to art and religion in Bazarov. "
The ideological principles of the Democrats, their materialistic world-upsion, the views on the art of Turgenev did not accept. He sought to show the absence of real soil for their distribution. Therefore, bazaars in alone novel. True, he says that people like him, much, but they are not shown in the work. And of course, neither the bolt and the phrase of the Sitnikov, nor "emancipated" Kukshin are not like-minded. Bazarov saw that these people were empty and worthless, although it believed that "Sitnikov we need."
Turgenev noted that the Bazarov - the figure "Tragic", and the tragedy of his position, according to the writer, was that he was "early born" and stood only "on the eve of the future." No wonder with such a bitterness sounded the death words of the Bazarov, addressed to Odintova: "The father will say that, that, they say, what kind of man does Russia lose ... this is nonsense ... I need Russia ... no, it is not necessary. And who needs? "
According to Turgenev, bazaars only "transitional type", which stands on the eve of a great case and only prepares soil for him. But by all its work the writer convincingly showed that the people of Bazarovsk type are able to withstand any test, even death, and that when the time comes to act, they will not devour before any danger. This thought of Turgenev very accurately noticed Pisarev: "Because the bazaars died firmly and calmly, no one felt either relief, no benefit, but such a person who knows how to die quietly and firmly, will not retreat before the obstacle and does not strifice before danger. .
As soon as Roman Turgenev appeared in the press, a fierce controversy broke out around him. As one contemporary recalled, "the whole storm of sense, disputes, gossip, philosophical misunderstandings rose. All that wondered in society, as an indefinite, rather felt than the conscious strength, was now embodied in a certain, solid image ... in living rooms and clubs, in the departments, in restaurants, in the audiences, in bookstores ... Only It was that "fathers and children."
Revolutionary-Democratic criticism met Roman Turgenev ambiguously. If M. A. Antonovich, who led the critical department of the "contemporary" after the death of Dobrolyubov, in the article "Asmodener of our time" interpreted the novel "Fathers and children" as "merciless" and "destructive criticism of the younger generation", then Pisarev on the pages of the magazine "Russian" The word "- first in the article" Bazarov ", and then in the" realists "- the novel and the image of Bazarov highly appreciated.
"In his personality," the critic wrote, they grouped those properties that small groups were scattered in the masses, and the image of this person is bright and clearly evaporated before the reader's imagination. "
Turgenev noted that "the analysis of Pisarev is an unusually smart ... and ... that he almost quite understood everything that I wanted to say to Bazarov."
Passionate disputes and such disgraceful judgments caused by the appearance of "fathers and children" were worried and worried Turgenev. Later he confessed: "I then experienced impressions, though heterogeneous, but equally painful. I noticed the coldness that accounted for resentment, in many close and pretty people; I received congratulations, almost mobia, from people opposed to me camp, from enemies. I am confused ... grief; But the conscience did not strengthen me: I knew well that I was honest, and not only without prejudice, but even with sympathy I was treated with the type with me; I too respected the vocation of the artist, the writer to shove the soul in such a matter. "
Time has proven the correctness of Turgenev. His romance was rightfully taken by one of the central places in the Russian literature of the middle of the last century. He opened a number of works about "nihilists" and "new people". But not one writer, with the exception of Chernyshevsky in the novel "What to do?", Failed to be so reliably and deeply reproduce the character of the hero of the new time, the hero of the new type.

Idea creative crisis. "SMOKE"
In the spring of 1862, Turgenev Sha arrived in London and spent several days in a circle of his old friends: Herzen, Ogarev and recently fled from the Siberian reference M. A. Bakunin. The joy of the meeting was largely overshadowed by serious disagreements arising between Turgenev and Herzen. They concerned questions about the future of Russia, the relationship between Russia and the West, about their historical development. Unlike Herzen, who considered at this time that the revolutionary possibilities of the West were exhausted and that Russia was made a special way, which will lead it to Russian Socialism, Turgenev was convinced that his country would develop on the same laws as European countries, And that Russia will not be able to avoid the development of capitalist relations. At the same time, Turgenev believed that "the only point of support for living, revolutionary propaganda is the minority of the educated class, which Bakunin calls and rotten, and torn away from the soil, and traternals."
In the situation of these hot disputes, Turgenev had an idea of \u200b\u200bthe novel "Smoke". However, he began to write it only at the end of 1865.
Meanwhile, there was an alarming atmosphere in Russia. Returning to his homeland at the beginning of the summer of 1862, Turgenev witnessed the onset of the reaction. The Government of Alexander II, concerned about the growth of revolutionary speeches, passed into an open offensive against the democratic and progressive forces of Russian society. Sunday schools were closed, a new university charter was introduced, which limited the admission to the higher educational institutions of poor students, for eight months the publication of the magazines "Contemporary" and "Russian Word" was suspended. Following this, the arrest of Chernyshevsky and other figures of the revolutionary-democratic movement followed.
All this gave birth to vigorous thoughts from Turgenev.
"My old literary heart fluttered," he wrote Annenkov from Spassky, - when I read about the termination of the "contemporary". I remembered its foundation, Belinsky and a lot ... "
Hard time experienced a writer. His worldview was complex and controversial. In letters, Turgenev sounds the mood of disappointment, the desire to breathe out of life, to get into themselves. "And my soul, I wrote to Turgenev at the beginning of 1865, one of his correspondents," in vain more stirring. My song Spep. Life quietly rolling calmly, so few regrets, anxiety, what you just think about one thing: Mother's mother, be like Tuesday, as the father himself, Tuesday was like Monday ... Where do we fight and break the trees! Fortunately, the feeling for beauty did not dry out; Fortunately, you can even rejoice at her, glance over the verse, over the melody ... "And a little later, the writer confessed:" I hung my feather on the carnation ... Russia became alien to me - and I don't know what to say about her. "
Writes in these years Turgenev little. Only two works came out from under his pen: the story of "Ghosts" and lyrical fragments "pretty". They sounded pessimistic thoughts about the helplessness of a person in front of the cruel laws of nature, about the impact on the human life of mysterious, not aware of the awareness, about the insignificance of public life both in the West and in Russia. All the achievements of civilization seem for Turgenev useless, and even art, although it is higher and undoubtedly the Roman law or the revolutionary principles of the Great French Revolution, but it is only "Tlen and Prah".
But Turgenev gradually overcomed spiritual despondency and apathy. He again had a desire to continue the artistic chronicle of the social development of Russia, and he returned to the plan of the novel "Smoke". The writer completed the work on him in January 1867, and in April, Roman Dreel was published in the Russian Bulletin magazine.
The novel "Smoke" is closely connected with the urgent questions of the Russian life of the flammore period. In it, the writer sharply adversely portrayed representatives of the reactional nobility that dreamed of the return of old serfdom and sought to convince the government to "grind back". In the face of General Ratmirov, masking his reactionary beliefs with fashionable liberal phrases, Prince U., who was "for himself during it ... An enormous state of selling Syvuhi, stuck in Duranta," the writer expressed his hatred for the conservative circles of Russian society, showed their self-aspirations, Moral beam and spiritual poverty.
No less sharply Turgenev condemned in his novel and Russian political emigration. Drawing the image of Gubareva and his environment, the writer first intended to satirically portray the revolutionary figures, which were abroad, show their cutoff from all Russian, the misunderstanding of what was happening in Russia. At the same time, Turgenev argued with Ogarev, with his teaching about the Russian Socialism. However, in the process of working on the novel, the writer changed the emphasis and the edge of criticism collapsed on pseudo-monitoringers, only in the period of public lifting of the revolution, and after the victory of the reaction of Hurried to declare their political trustiness. No wonder Gubarev, returning to Russia, becomes a successful landowner, and bindasas - an excise official and innocent regulars.
The views of Turgenev himself to a certain extent were reflected in the speeches of the Dwygin allocate, directed both against the views of the reactionary nobility and against the ridiculous judgments of the members of the Gubarevsky mug about the identity of Russia, etc. Potugin acts in the novel as a supporter of the Western European and cultural development path, who should follow Russia. He sees the salvation of Russia in the spread of enlightenment. These thoughts of Pwezhin sought to inspire Litvinov, whom Turgenev sought to portray as an honest worker, an educated landowner, aspiring to the gradual attachment of the Russian people to culture.
Returning to his homeland and remembering everything he saw abroad, Litvinov comes to sad thoughts that the people with whom he had to meet, they do not know the true needs, not the true needs of Russia, that all their ranting is nothing more than "smoke".
The positive program, nominated by Turgenev in the novel "Smoke", was set out to the writer unclear and vaguely. Therefore, the novel met the unanimous condemnation of both the best democratic and reaction criticism. "... everything scolds me," Turgenev wrote, "and the red, and white, and on top, and from the bottom - and from the side - especially on the side." Critically reacted to the novel of Goncharov, L. Tolstoy, Dostoevsky.
After reading the "smoke", Pisarev wrote Turgenev that his novel "decisively does not satisfy" that he seems to him "strange and sinister comment to" fathers and children. " "I want to ask you," critic exclaimed, "Ivan Sergeevich, where did you escape Bazarov?"
You look at the phenomena of Russian life with the eyes of Litvinova, "he continued." You summarize from his point of view. " You make it the center and hero of the novel, and then Litvinov is the same friend of Arkady Nikolayevich, whom Bazarov unsuccessfully asked not to speak beautifully.
To seemble and navigate, you become on this low and loose ant bump, while at your disposal is the real calanche, which you yourself discovered and described. What happened to this calander? Where did she go? .. Do you really
Do you think that the first and last bazaars really died in 1859 from a finger cut? "
Thus, Pisarev hinted Turgenev that in his novel, the advanced readers hoped to see the new and deeperly developed image of the Democratic Disposal, and met only with a type of moderately confused nobleman.
In June 1870, Herzen suddenly died. The death of an old friend shook Turgenev. "No matter whatever in our opinions - he wrote Annenkov with deep sorrow, - whatever the collision occurred between us, after all, the old comrade, the old friend disappeared: they are thinned, our ranks are rare ..." And shortly before that , In the fall of 1869, another long-time friend died - V. P. Botkin. All this brought the writer on sad thoughts about old age and the approaching death.
By the end of the 1860s, Turgenev gradually begins to overcome the moods of frustration and despondency.
After the novel "Smoke", he created several stories and stories, in which he turned to the memories of his childhood and adolescence ("Punin and Baburin", "Brigadier", "Steppe King LIR"), as well as to the reasons and images of the ages of the 1850s . So, the story "hanging water" in its content is very close to the "Asya" and "First Love" leads. In the form of the main character, the story of Sanina was reflected many features of "extra people". In addition, Turgenev wrote three new stories, which included in the "Hunter's Notes": "knocks", "End of Chertopkhanov" and "lively power".
At first glance, all these works were far from our time and did not affect important public issues. But, turning to the past, Turgenev seeks to understand deeper and reveal the essence of Russian national life, finding new, unusual characters in it. The writer begins to excite the heroic topic, the images of Protestants and devotees. Such, for example, referred to Kaburin ("Punin and Baburin"), Davyd's father who visited the link ("clock"). These images can be considered as an outline to the heroic characters derived by Turgenev in its latest novel "Novy".
The same sharp sense of modernity is permeated and "literary and everyday memories", where Turgenev warmly and penetrated on the leaders of the 1840s, and above all about Belinsky, whom the writer depicts an advanced thinker and a passionate fighter.
All these works were published in the journal "Journal of Europe", with the editor of which, M. M. Stasyu-Levich, Turgenev met in 1867. The writer has long been treated with its cooperation in the "Russian Herald", who was published under the editorship of the reactionary M. N. Katkova, and with joy accepted the offer of Stasyu-Levich to be printed in his magazine.
From now on, everything that Turgenev wrote, appeared only in the "messenger of Europe".

SEVENTIES. "Novy"
The end of the 60s and the beginning of the 70s of the last century were marked by important events of public and political life in Western Europe and in Russia: the Franco-Prussian War, who ended with the crushing defeat of France, the Paris Commune of 1871, which launched the movement of revolutionary populists in Russia. Turgenev carefully followed all these events. An particularly carefully listened to the writer to the news that came from Russia. He watched with excitement for the activities of a new generation of advanced youth, inspired by the ideas of revolutionary population, and began "walking in the people." At this time, Turgenev met many Russian revolutionaries. He got close to one of the theorists of the revolutionary nationality P. L. Lavrov.
After reading the program of the magazine "Forward!", Who was preparing to publish laurels, Turgenev wrote to him that "with all the main provisions" he agrees and ready to send 500 francs annually "until your enterprise continues to which I wish you all success." Sincerely loved Turgenev a wonderful Russian revolutionary, friend K. Marx and F. Engels, German Lopatina. The writer called him "uncomplyful young men" and "bright head". In turn, Lopatin highly appreciated Turgenev and his work. "What is the insightful mind! - He spoke with admiration about Ivan Sergeyevich. - What is a comprehensive extensive education! As he knew the literature not one of her, but also other peoples. "
Treating with great sympathy to the activities of Russian revolutionaries, Turgenev nevertheless gave preference to "Pupilovans", people leading everyday work in the people, enlightening and forming it. He wrote about this one of his correspondent in September 1874: "The times changed; Now bazaarovs are not needed. For the upcoming social activity, neither special talents, nor even a special mind - nothing large, outstanding, too individual; need hard work, patience; You need to be able to sacrifice without any brilliance and cod - you need to be able to compete and not bend shallow and even low-lying work ... What could be, for example, lowland - teach a guy of a diploma, help him, to start hospitals, etc. ... feeling Debt, a glorious sense of patriotism in the true sense of the word, - that's all you need ... We come into the era of only useful people ... And it will be the best people. "
An attempt to create an image of this kind of figure of Turgenev and undertaken in his novel "Nov'" (1877). It was the main task. But first of all, the writer wanted to draw a wide picture of the Russian reality of the end of the 1860s and early 1870s, to show the alignment of class forces in the political struggle of that time.
With hatred and sarcasm, he draws Turgenev representatives of the ruling class - Ko-Lomiytsev's cosmopolitan reaction meter and liberal official Siphagin.
Completely differently depicted in the novel revolutionary youth, striving to awaken the people, raise him to fight against their oppressors. The task of Turgenev saw in reproduce the extremely objective picture of the activities of the Nikov revolutionaries, reveal their high motives and selfless devotion to their work. That's what, in this regard, wrote Turgenev M. M. Stasyulevich: "The younger generation was untilch the Hur is represented in our literature either as a rack of rogues and fraudsters - which, firstly, unfairly, - and secondly, it could only insult readers -Yu-neck as a slander and a lie, or this generation, as far as possible, is erected to ideal, which is again unfair - and beyond that harmful. I decided to choose the middle way - to get closer to the truth; Take young people most of the good and honest - and show that, despite their honesty, the most of their business is so false and intensely that it can not not lead them to full fiasco. "
That such as Turgenev depicted in the novel "Novy" revolutionary youth - Nezhdanov, Mashurina, Ma Kelova, Ostrumov and others. All of them are united by selfless readiness to sacrifice life in the name of the people. But their tragedy, on the thought of the writer, was that they did not know the peasant life. Faced with the distrust of the peasants, with their indifference to the promotion of socialist ideas, they fell in spirit. This is particularly brightly shown by Turgenev in the image of Nenozhan, who, making sure the futility of his efforts, disappointed in the case, who served, committed suicide.
A special place in the novel occupies the image of Marianna. Unlike Nezenov, who doubted the correctness and vitality of the revolutionary case and suffering from the consciousness of his helplessness, Marianna is a whole, strong and fearless person. She craves a revolutionary feat and firmly follows the chosen path, although the ultimate goal of this path is unclear. In Marianne, Turgenev saw the "actual presence of power, and talent, and mind."
In the novel "Novy", Turgenev fairly criticized the weakness and limitations of the people's movement with his idealization of Patriarch-Al and Community, misunderstanding of the populists of complex processes that took place in the tremendous village. The writer managed to show the illusiveness of the hopes of populists on the fact that the peasants will go behind them. In his opinion, the revolutionary youth, sincerely desirable to be a useful people, went through the wrong path. Russia needs not a revolution, considered Turgenev, and enlightenment.
As an epigraph to the novel, the writer set the words: "It is not superficially moving, but deeply picking a plow". "Plow in my epigrafe," Turgenev explained, does not mean the revolution - and the enlightenment. "
Therefore, a positive hero in the novel withdrawn a moderate populist, "Poshodnovets" Solomin, who, helping revolutionary, nevertheless relies on the peaceful work among the people in order to enlighten and education. Only on this path, according to his conviction, the people can gain freedom. Unlike revolutionary propagandists, Solomin knows the needs of the people, can speak with him. And ordinary people believe him and deeply respect. The mouth of one of the heroes of Roman Turgenev directly indicated that the future belongs to solomin: "These are not heroes ... these are strong, gray, monochrome, folk people. Now only such and necessary! "
At the same time, Turgenev, the work Paul depicted in the novel should become the future hero of Russian literature. "Perhaps he wrote immediately after completing the work on the" New "," I would have to sharply identify the figure of Paul ... the future of the people's revolutionary: but it is too large, - it will become with time ... the central figure of the new novel . So far, I barely signified his contours. "
Roman "Novy" caused many of the most dispensable responses and judgments. Particularly rented reaction criticism. But the advanced circles of the Russian society, although with many reservations, met Roman sympathetically. P. L. Lavrov, for example, wrote that Turgenev truthfully depicted the greatness of the feat of the Russian revolutionaries and showed what beautiful people they were.
In early June 1877, Turgenev visited the dying Nekrasov.
Learning about the arrival of Turgenev to St. Petersburg, the poet requested to convey to him that he always loved him and would like to meet
with him. The meeting took place, and old friends stretched to each other hands. Having learned about the death of the poet, Turgenev with mental pain wrote Annenkov: "Yes, Nekrasov died ... and with him a large part of our past and our youth died."

LAST YEARS.
"Poems in prose."
Disease and death
Almost every year in the spring or summer, Turgenev came to Russia. Each arrival has become a whole event. Writer everywhere was a welcome guest. He was invited to speak at all kinds of literary and charitable evenings, on friendly meetings. The apartment where Turgenev stopped, turned into a place of pilgrimage. A huge number of visitors have come to him who have eased to see the Great Writer, consult with him. Especially hotly welcomed the writer youth, considered him by his teacher and like-minded people.
Starting from the 60s, the name of Turgenev becomes widely known in the West. Turgenev supported close friendly relations with many Western European writers. He was well acquainted with P. Merim, J. Sand, G. Flaubert, E. Zola, A. Dode, Gi de Maupassant, knew many of the English and German cultural figures. They all considered Turgenev an outstanding artist-realistic and not only highly appreciated his works, but also studied from him. Turning to Turgenev, J. Sand said: "Teacher! - We all have to go through your school! "
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 the translations of Russian authors, in every way promoted the edition of his compatriots in different countries of Western Europe, introduced the Western European public with works of Russian composers and artists. Turgenev did not speak about this side: "I consider the great happiness of my life that I have somewhat brought my fatherland to the perception of the European public."
In the last years of life, Turgenev was written several small prosaic works: the story of the song of triumphant love, "Clara Milich," "passages from memories - their own and others and" poems in prose ".
The "poem in prose" is rightly considered the final chord of the writer's literary activity. Almost all the themes and the motives of his creativity were reflected in them, as if re-infected with Turgenev on the slope of the years. He himself considered the "poem in prose" only with sketches of his future works.
Turgenev called its lyrical miniatures "SELENIA" ("senual"), but the editor of the "Bulletin of Europe" Stasyu-Levich replaced him with another remaining forever, "poem in prose." In letters, Turgenev sometimes called them "zigzags", thereby emphasizing the contrast of themes and motives, images and intonation, the unusual of the genre. The writer feared that the "time river in his current" "will take these gentle leaves." But the "poem in prose" met the most warm welcome and were forever entered the golden fund of our literature. No wonder "cloth from the sun, rainbow and diamonds, female tears and nobility of male thought" called them P. V. Annenkov, expressing the overall opinion of the reading public.
"Poems in Prose" is an amazing alloy of poetry and prose into some unity, allowing you to accommodate the "whole world" in grain of small reflections, called the author "the last sighs ... old man." But "sighs" these reported to this day the inexhaustibility of the vital energy of the writer.
In the "poems in prose", all the difficulties and contradictions of the writer's worldview were reflected. By content, style, the tone, many poems are like a branch of large works of the writer. Some go to the "hunter", "Masha", "two rich"), others - to love stories ("Rosa"), the third - to the novels ("Village", for example, reminds the passage from the "noble nest ", And the" threshold "," black-workers and the Belarus "are associated with the novel" Novy ").
In some poems ("insect", "old woman", "sleep") sounds of sadness and sadness, which are the echoes of the thoughts of the "ghosts" and "pretty". These are the motives of the futility of existence, meaninglessness of hopes for personal happiness, waiting and premonition of the unexpected death - personal and universal.
But with no less power acts in the "poems in prose" and another circle of motives and sentiment: love, defeating the fear of death ("Sparrow"); Beauty and power of art ("stand!"); the moral beauty of a folk nature and feelings ("two rich"); The moral greatness of the feat ("Threshold", "Memory of Yu. P. Vrevskaya"); Motive of struggle and courage ("We still wake!"); The life-giving feeling of the Motherland ("Village").
"Poems in prose" is a reflection of the quest, pondering, contradictions of recent years, heavy experiences, personal unpleasution of Turgenev. This is the most intimate confession of the artist, the result of all his life.
Images of many poems have prototypes, and the events are based on the facts of the personal life of the writer. Thus, the last meeting of Turgenev with Nekrasov served as the basis of the "last date", and in the "threshold" presented, according to researchers, the story of the faith of Zasulich or Sophia Perovsky.
A peculiar solemn hymn was sounded by the hot faith of Turgenev in the future of the Russian people in the poem "Russian language".
In June 1880, a solemn discovery of the monument A. S. Pushkin, who became a significant event in Russian public and literary life took place in Moscow. One of the organizers and participants of Pushkin celebrations was Turgenev. At the public meeting of the Society of Russian Literature Society, the writer delivered a speech glorifying the Russian people, and expressed deep conviction in his great future. At the end of the triumphs of Turgenev and Dostoevsky, who also made a speech, were crowned with laurel wreaths.
The last time Turgenev visited his homeland in May 1881. He repeatedly expressed his "determination to return to Russia and settle there." However, this dream was not realized. In early 1882, Turgenev got sick seriously, and there could no longer be speech. But all his thoughts were at home, in Russia. He thought about her, chained to bed with severe ailment, about her future, about the glory of Russian literature. The last letter written by his own dying writer in July 1883 was drawn to L. N. Tolstoy, which at this time
He moved away from literary activities: "Cute and dear Lion Nikolaevich! .. I am writing ... To express my last and sincere request. My friend, go back to literary activities! .. My friend, the great writer of the Russian earth, will make my request! "

Turgenev died on September 3, 1883 in France. Shortly before the death, he expressed the wish to be buried in St. Petersburg, on the Volga cemetery, next to Belinsky.
The last will of the writer was performed.
The death of Turgenev was perceived as "Mount General, National". Thousands of people gathered the Great Writer in the last path. A lot of deputies with wreath arrived. Fearing political demonstrations, the government gave an order to "not allow speeches", except in advance declared. There were more than a hundred agents of "observational security" in the procession, in the cemetery - another hundred and thirty. Just in case, throughout the path of the mourning procession, troops were placed. It was forbidden to post mourning flags. Only persons who had special tickets were allowed at the cemetery. As one of the participants of the funeral wrote, "everywhere, throughout the space we have passed, the crowd felt the streets with solid trellis. Roofs, fences, trees, balconies, entrances, lamppost pillars, slingshots that were fenced by side streets - all this was unishable by the people. "
Among the participants in the mourning procession there were quite a few revolutionaries. In connection with the death of the Writer, the Folk Volya party released a proclamation, which said that Turgenev, may be unconsciously for himself with his sensitive and loving heart sympathized and even served the Russian revolution.
All Russian progressive and foreign seal responded to the death of Turgenev. In a necrologist published in the journal "Domestic Notes", Saltykov-Shchedrin wrote that "Turgenev's literary activities had a leading importance for our society, along with the activities of Nekrasov, Belinsky and Dobrolyubov." And the revolutionary newspaper "The Bulletin of People's Will" said: "Russia lost in it one of the greatest artists of the Words and Honest d) of Audine ... Never he was neither a socialist, nor even a revolutionary, but Russian Socialists revolutionaries could not forget that Hot love for freedom, hatred for the arbitrariness of the autocracy and a dead element of official Orthodoxy, humanity and a deep understanding of the beauty of the human person constantly waved this great talent and even more strengthened his social importance. Thanks to these sides of his talent, Ivan Sergeyevich knew how to work on the restoration of the moral right of the fastener people, managed to grab the type of protester of the Russian difference, developed and developed a Russian personality and created himself an honorable place among the spiritual fathers of the liberation movement. "
It was a voice of a young revolutionary Russia, who paid a tribute to the Great Citizen writer, a fighter artist, whose creativity became pride and the glory of our Motherland.

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