Ivan Sergeevich Turgenev - biography, information, personal life. The creative and life path of Ivan Sergeevich Turgenev Who is Turgenev in his works

Ivan Sergeevich Turgenev made an invaluable contribution to the development of Russian and world literature. His works excited society, raised new topics, presented new heroes of the time. Turgenev became the ideal for a whole generation of novice writers of the 60s of the 19th century. In his works, the Russian language sounded with renewed vigor, he continued the traditions of Pushkin and Gogol, raising Russian prose to an unprecedented height.

Ivan Sergeevich Turgenev is honored in Russia, a museum dedicated to the life of the writer has been created in his hometown of Orel, and the Spasskoe-Lutovinovo estate has become a famous place of pilgrimage for connoisseurs of Russian literature and culture.

Ivan Sergeevich Turgenev was born in Orel in 1818. The Turgenev family was well off and well-born, but little Nikolai did not see real happiness. His parent, the owner of a large fortune and vast lands in the Oryol province, was wayward, cruel towards the serfs. The pictures taken away by Turgenev in childhood left a mark on the writer's soul, made him an ardent fighter against Russian slavery. The mother became the prototype of the image of the elderly lady in the famous story "Mumu".

My father was in military service, had a good upbringing, refined manners. He was well-born, but rather poor. Perhaps this fact made him connect his life with Turgenev's mother. Soon the parents separated.

The family had two children, boys. The brothers received a good education. Life in Spassky-Lutovinovo, the estate of his mother, had a great influence on Ivan Turgenev. Here he got acquainted with folk culture, communicated with serfs.

Education

Moscow University - the young man Turgenev entered here in 1934. But after the first year, the future writer became disillusioned with the learning process and teachers. He transferred to St. Petersburg University, but even there he did not find a sufficiently high level of teaching. So he went abroad to Germany. A German university attracted him with a philosophy program that included Hegel's theories.

Turgenev became one of the most educated people of his time. The first attempts at writing belong to this period. He acted as a poet. But the first poems were imitative, did not attract the attention of society.

After graduating from university, Turgenev came to Russia. He entered the Department of the Interior in 1843, hoping that he could contribute to the speedy abolition of serfdom. But he was soon disappointed - the civil service did not welcome the initiative, and the blind execution of orders did not attract him ..

Turgenev's social circle abroad included the founder of the national revolutionary idea, M.A. Bakunin, and representatives of progressive Russian thought N.V. Stankevich and T.N. Granovsky.

Creation

The forties of the nineteenth century forced others to pay attention to Turgenev. The main direction at this stage: naturalism, the author carefully, with maximum accuracy, describes the character through the details, way of life, life. He believed that social position was brought up

The most important works of this period:

1. "Parash".
2. "Andrey and the landowner".
3. "Three portraits".
4. "Recklessness".

Turgenev became close to the Sovremennik magazine. His first prose experiments were positively evaluated by Belinsky, the main literary critic of the 19th century. It became a ticket to the world of literature.

Since 1847, Turgenev began to create one of the most striking works of literature - "Notes of a Hunter". The first story in this cycle was "Khor and Kalinich". Turgenev became the first writer to change his attitude towards the enslaved peasant. Talent, individuality, spiritual height - these qualities made the Russian people beautiful in the eyes of the author. At the same time, the heavy burden of slavery destroys the best forces. The book "Notes of a Hunter" received a negative assessment from the government. Since then, the attitude of the authorities towards Turgenev was wary.

Eternal love

The main story of Turgenev's life is his love for Pauline Viardot. The French opera singer won his heart. But being married, she could make him happy. Turgenev followed her family, lived nearby. He spent most of his life abroad. Homesickness accompanied him until his last days, clearly expressed in the cycle of "Poems in Prose".

civil position

Turgenev was one of the first to raise the problems of modernity in his work. He analyzed the image of the advanced man of his time, covered the most important issues that excited society. Each of his novels became an event and the subject of furious discussion:

1. "Fathers and Sons".
2. "New".
3. "Fog".
4. "The day before".
5. "Rudin".

Turgenev did not become an adherent of revolutionary ideology, he was critical of new trends in society. He considered it a mistake to want to break everything old in order to build a new world. Eternal ideals were dear to him. As a result, there was a break in his relationship with Sovremennik.

One of the important facets of the writer's talent is lyricism. His works are characterized by a detailed depiction of feelings, the psychology of the characters. Descriptions of nature are filled with love and understanding of the dim beauty of Russia in the middle zone.

Every year Turgenev came to Russia, his main route was St. Petersburg - Moscow - Spasskoe. The last year of life became painful for Turgenev. A serious illness, a sarcoma of the spine, for a long time brought him terrible torment and became an obstacle to visiting his homeland. The writer died in 1883.

Already during his lifetime, he was recognized as the best writer in Russia, his works were reprinted in different countries. In 2018, the country will celebrate the 200th anniversary of the birth of the remarkable Russian writer.

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

He spent his childhood years on his mother's estate, the village of Spasskoe-Lutovinovo, Oryol province, where the culture of the "noble nest" contrasted strikingly with feudal arbitrariness. In 1833 he entered Moscow University, a year later he moved to St. Petersburg University to the verbal department of the Faculty of Philosophy (he graduated as a candidate in 1837). T.'s first work that has come down to us is the dramatic poem Steno (written in 1834, published in 1913), dedicated to the hero of a demonic warehouse. By the mid 30s. early poetic experiments of T. The first work that saw the light of day is a review of the book by A. N. Muravyov "Journey to Russian Holy Places" (1836), in 1838 the first poems of T. "Evening" and "K Venus Medicea."

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

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

In dramatic works - the genre scenes Lack of Money (1846), Breakfast at the Leader's (1849, published 1856), The Bachelor (1849) and the social drama The Freeloader (1848, staged 1849, published 1857) - in The depiction of the "little man" was influenced by the traditions of N. V. Gogol and the connection with the psychological manner of F. M. Dostoevsky (the image of Kuzovkin). In the plays "Where it's thin, it breaks there" (1848), "Provincial Girl" (1851), "A Month in the Country" (1850, published in 1855), Ivan Sergeevich's characteristic dissatisfaction with the inaction of the reflective noble intelligentsia is expressed, a premonition of a new hero - a commoner. From the drama of a man humiliated by serfdom, Turgenev comes to a deep psychological development of clashes between different social groups, different views (for example, the nobility and raznochintsy). The dramaturgy of T. prepared the social plays of A. N. Ostrovsky and anticipated the psychological drama of A. P. Chekhov, with its hidden lyricism and a keen sense of the fragmentation of the world and human consciousness.

The cycle of essays "Notes of a Hunter" (1847--52) is the most significant work of the young T. It had a great influence on the development of Russian literature and brought world fame to the author. The book was translated into many European languages ​​and already in the 50s, being actually banned in Russia, it went through many editions in Germany, France, England, and Denmark. According to M.E. Saltykov-Shchedrin, "Notes of a Hunter" "... laid the foundation for a whole literature that has as its object the people and their needs" (Sobr. soch., vol. 9, 1970, p. 459). In the center of the essays is a serf, smart, talented, but powerless. T. discovered a sharp contrast between the "dead souls" of the landowners and the high spiritual qualities of the peasants, which arose in communion with the majestic, mysterious, and beautiful nature. In accordance with the general idea of ​​the Hunter's Notes about the depth and significance of the people's consciousness, T. in the most artistic manner of depicting peasants takes a step forward in comparison with previous and modern literature. Vivid individualization of peasant types, the image of the psychological life of the people in the change of mental movements, the discovery in the peasant of a personality subtle, complex, deep, like nature - T.'s discoveries made in the "Notes of a Hunter".

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

In February 1852, T. wrote an obituary note on the death of Gogol, calling him a great writer who "... marked an era in the history of our literature" (Poln. sobr. soch., vol. 14, 1967, p. 72), which served a pretext for the arrest and exile of T. under police supervision in the village of Spasskoe for a year and a half. The true reason for this action is the criticism of serfdom in the "Notes of a Hunter". During this period T. wrote the novels Mumu (published 1854) and The Inn (published 1855), which, in their anti-serfdom content, are close to Notes of a Hunter.

In 1856, the novel Rudin appeared in Sovremennik, a peculiar result of T.'s thoughts about the leading hero of our time. The novel was preceded by novels and short stories in which the writer assessed the type of idealist of the 1940s from different angles. If in the stories "Two Friends" (1854) and "Calm" (1854) a portrait of an unstable, reflective person was given with disapproval, then in the stories "Hamlet of the Shchigrovsky District" (1849), "The Diary of a Superfluous Man" (1850), "Yakov Pasynkov" (1855), "Correspondence" (1856) revealed the tragedy of the "superfluous person", his painful discord with the world and people. T.'s point of view on the "superfluous person" in "Rudin" is ambiguous: while recognizing the importance of Rudin's "word" in awakening the consciousness of people in the 40s, he notes the insufficiency of propaganda of lofty ideas in the conditions of Russian life in the 50s. As always, T. "checked" his hero with the sensitively grasped requirements of the present, which was awaiting an advanced public figure. Rudin belonged to the generation that prepared the ground for him. N. G. Chernyshevsky and N. A. Dobrolyubov (in those years) were ready to support the protest against feudal reality, which consisted in many psychological features of the “superfluous person”.

In the novel "The Nest of Nobles" (1859), the question of the historical fate of Russia is sharply raised. The hero of the novel, Lavretsky, is "more ordinary" than Rudin, but he is closer to people's life, better understands the needs of the people. He considers it his duty to alleviate the fate of the peasants. However, for the sake of personal happiness, he forgets about duty, although happiness turns out to be impossible. The heroine of the novel Liza, ready for a great service or feat, does not find high meaning in a world where her moral sense is constantly offended. Lisa's departure to the monastery is a kind of protest and, albeit passive, but still a rejection of life. The image of Lisa is surrounded by "bright poetry", which Saltykov-Shchedrin noted in "every sound of this novel." If "Rudin" is a test of the idealist of the 1940s, then "The Nest of Nobles" is an awareness of his departure from the historical stage.

In connection with "The Nest of Nobles" and the stories "Faust" (1856) and "Asya" (1858) that preceded it, a controversy arose in the press about duty, self-denial, selfishness. In solving these problems, there was a discrepancy between T. and the revolutionary democrats, who focused their attention on the weakness, indecisiveness of the “superfluous person”, the lack of civic feeling in him (which Chernyshevsky wrote in the article “Russian Man on Rendezvous” in connection with the story of T. "Asya"); they proceeded from the idea of ​​a morally whole person, who does not have a contradiction between internal needs and social duty. The dispute about the new hero touched upon the most essential questions of Russian life on the eve of the reform, in the conditions of a brewing revolutionary situation. Sensitive to the demands of the time, T. in the novel "On the Eve" (1860) expressed the idea of ​​the need for consciously heroic natures. In the image of the commoner Bulgarian Insarov, the writer brought out a person with an integral character, all the moral forces of which are focused on the desire to liberate his homeland. T. paid tribute to the people of a heroic warehouse, although they seemed to him somewhat limited, one-line. Dobrolyubov, who devoted the article "On the Eve" to "When will the real day come?" (1860), noted that Insarov is incompletely described in the novel, not close to the reader, not open to him. And therefore, according to the critic, the main face of the novel is Elena Stakhova; it embodies "the social need of a cause, a living cause, the beginning of contempt for dead principles and passive virtues..." (Sobr. soch., vol. 3, 1952, p. 36). Russia for T. - on the eve of the emergence of consciously heroic natures (for Dobrolyubov - revolutionary). T. could not accept the sharply journalistic interpretation of the novel proposed by Dobrolyubov, could not agree with the revolutionary position of the critic, expressed on the material and with the help of his novel. Therefore, the writer objected to the publication of the article. When, thanks to Nekrasov's persistence, she nevertheless appeared, he left Sovremennik. The main reason for the gap was rooted in the fact that T., who stood on liberal positions, did not believe in the need for a revolution; according to Lenin's definition, he was "... disgusted by the muzhik democratism of Dobrolyubov and Chernyshevsky" (Poln. sobr. soch., 5th ed., vol. 36, p. 206). At the same time, T. paid tribute to the high spiritual qualities of the revolutionary democrats and associated with them the future of Russia.

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

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

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

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

In the 1970s, while living in Paris, T. became close to the figures of the populist movement, G. A. Lopatin, P. L. Lavrov, and S. M. Stepnyak-Kravchinsky; financially helps the populist magazine Vperyod. He follows the development of Russian and French art; enters the circle of the largest French writers - G. Flaubert, E. Zola, A. Daudet, the Goncourt brothers, where he enjoys the reputation of one of the largest realist writers. During these years and later, T., with his mature skill, the refined art of psychological analysis, undoubtedly influenced Western European writers. P. Merime considered him one of the leaders of the realistic school. J. Sand, G. Maupassant recognized themselves as students of T. In the Scandinavian countries, T.'s novels, in particular Rudin, were especially popular and attracted the attention of prominent playwrights and prose writers. Swedish criticism noted the "Turgenev element" in A. Strindberg's plays. Very great was the role of T. and as a propagandist of Russian literature abroad.

T. activity in the field of literature, science and art was highly appreciated in France and England. In 1878 he was elected vice-president of the International Literary Congress in Paris. In 1879, Oxford University awarded T. a doctorate in customary law. Arriving in Russia (1879, 1880), T. participated in readings in favor of the society of lovers of Russian literature. In 1880 he gave a speech on Pushkin. Progressive Russia greeted him with applause.

Creativity T. marked a new stage in the development of Russian realism. Sensitivity to topical issues of Russian life, philosophical understanding of events and characters, the truthfulness of the image made T.'s books a kind of chronicle of Russian reality in the 40-70s. 19th century Especially great are his merits in the development of the Russian novel. Continuing the traditions of Pushkin, Gogol, M. Yu. Lermontov, he created a special form of "biographical" or "personal" novel, the hero's novel. The author focuses on the fate of one person, characteristic of his time. T. belongs to a deep and objective study of the type of "superfluous person", which was further developed in the works of I. A. Goncharov, L. Tolstoy, Dostoevsky, Chekhov. An analysis of the hero's character, an assessment of him from a socio-historical point of view, determine the composition of T.'s novel. The location of the characters is also determined by the same principle. The protagonist of the novel defends a certain position in life. How successfully he defends it depends on his fate. Other faces of the novel, expressing their views in disputes-fights, correlate with the main character, emphasizing the strengths and weaknesses of his convictions and character.

A special place in T.'s prose is occupied by female images. In the female nature, according to the author, whole, uncompromising, sensitive, dreamy and passionate, the expectation of a new, heroic, characteristic of a certain time, is embodied. Therefore, T. gives the right to judge the hero to his beloved heroines. Love stories occupy a central place in the composition of T.'s novel. Understanding love not only as the greatest happiness, but also as a tragedy of human life, analysis of the "tragic meaning of love" have T. conceptual significance. In the incompatibility of public duty and happiness, which reveals contradictions between the nature and beliefs of the hero, T.'s idea is revealed about the insolubility of the conflict between an advanced figure and society in serf-owning Russia, the impossibility of free manifestation of the human personality. Deep coverage of the main life conflict and characters, the approval of progressive social trends, faith in the social ideal are combined in T. with the consciousness of the impracticability of the ideal in that historical period. Hence the duality in the author's attitude towards the main character: respect for his high moral qualities and doubt about the correctness of his chosen life position. This also explains the sad, lyrical atmosphere that arises around the hero, who fails to realize his convictions, and the heroine, striving for active goodness.

Landscape in T.'s works is not only a background for the development of action, but one of the main means of characterizing characters. The philosophy of nature most fully reveals the features of the worldview and artistic system of the author. T. perceives nature as "indifferent", "imperious", "self-loving", "suppressing" (see Poln. sobr. soch. i pism. Pisma, vol. 1, 1961, p. 481). T.'s nature is simple, open in its reality and naturalness, and infinitely complex in the manifestation of mysterious, spontaneous, often hostile forces. However, in happy moments it is for a person a source of joy, vivacity, heights of spirit and consciousness.

Turgenev is a master of halftones, a dynamic, penetrating lyrical landscape. The main tone of the Turgenev landscape, as in the works of painting, is usually created by lighting. T. captures the life of nature in the alternation of light and shadow, and in this movement notes the similarity with the changeable mood of the characters. The function of the landscape in T.'s novels is ambiguous, it often acquires a generalized, symbolic sound and characterizes not only the hero's transition from one state of mind to another, but also turning points in the development of the action (for example, the scene at Avdyukhin's pond in "Rudin", a thunderstorm in " the day before", etc.). This tradition was continued by L. Tolstoy, Korolenko, Chekhov.

In creating a psychological and satirical portrait of T. - a follower of Pushkin and Gogol. Portrait characteristics are made by T. in an objective manner (T. himself spoke of the need "... to be a psychologist, but secret" - ibid., vol. 4, 1962, p. 135). The tension of spiritual life with a finely defined change of various states is conveyed in its external manifestations - in facial expressions, gestures, movement of the character, behind which, as it were, the missing links of a single psychological chain are guessed. T. continued the work of his great predecessors as an unsurpassed stylist, as a master of the language, who in his prose merged the bookish culture of the Russian word with the riches of living folk speech.

The artistic system created by Turgenev had a noticeable influence on the poetics of not only the Russian, but also the Western European novel of the second half of the 19th century. It largely served as the basis for the "intellectual" novel by L. Tolstoy and Dostoevsky, in which the fate of the central characters depends on their solution of an important philosophical issue of universal human significance. Tajik traditions are also developing in the work of many Soviet writers (A. N. Tolstoy, K. G. Paustovsky, and others). His plays are an integral part of the repertoire of Soviet theaters. Many of Turgenev's works have been filmed.

From the first years of the revolution, Soviet literary criticism was engaged in a close study of T.'s legacy. A scientific study of the texts was carried out, widely commented collections of essays were published. Museums of T. were created in the city of Orel and the former estate of his mother, Spassky-Lutovinovo

• - Every love, happy, as well as unhappy, is a real disaster when you give yourself all to it.
• - Do you still not know if you have a talent? Give it time to ripen; and even if it does not turn out to be, does a person really need a poetic talent in order to live and act?
• - there are three categories of egoists: egoists who themselves live and let others live; egoists who themselves live and do not let others live; finally, egoists who do not live themselves and do not give to others ...
• life is nothing but a contradiction constantly conquered
• “Nature... awakens in us the need for love...
• - Take care of our language, our beautiful Russian language - this is a treasure, this is a property handed down to us by our predecessors! Treat this mighty weapon with respect
• - Marriage based on mutual inclination and on reason is one of the greatest blessings of human life.
• “Outside of nationality, there is no art, no truth, no life, nothing.
• - In days of doubt, in days of painful reflections about the fate of my homeland - you are my only support and support, oh great, powerful, truthful and free Russian language! .. you can’t believe that such a language was not given to a great people!
• - Time flies sometimes like a bird, sometimes crawls like a worm; but it happens especially well for a person when he does not even notice - how soon, how quietly it passes.
• - Every Prayer boils down to the following: "Great God, make sure that twice two is not four."
• - If there is a chance to do something - fine, but if it doesn’t - at least you will be satisfied that you didn’t talk in vain beforehand.
• - Good by decree is not good.
• - If striving comes from a pure source, it can still bring great benefits, even if it does not succeed completely, if it does not reach the goal.
• - There are three categories of egoists: egoists who themselves live and let others live; egoists who themselves live and do not let others live; finally, egoists who do not live themselves and do not give to others.
• "Pitiful is he who lives without an ideal!"
• - Cosmopolitan - zero, worse than zero.
• Whoever strives for a lofty goal should no longer think about himself.
• Love is stronger than death and fear of death. Only her, only love holds and moves life.
• “Love… is stronger than death and the fear of death.
• - A man can say that two and two is not four, but five or three and a half, and a woman will say that two and two is a stearin candle.
• “Music is intelligence embodied in beautiful sounds.
• “The one who does not have at least a drop of hope is not jealous.
• - It is impossible to believe that such a language was not given to a great people.
• “There is nothing more painful than the consciousness of a stupidity just done.
• - The unfading laurel, with which a great man is crowned, also rests on the forehead of his people.
• - Nowhere does time run so fast as in Russia; in prison, they say, it runs even faster.
• “There is nothing more tiring than a gloomy mind.
• - Oh, youth! Youth! Maybe the whole secret of your charm is not in the ability to do everything, but in the ability to think that you will do everything.
• “You can talk about everything in the world with passion... but you only talk about yourself with appetite.”
• - Before eternity, they say, all trifles - yes; but in that case, eternity itself is a trifle.
• - Nature is not a temple, but a workshop, and man is a worker in it.
• - Russia can do without each of us, but none of us can do without it. Woe to the one who thinks this, doubly woe to the one who really does without it.
• “Self-love is suicide. ... but self-love, as an active striving for perfection, is the source of everything great...
• The strong don't need happiness.
• “Laughter for no reason is the best laugh in the world.
• - It's ridiculous to be afraid - not to love the truth.
• “The old thing is death, but a new one for everyone.
• - Happiness is like health: when you do not notice it, it means that it is there.
• - Only her, only love holds and moves life.
• “We all have one anchor from which, if you don’t want to, you will never break: a sense of duty.
• “A man without self-love is worthless. Self-love is an Archimedes lever that can move the earth from its place.
• - A man is weak, a woman is strong, chance is omnipotent, it is difficult to reconcile with a colorless life, it is impossible to completely forget oneself ... but here is beauty and participation, here is warmth and light - where is there to resist? And you will run like a child to a nanny.
• - A person needs to break down the stubborn egoism of his personality in order to give it the right to express itself.
• “Honesty was his capital, and he took usurious interest from it.
• “Excessive pride is the sign of an insignificant soul.
• - This woman, when she comes to you, is as if she is bringing you all the happiness of your life ...
• - Every thought is like dough, if you knead it well - you will make everything out of it.
• - Only those people remain incomprehensible who either do not yet know what they want, or are not worthy of being understood.

Russian writer, corresponding member of the Puturburg Academy of Sciences (1880). In the cycle of stories "Notes of a Hunter" (1847 - 52) he showed the high spiritual qualities and talent of the Russian peasant, the poetry of nature. In the socio-psychological novels Rudin (1856), The Noble Nest (1859), On the Eve (1860), Fathers and Sons (1862), the stories Asya (1858), Spring Waters (1872) ) created images of the outgoing noble culture and new heroes of the era - commoners and democrats, images of selfless Russian women. In the novel "Smoke" (1867) and "Nov" (1877) he depicted the life of Russian peasants abroad, the populist movement in Russia. On the slope of his life he created the lyric-philosophical Poems in Prose (1882). Master of Language and Psychological Analysis. Turgenev had a significant impact on the development of Russian and world literature.

Biography

Born October 28 (November 9 n.s.) in Orel in a noble family. Father, Sergei Nikolaevich, a retired hussar officer, came from an old noble family; mother, Varvara Petrovna, is from a wealthy landowning family, the Lutovinovs. Turgenev's childhood passed in the family estate of Spasskoe-Lutovinovo. He grew up in the care of "tutors and teachers, Swiss and Germans, homegrown uncles and serf nannies."

With the family moving to Moscow in 1827, the future writer was sent to a boarding school and spent about two and a half years there. Further education continued under the guidance of private teachers. Since childhood, he knew French, German, English.

In the autumn of 1833, before reaching the age of fifteen, he entered Moscow University, and the following year he transferred to St. Petersburg University, from which he graduated in 1936 in the verbal department of the philosophical faculty.

In May 1838 he went to Berlin to listen to lectures on classical philology and philosophy. He met and became friends with N. Stankevich and M. Bakunin, meetings with whom were of much greater importance than the lectures of Berlin professors. He spent more than two academic years abroad, combining studies with long trips: he traveled around Germany, visited Holland and France, lived in Italy for several months.

Returning to his homeland in 1841, he settled in Moscow, where he prepared for the master's exams and attended literary circles and salons: he met Gogol, Aksakov, Khomyakov. On one of his trips to St. Petersburg - with Herzen.

In 1842, he successfully passed the master's exams, hoping to get a professorship at Moscow University, but since philosophy was taken under suspicion by the Nikolaev government, the departments of philosophy were abolished at Russian universities, and it was not possible to become a professor.

In 1843, Turgenev entered the service of an official in the "special office" of the Minister of the Interior, where he served for two years. In the same year, an acquaintance with Belinsky and his entourage took place. Turgenev's social and literary views during this period were determined mainly by the influence of Belinsky. Turgenev published his poems, poems, dramatic works, novels. The critic guided his work with his assessments and friendly advice.

In 1847, Turgenev went abroad for a long time: love for the famous French singer Pauline Viardot, whom he met in 1843 during her tour in St. Petersburg, took him away from Russia. He lived for three years in Germany, then in Paris and on the estate of the Viardot family. Even before leaving, he submitted an essay "Khor and Kalinich" to Sovremennik, which was a resounding success. The following essays from folk life were published in the same magazine for five years. In 1852 they came out as a separate book called Notes of a Hunter.

In 1850, the writer returned to Russia, as an author and critic he collaborated in Sovremennik, which became a kind of center of Russian literary life.

Impressed by Gogol's death in 1852, he published an obituary banned by the censors. For this he was arrested for a month, and then sent to his estate under the supervision of the police without the right to travel outside the Oryol province.

In 1853 it was allowed to come to St. Petersburg, but the right to travel abroad was returned only in 1856.

Along with the "hunting" stories, Turgenev wrote several plays: "The Freeloader" (1848), "The Bachelor" (1849), "A Month in the Country" (1850), "Provincial Girl" (1850). During his arrest and exile, he created the stories "Mumu" (1852) and "Inn" (1852) on a "peasant" theme. However, he was increasingly occupied with the life of the Russian intelligentsia, to whom the novel "The Diary of a Superfluous Man" (1850) is dedicated; "Yakov Pasynkov" (1855); "Correspondence" (1856). Work on stories facilitated the transition to the novel.

In the summer of 1855, the novel "Rudin" was written in Spassky, and in subsequent years, novels: in 1859 - "The Noble Nest"; in 1860 - "On the Eve", in 1862 - "Fathers and Sons".

The situation in Russia was changing rapidly: the government announced its intention to free the peasants from serfdom, preparations for the reform began, giving rise to numerous plans for the upcoming reorganization. Turgenev took an active part in this process, became Herzen's unspoken collaborator, sending accusatory material to the Kolokol magazine, and collaborated with Sovremennik, which gathered around him the main forces of advanced literature and journalism. At first, writers of different trends acted as a united front, but sharp disagreements soon appeared. There was a break between Turgenev and the Sovremennik magazine, the cause of which was Dobrolyubov's article "When will the real day come?" Dedicated to Turgenev's novel "On the Eve", in which the critic predicted the imminent appearance of the Russian Insarov, the approach of the day of the revolution. Turgenev did not accept such an interpretation of the novel and asked Nekrasov not to publish this article. Nekrasov took the side of Dobrolyubov and Chernyshevsky, and Turgenev left Sovremennik. By 1862-1863, he had a polemic with Herzen on the question of the further paths of development of Russia, which led to a divergence between them. Pinning hopes on reforms "from above", Turgenev considered Herzen's faith in the revolutionary and socialist aspirations of the peasantry unfounded.

Since 1863, the writer settled with the Viardot family in Baden-Baden. At the same time, he began to collaborate with the liberal-bourgeois Vestnik Evropy, in which all his subsequent major works were published, including his last novel, Nov (1876).

Following the Viardot family, Turgenev moved to Paris. During the days of the Paris Commune, he lived in London, after its defeat he returned to France, where he remained until the end of his life, spending the winters in Paris, and the summer months outside the city, in Bougival, and making short trips to Russia every spring.

The public upsurge of the 1870s in Russia, connected with the attempts of the populists to find a revolutionary way out of the crisis, the writer met with interest, became close to the leaders of the movement, and provided material assistance in the publication of the collection Vperyod. His long-standing interest in the folk theme was awakened again, he returned to the "Notes of a Hunter", supplementing them with new essays, wrote the stories "Punin and Baburin" (1874), "Hours" (1875), etc.

A social revival began among the student youth, among the general strata of society. Turgenev's popularity, once shaken by his break with Sovremennik, has now recovered again and is growing rapidly. In February 1879, when he arrived in Russia, he was honored at literary evenings and ceremonial dinners, strenuously inviting him to stay in his homeland. Turgenev was even inclined to stop his voluntary exile, but this intention was not carried out. In the spring of 1882, the first signs of a serious illness appeared, which deprived the writer of the opportunity to move (cancer of the spine).

On August 22 (September 3, n.s.), 1883, Turgenev died in Bougival. According to the writer's will, his body was transported to Russia and buried in St. Petersburg.

1818 , October 28 (November 9) - was born in Orel in a noble family. He spent his childhood in the family estate of his mother, Spasskoe-Lutovinovo, Oryol province.

1822–1823 - a trip abroad for the whole Turgenev family along the route: with. Spasskoye, Moscow, St. Petersburg, Narva, Riga, Memel, Koenigsberg, Berlin, Dresden, Karlsbad, Augsburg, Konstanz, ... Kyiv, Orel, Mtsensk. The Turgenevs lived in Paris for six months.

1827 - The Turgenevs move to Moscow, where they acquire a house on Samoteka. Ivan Turgenev is placed in the Weidenhammer boarding house, where he stayed for about two years.

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

1833–1837 - studies at the Moscow (language faculty) and St. Petersburg (philological department of the philosophical faculty) universities.

1834 , December - finishes work on the poem "Steno".

1836 , April 19 (May 1) - attends the first performance of The Inspector General in St. Petersburg.
The end of the year- submits the poem "The Wall" for consideration by P. A. Pletnev. After a condescending response, he gives him a few more poems.

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

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

1838–1841 - studies at the University of Berlin.

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

“A brilliant novelist who traveled the whole world, who knew all the great people of his century, who read everything that a person can read, and who spoke all the languages ​​​​of Europe,” his younger contemporary, the French writer Guy de Maupassant, enthusiastically commented on Turgenev.

Turgenev is one of the greatest European writers of the 19th century, a prominent representative of the "golden age" of Russian prose. During his lifetime, he enjoyed unquestioned artistic authority in Russia and was perhaps the most famous Russian writer in Europe. Despite the long years spent abroad, all the best that Turgenev wrote is about Russia. Many of his works for decades caused controversy between critics and readers, became facts of a sharp ideological and aesthetic struggle. His contemporaries V. G. Belinsky, A. A. Grigoriev, N. A. Dobrolyubov, N. G. Chernyshevsky, D. I. Pisarev, A. V. Druzhinin wrote about Turgenev...

In the future, the attitude towards Turgenev's work became calmer, other aspects of his works came to the fore: poetry, artistic harmony, philosophical problems, the writer's close attention to the "mysterious", inexplicable phenomena of life, manifested in his last works. Interest in Turgenev at the turn of the XIX-XX centuries. was predominantly “historical”: it seemed, nourished by the topic of the day, but harmonically balanced, non-judgmental, “objective” prose of Turgenev is far from the excited, disharmonious prose word, the cult of which was established in the literature of the early 20th century. Turgenev was perceived as an “old”, even old-fashioned writer, a singer of “noble nests”, love, beauty and harmony of nature. Not Turgenev, but Dostoevsky and the late Tolstoy provided aesthetic guidelines for the "new" prose. For many decades, more and more layers of “textbook gloss” were layered on the writer’s works, making it difficult to see in him not an illustrator of the struggle between “nihilists” and “liberals”, the conflict of “fathers” and “children”, but one of the greatest artists of the word, unsurpassed poet in prose.

A modern view of Turgenev’s work, and above all, the novel “Fathers and Sons”, which was fairly shabby by school “analysis”, should take into account his aesthetic credo, especially expressively formulated in the lyric-philosophical story “Enough” (1865): “Venus de Milo, perhaps, more certain than Roman law or the principles of the 89th year. The meaning of this statement is simple: everything can be doubted, even the most “perfect” code of laws and the “undoubted” demands of freedom, equality and fraternity, only the authority of art is indestructible - neither time nor the scolding of nihilists can destroy it. It was art, and not ideological doctrines and trends, that Turgenev honestly served.

I.S. Turgenev was born on October 28 (November 9), 1818 in Orel. His childhood years were spent in the family "noble nest" - the Spasskoe-Lutovinovo estate, located near the city of Mtsensk, Oryol Province. In 1833 he entered Moscow University, and in 1834 he transferred to St. Petersburg University, where he studied at the verbal department (graduating in 1837). In the spring of 1838 he went abroad to continue his philological and philosophical education. At the University of Berlin from 1838 to 1841, Turgenev studied the philosophy of Hegel, listened to lectures on classical philology and history.

The most important event in the life of Turgenev in those years was the rapprochement with the young Russian "Hegelians": N.V. Stankevich, M.A. Bakunin, T.N. Granovsky. The young Turgenev, inclined towards romantic philosophical reflection, tried to find answers to the "eternal" questions of life in the grandiose philosophical system of Hegel. Interest in philosophy combined in him with a passionate thirst for creativity. Even in St. Petersburg, the first romantic poems were written, marked by the influence of the popular in the second half of the 1830s. poet V. G. Benediktov, and the drama "Wall". As Turgenev recalled, in 1836 he wept while reading Benediktov's poems, and only Belinsky helped him get rid of the spell of this "Chrysostom". Turgenev began as a lyrical romantic poet. Interest in poetry did not fade away in the following decades, when prose genres began to dominate his work.

There are three major periods in Turgenev's creative development: 1) 1836-1847; 2) 1848-1861; 3) 1862-1883

1)First period (1836-1847), which began with imitative romantic poems, ended with the active participation of the writer in the activities of the "natural school" and the publication of the first stories from the Hunter's Notes. Two stages can be distinguished in it: 1836-1842. - years of literary apprenticeship, coinciding with a passion for Hegel's philosophy, and 1843-1847. - a time of intense creative searches in various genres of poetry, prose and drama, which coincided with disappointment in romanticism and former philosophical hobbies. During these years, the most important factor in the creative development of Turgenev was the influence of V. G. Belinsky.

The beginning of Turgenev's independent work, free from obvious traces of apprenticeship, dates back to 1842-1844. Returning to Russia, he tried to find a worthy career in life (he served in the Special Office of the Ministry of the Interior for two years) and get close to St. Petersburg writers. At the beginning of 1843, an acquaintance with VG Belinsky took place. Shortly before this, the first poem, Parasha, was written, which attracted the attention of critics. Under the influence of Belinsky, Turgenev decided to leave the service and devote himself entirely to literature. In 1843, another event took place that largely determined the fate of Turgenev: an acquaintance with the French singer Pauline Viardot, who was touring in St. Petersburg. Love for this woman is not only a fact of his biography, but also the strongest motive of creativity, which determined the emotional coloring of many of Turgenev's works, including his famous novels. Since 1845, when he first came to France to P. Viardot, the life of the writer was connected with her family, with France, with a circle of brilliant French writers of the second half of the 19th century. (G. Flaubert, E. Zola, Goncourt brothers, later G. de Maupassant).

In 1844-1847. Turgenev is one of the most prominent members of the "natural school", a community of young St. Petersburg realist writers. The soul of this community was Belinsky, who closely followed the creative development of the novice writer. Turgenev's creative range in the 1840s very wide: from his pen came lyrical poems, and poems (“Conversation”, “Andrei”, “Landlord”), and plays (“Carelessness”, “Lack of money”), But, perhaps, the most remarkable in the work of Turgenev of these years, prose works began - the novels and stories "Andrey Kolosov", "Three Portraits", "Breter" and "Petushkov". Gradually, the main direction of his literary activity was determined - prose.

2)Second period (1848-1861) was probably the happiest for Turgenev: after the success of The Hunter's Notes, the writer's fame steadily grew, and each new work was perceived as an artistic response to the events of the social and ideological life of Russia. Particularly noticeable changes in his work took place in the mid-1850s: in 1855, the first novel, Rudin, was written, which opened a cycle of novels about the ideological life of Russia. The novels "Faust" and "Asya" that followed him, the novels "The Nest of Nobles" and "On the Eve" strengthened Turgenev's fame: he was rightfully considered the greatest writer of the decade (the name of F. M. Dostoevsky, who was in hard labor and in exile, was banned , the creative path of Leo Tolstoy was just beginning).

At the beginning of 1847, Turgenev went abroad for a long time, and before leaving, he submitted to the Nekrasov magazine Sovremennik (the main printed organ of the "natural school") his first "hunting" story-essay "Khor and Kalinich", inspired by meetings and impressions of summer and in the autumn of 1846, when the writer was hunting in the Oryol and neighboring provinces. Published in the first book of the magazine for 1847 in the "Mixture" section, this story opened a long series of publications of Turgenev's Notes of a Hunter, stretching for five years.

Inspired by the success of his outwardly unpretentious works, sustained in the traditions of the “physiological sketch”, popular among young Russian realists, the writer continued to work on “hunting” stories: 13 new works (including “Burmistr”, “Office”, “Two Landowners”) were already written in the summer of 1847 in Germany and France. However, two of the strongest shocks experienced by Turgenev in 1848 slowed down the work: these were the revolutionary events in France and Germany and the death of Belinsky, whom Turgenev considered his mentor and friend. Only in September 1848 did he again turn to work on the Hunter's Notes: Hamlet of the Shchigrovsky District and Forest and Steppe were created. At the end of 1850 - beginning of 1851, the cycle was replenished with four more stories (among them such masterpieces as "Singers" and "Bezhin Meadow"). A separate edition of the Hunter's Notes, which included 22 stories, appeared in 1852.

"Notes of a hunter" is a turning point in the work of Turgenev. He not only found a new topic, becoming one of the first Russian prose writers who discovered the unknown "continent" - the life of the Russian peasantry, but also developed new principles of narration. Documentary and fictional, lyrical autobiography and the desire for an objective artistic study of the life of rural Russia organically merged in the stories-essays. The Turgenev cycle became the most significant "document" about the life of the Russian village on the eve of the peasant reform of 1861. We note the main artistic features of the "Notes of a Hunter":

- there is no single plot in the book, each work is completely independent. The documentary basis of the whole cycle and individual stories is the meetings, observations and impressions of the writer-hunter. The place of action is geographically precisely indicated: the northern part of the Oryol province, the southern regions of the Kaluga and Ryazan provinces;

- fictional elements are reduced to a minimum, each event has a number of prototype events, the images of the heroes of the stories are the result of Turgenev's meetings with real people - hunters, peasants, landowners;

- the whole cycle is united by the figure of a narrator, a hunter-poet, attentive to both nature and people. The autobiographical hero looks at the world through the eyes of an observant, interested researcher;

- most of the works are socio-psychological essays. Turgenev is occupied not only with social and ethnographic types, but also with the psychology of people, into which he seeks to penetrate, peering intently into their appearance, studying the manner of behavior and the nature of communication with other people. In this, Turgenev's works differ from the "physiological essays" of the writers of the "natural school" and the "ethnographic" essays of V.I.Dal and D.V.Grigorovich.

The main discovery of Turgenev in the Notes of a Hunter is the soul of the Russian peasant. He showed the peasant world as a world of individuals, weightily supplementing the long-standing "discovery" of the sentimentalist N.M. Karamzin: "peasant women know how to love." However, Russian landowners are also depicted in a new way by Turgenev, this is clearly seen in the comparison of the heroes of the Notes ... with Gogol's images of landowners in Dead Souls. Turgenev sought to create a reliable, objective picture of the Russian landed nobility: he did not idealize the landlords, but he did not consider them to be vicious creatures, deserving only a negative attitude. Both the peasantry and the landlords for the writer are two components of Russian life, as if taken “by surprise” by the writer-hunter.

In the 1850s Turgenev is a writer of the Sovremennik circle, the best magazine of that time. However, by the end of the decade, the ideological differences between the liberal Turgenev and the raznochintsy-democrats, who formed the core of Sovremennik, clearly manifested themselves. The programmatic aesthetic attitudes of the leading critics and publicists of the magazine - N.G. Chernyshevsky and N.A. Dobrolyubov - were incompatible with Turgenev's aesthetic views. He did not recognize the "utilitarian" approach to art, supported the point of view of the representatives of "aesthetic" criticism - A.V. Druzhinin and V.P. Botkin. The writer's sharp rejection was caused by the program of "real criticism", from the positions of which the critics of Sovremennik interpreted his own works. The reason for the final break with the journal was the publication, contrary to Turgenev's "ultimatum" presented to the journal's editor N.A. Nekrasov, of Dobrolyubov's article "When will the real day come?" (1860), dedicated to the analysis of the novel "On the Eve". Turgenev was proud of the fact that he was perceived as a sensitive diagnostician of modern life, but he categorically refused the role of an “illustrator” imposed on him, could not indifferently observe how his novel was used to promote views that were completely alien to him. Turgenev's break with the magazine in which he published his best works became inevitable.

3)Third period (1862-1883) It began with two "quarrels" - with the Sovremennik magazine, with which Turgenev ceased to cooperate in 1860-1861, and with the "young generation" caused by the publication of Fathers and Sons. A biting and unfair analysis of the novel was published in Sovremennik by the critic M.A. Antonovich. The controversy surrounding the novel, which did not subside for several years, was perceived by Turgenev very painfully. This, in particular, caused a sharp decrease in the speed of work on new novels: the next novel, Smoke, was published only in 1867, and the last, Nov, in 1877.

The circle of artistic interests of the writer in the 1860s-1870s. changed and expanded, his work became "multilayered". In the 1860s he again turned to the "Notes of a Hunter" and supplemented them with new stories. At the beginning of the decade, Turgenev set himself the task of seeing in modern life not only the “foam of days” carried away by time, but also the “eternal”, universal. In the article "Hamlet and Don Quixote" the question was raised about two opposite types of attitude to life. In his opinion, the analysis of the “Hamletian”, rational and skeptical, attitude and “quixotic”, sacrificial, type of behavior is the philosophical basis for a deeper understanding of modern man. The significance of philosophical problems in Turgenev's works sharply increased: remaining an artist attentive to the social and typical, he sought to discover the universal in his contemporaries, to correlate them with the "eternal" images of art. In the stories "The Brigadier", "The Steppe King Lear", "Knock...knock...knock!...", "Punin and Baburin", Turgenev the sociologist gave way to Turgenev the psychologist and philosopher.

In mystically colored "mysterious stories" ("Ghosts", "The Story of Lieutenant Yergunov", "After Death (Clara Milic)", etc.), he reflected on mysterious phenomena in people's lives, inexplicable states of mind from the standpoint of reason. The lyrical-philosophical tendency of creativity, indicated in the story "Enough" (1865), in the late 1870s. acquired a new genre and style form of "poems in prose" - this is how Turgenev called his lyrical miniatures and fragments. Over 50 "poems" were written in four years. Thus, Turgenev, who began as a lyric poet, at the end of his life again turned to lyrics, considering it the most adequate art form that allows him to express his most intimate thoughts and feelings.

Turgenev's creative path reflected a general trend in the development of "high" realism: from the artistic study of specific social phenomena (novels and stories of the 1840s, "Notes of a Hunter") through a deep analysis of the ideology of modern society and the psychology of contemporaries in the novels of the 1850s-1860s -s. the writer went to comprehend the philosophical foundations of human life. Philosophical richness of Turgenev's works of the second half of the 1860s-early 1880s. allows us to consider him an artist-thinker, close in depth to the formulation of philosophical problems to Dostoevsky and Tolstoy. Perhaps the main thing that distinguishes Turgenev from these moralist writers is Pushkin's aversion to moralizing and preaching, unwillingness to create recipes for public and personal "salvation", to impose his faith on other people.

Turgenev spent the last two decades of his life mainly abroad: in the 1860s. lived in Germany, coming to Russia and France for a short time, and from the beginning of the 1870s. - in France with the family of Pauline and Louis Viardot. During these years, Turgenev, who enjoyed the highest artistic authority in Europe, actively promoted Russian literature in France and French literature in Russia. Only in the late 1870s. he "reconciled" with the younger generation. New readers of Turgenev stormily honored him in 1879, his speech at the opening of the monument to A.S. Pushkin in Moscow (1880) made a strong impression.

In 1882-1883. seriously ill Turgenev worked on his "farewell" works - a cycle of "poems in prose." The first part of the book was published a few months before his death, which followed on August 22 (September 3), 1883 in Bougi-val, near Paris. The coffin with the body of Turgenev was sent to St. Petersburg, where on September 27 a grandiose funeral took place: according to contemporaries, about 150 thousand people participated in them.