I.S. Turgenev. Review of creativity. What was he thinking about after living a beautiful life and leaving this earth? What did you remember, lying at the window of a villa in Bougival near Paris, looking at barges and boats floating along the Seine, at green meadows, chestnut trees, poplars, ash trees, weeping willows, and sparkling clouds? What was he thinking when he left?
The main goals and objectives are to expand students’ knowledge about the personal and creative biography of the writer; introduce the history of the creation of the novel “Fathers and Sons”; begin collecting material for students to create a project; make notes during a lesson on the biography of a writer.
Questions for discussion 1. What is characteristic of the era in which I. S. Turgenev lived? 2. How was the era reflected in the writer’s work? 3. What is the essence of I. S. Turgenev’s artistic attitude? 4. What are the socio-political views of the writer? 5. What requirements does I. S. Turgenev make for his heroes? 6. Who are the “Turgenev girls”? What qualities should they have?
The writer's father I.S. Turgenev was born on October 28, 1818 in Orel. It is difficult to imagine a greater contrast than the general spiritual appearance of Turgenev and the environment from which he directly emerged. His father, Sergei Nikolaevich, a retired cuirassier colonel, was a remarkably handsome man, insignificant in his moral and mental qualities. The son did not like to remember him, and in those rare moments when he spoke to friends about his father, he characterized him as “a great fisher before the Lord.”
Family nest Turgenev's estate Spasskoye-Lutovinovo is the native nest of the great writer. He spent his childhood here, he came here more than once and lived for a long time in adulthood. In Spassky-Lutovinovo, Turgenev worked on the creation of the novels Rudin, The Noble Nest, On the Eve, Fathers and Sons, Nov, and wrote many short stories, novellas, and prose poems. Turgenev's guests in Spassky-Lutovinovo were A. A. Fet, M. S. Shchepkin, N. A. Nekrasov. L. N. Tolstoy. M. G. Savina, V. M. Garshin and many other prominent representatives of Russian culture.
Spasskoye-Lutovinovo and its shady linden alleys, its surroundings are reflected in the pages of Notes of a Hunter, novels, novellas, and stories by Turgenev, which throughout the world glorified the dim, but full of irresistible charm, beauty of the nature of central Russia. manor house
Writer's office Turgenev's house in Spassky with its huge library, study, living room. Savin’s room is inextricably linked with the memory of the writer’s creative thoughts, his intimate conversations and heated debates with friends, with the memory of the harsh Lutovinov antiquity.
Library Since 1850, Spasskoye-Lutovinovo began to belong to I. S. Turgenev. For many years, Ivan Sergeevich did not make radical changes to the structure of the house. however, under him, the purpose of the rooms and, accordingly, the furnishings changed significantly. The servants' rooms on the mezzanine were empty, the lady's own office was no longer there, only the former names were preserved for the maid's room and the casino, the writer furnished the office to his liking, and the library became one of the main rooms of the house.
The Lutovinov family The Lutovinov family was a mixture of cruelty, greed and voluptuousness (Turgenev depicted its representatives in “Three Portraits” and in “Ovsyanikov’s Palace”). Having inherited their cruelty and despotism from the Lutovinovs, Varvara Petrovna was embittered by her personal fate. Having lost her father early, she suffered both from her mother, depicted by her grandson in the essay “Death” (an old woman), and from a violent, drunken stepfather, who, when she was little, barbarously beat and tortured her, and when she grew up, began to pursue him with vile proposals . On foot, half dressed, she escaped to her uncle, I.I. Lutovinov, who lived in the village of Spassky - the same rapist who is described in Ovsyanikov's Odnodvorets.
The writer's mother, almost completely alone, insulted and humiliated, Varvara Petrovna lived for up to 30 years in her uncle's house, until his death made her the owner of a magnificent estate and 5,000 souls. All information that has been preserved about Varvara Petrovna paints her in the most unattractive form. Through the environment of “beatings and torture” she created, Turgenev carried his gentle soul unharmed, in which it was the spectacle of the furies of the landowners’ power, long before theoretical influences, that prepared the protest against serfdom. He himself was subjected to cruel “beatings and torture,” although he was considered his mother’s favorite son.
Childhood The love for Russian literature was secretly instilled in Turgenev by one of the serf valets, depicted by him, in the person of Punin, in the story “Punin and Baburin.” Until the age of 9, Turgenev lived in the hereditary Lutovinovsky Spassky (10 versts from Mtsensk, Oryol province).
Youth In 1827, the Turgenevs settled in Moscow to educate their children; They bought a house on Samotek. Turgenev first studied at the Weidenhammer boarding school; then he was sent as a boarder to the director of the Lazarevsky Institute, Krause. In 1833, 15-year-old Turgenev (this age of students, given the low requirements at that time, was common) entered the literature department of Moscow University. A year later, due to his older brother joining the Guards Artillery, the family moved to St. Petersburg, and Turgenev then moved to St. Petersburg University. As a 3rd year student, he presented to his court his drama “Stenio” written in iambic pentameter, in Turgenev’s own words - “a completely absurd work, in which a slavish imitation of Byron’s Manfred was expressed with furious ineptitude.” In 1827, the Turgenevs settled in Moscow to educate their children; They bought a house on Samotek. Turgenev first studied at the Weidenhammer boarding school; then he was sent as a boarder to the director of the Lazarevsky Institute, Krause. In 1833, 15-year-old Turgenev (this age of students, given the low requirements at that time, was common) entered the literature department of Moscow University. A year later, due to his older brother joining the Guards Artillery, the family moved to St. Petersburg, and Turgenev then moved to St. Petersburg University. As a 3rd year student, he presented to his court his drama “Stenio” written in iambic pentameter, in Turgenev’s own words - “a completely absurd work, in which a slavish imitation of Byron’s Manfred was expressed with furious ineptitude.”
In 1836, Turgenev completed the course with the degree of a full student. Dreaming of scientific activity, the following year he again took the final exam, received a candidate's degree, and in 1838 he went to Germany. Having settled in Berlin, Turgenev diligently took up his studies. He didn’t have to “improve” so much as sit down to learn the ABCs. Listening to lectures on the history of Roman and Greek literature at the university, he was forced to “cram” the elementary grammar of these languages at home. Turgenev was greatly impressed by the entire system of Western European life. The conviction took root in his soul that only the assimilation of the basic principles of universal human culture could lead Russia out of the darkness in which it was plunged. In this sense, he becomes a convinced “Westerner.” In 1841 Turgenev returned to his homeland. But Turgenev had already lost his passion for professional learning; he is becoming more and more attracted to literary activities. In 1843 it starts to print.
Adult life In 1842, Turgenev, at the request of his mother, entered the office of the Ministry of Internal Affairs. He was a very bad official, and the head of the office, Dahl, although he was also a writer, was very pedantic about his service. The matter ended with the fact that after serving for a year and a half, Turgenev, much to the chagrin and displeasure of his mother, retired.
In 1847, Turgenev, together with the Viardot family, went abroad, lived in Berlin, Dresden, visited the sick Belinsky in Silesia, with whom he had the closest friendship, and then went to France. His affairs were in the most deplorable situation; he lived on loans from friends, advances from editorial offices, and even by reducing his needs to the minimum. Under the pretext of the need for solitude, he spent the winter months in complete solitude, either in Viardot's empty dacha or in the abandoned castle of Georges Sand, eating whatever he could find.
In 1850, Turgenev returned to Russia, but he never met his mother, who died that same year. Having shared his mother's large fortune with his brother, he eased the hardships of the peasants he inherited as much as possible. In 1852, a thunderstorm unexpectedly struck him. After Gogol's death, Turgenev wrote an obituary, which was not missed by the St. Petersburg censorship, because, as the famous Musin-Pushkin put it, “it is criminal to speak so enthusiastically about such a writer.” Only in order to show that “cold” Petersburg was also excited by the great loss, Turgenev sent an article to Moscow, V.P. Botkin, and he published it in Moskovskie Vedomosti.
In the intervals between his four famous novels, Turgenev wrote a thoughtful article “Hamlet and Don Quixote” (1860) and three wonderful stories: “Faust” (1856), “Asya” (1858), “First Love” (1860), in which gave several attractive female images. Princess Zasekina ("First Love") is simply graceful and flirtatious, but the heroine of "Faust" and Asya are unusually deep and integral natures. The first one burned from the depth of feeling that suddenly flew over her; Asya, like Natalya in “Rudin,” fled from her feeling when she saw how the weak-willed man she fell in love with did not correspond to his strength. - In “Fathers and Sons” Turgenev’s creativity reached its culmination point.
Creator of public opinion With amazing sensitivity reflecting the moods and trends of the era that were in the air, Turgenev himself, to a certain extent, was the creator of social trends. Turgenev’s novels were not only read, but his heroes and heroines were imitated in life. When starting to depict the newly-minted “children,” Turgenev could not help but be aware of his alienation from them. In "On the Eve" he stands on the side of the young heroes of the novel, and he directly bows down to Elena, who so shocked people with her deviations from the conventional morality of the people of the old generation. He could not feel such sympathy for Bazarov, with his materialistic disdain for art and poetry, with his harshness, so alien to Turgenev’s soft nature.
Magazine "Russian Messenger" Katkov, who published the novel in his magazine, wrote to Turgenev: "You are groveling before the younger generation." But the novel appeared at a very acute moment: the old concept of “harmful” ideas was revived again, a nickname was needed to denote political radicalism. It was found in the word “nihilist,” which Bazarov uses to define his negative attitude towards everything. Turgenev noted with horror how this term was used by people with whose political views it had nothing in common. In literature, the hostile attitude towards the novel was most clearly reflected in the article by the critic of Sovremennik, M.A. Antonovich: "Asmodeus of our time." With Sovremennik, where Turgenev was a permanent contributor until 1859, he had already established a cold relationship, partly because of Turgenev’s personal relationship with Nekrasov, partly because the radicalism of Chernyshevsky and Dobrolyubov was not sympathetic to Turgenev.
The image of Turgenev's girl In his stories of those years, Turgenev captured the image of a Russian woman at the moment of her spiritual awakening, at the time when she began to realize herself as an individual: “... what is a Russian woman? What is her fate, her position in the world, in a word, what is her life?” Turgenev's heroine is not satisfied with ordinary household chores, she “demands a lot from life, she reads, dreams... about love... but for her this word means a lot.” She is waiting for a hero who embodies everything for her: “happiness, love, and thought,” a hero who is able to change the course of life and resist “human vulgarity.” Having believed in the hero, Turgenev’s heroine “reveres him... studies, loves.” The image of Turgenev's girl was not motionless. From story to story, the typical generalization that this image carried within itself became more and more profound and modern, absorbing features that each time illuminated a new side of Russian reality. Turgenev's girls are similar in the main respect to the ideal of life. These are girls full of rainbow, “winged hopes”, discovering for the first time a new world of bright feelings and thoughts.
The last years of his life Towards the end of his life, Turgenev's fame reached its apogee both in Russia, where he again became everyone's favorite, and in Europe, where criticism, in the person of its most prominent representatives - Taine, Renan, Brandes and others - ranked him among the first writers of the century. His visits to Russia over the years were true triumphs. All the more painfully everyone was struck by the news of the severe turn that his usual gouty pains had taken since 1882. Turgenev died courageously, with full awareness of the approaching end, but without any fear of it. His death (in Bougival near Paris, August 22, 1883) made a huge impression, the expression of which was a grandiose funeral. The body of the great writer was, according to his wishes, brought to St. Petersburg and buried in the Volkov cemetery in front of such a crowd of people, which had never before or since been present at the funeral of a private person.
What was he thinking about after living a beautiful life and leaving this earth? What did you remember, lying at the window of a villa in Bougival near Paris, looking at barges and boats floating along the Seine, at green meadows, chestnut trees, poplars, ash trees, weeping willows, and sparkling clouds? What was he thinking when he left?
expand students’ knowledge about the writer’s personal and creative biography;
introduce the history of the creation of the novel “Fathers and Sons”;
begin collecting material for students to create a project;
make notes during a lesson on the biography of a writer.
1. What is characteristic of the era in which I. S. Turgenev lived?
2. How was the era reflected in the writer’s work?
3. What is the essence of I. S. Turgenev’s artistic attitude?
4. What are the socio-political views of the writer?
5. What requirements does I. S. Turgenev make for his heroes?
6. Who are the “Turgenev girls”? What qualities should they have?
I.S. Turgenev was born on October 28, 1818 in Orel. It is difficult to imagine a greater contrast than the general spiritual appearance of Turgenev and the environment from which he directly emerged. His father, Sergei Nikolaevich, a retired cuirassier colonel, was a remarkably handsome man, insignificant in his moral and mental qualities. The son did not like to remember him, and in those rare moments when he spoke to friends about his father, he characterized him as “a great fisher before the Lord.”
Turgenev's estate Spasskoye-Lutovinovo is the native nest of the great writer. He spent his childhood here, he came here more than once and lived for a long time in adulthood. In Spassky-Lutovinovo, Turgenev worked on the creation of the novels “Rudin”, “The Noble Nest”, “On the Eve”, “Fathers and Sons”, “Nov”, wrote many short stories, novellas, “poems in prose”. Turgenev's guests in Spassky-Lutovinovo were A. A. Fet, M. S. Shchepkin, N. A. Nekrasov. L. N. Tolstoy. M. G. Savina, V. M. Garshin and many other prominent representatives of Russian culture.
Spasskoye-Lutovinovo and its shady linden alleys, its surroundings are reflected in the pages of “Notes of a Hunter”, novels, novellas, and stories by Turgenev, which throughout the world glorified the dim, but full of irresistible charm, beauty of the nature of central Russia.
Turgenev's house in Spassky with its huge library, study, living room. “Savino’s room” is inextricably linked with the memory of the writer’s creative thoughts, his intimate conversations and heated debates with friends, with the memory of the harsh Lutovinovo antiquity.
Since 1850, Spasskoye-Lutovinovo began to belong to I. S. Turgenev. For many years, Ivan Sergeevich did not make radical changes to the structure of the house. however, under him, the purpose of the rooms and, accordingly, the furnishings changed significantly. The servants’ rooms on the mezzanine were empty, “the lady’s own office” was gone, only the previous names remained behind the “maid’s room” and “casino”, the writer furnished the office to his liking, and the library became one of the main rooms of the house.
The Lutovinov family was a mixture of cruelty, greed and voluptuousness (Turgenev depicted its representatives in “Three Portraits” and in “Ovsyanikov’s Palace”). Having inherited their cruelty and despotism from the Lutovinovs, Varvara Petrovna was embittered by her personal fate. Having lost her father early, she suffered both from her mother, depicted by her grandson in the essay “Death” (an old woman), and from a violent, drunken stepfather, who, when she was little, barbarously beat and tortured her, and when she grew up, began to pursue him with vile proposals . On foot, half dressed, she escaped to her uncle, I.I. Lutovinov, who lived in the village of Spassky - the same rapist who is described in Ovsyanikov's Odnodvorets.
Almost completely alone, insulted and humiliated, Varvara Petrovna lived for up to 30 years in her uncle’s house, until his death made her the owner of a magnificent estate and 5,000 souls. All information that has been preserved about Varvara Petrovna paints her in the most unattractive form. Through the environment of “beatings and torture” she created, Turgenev carried his gentle soul unharmed, in which it was the spectacle of the furies of the landowners’ power, long before theoretical influences, that prepared the protest against serfdom. He himself was subjected to cruel “beatings and torture,” although he was considered his mother’s favorite son.
A love for Russian literature was secretly instilled in Turgenev by one of the serf valets, depicted by him, in the person of Punin, in the story “Punin and Baburin.” Until the age of 9, Turgenev lived in the hereditary Lutovinovsky Spassky (10 versts from Mtsensk, Oryol province).
In 1827, the Turgenevs settled in Moscow to educate their children; They bought a house on Samotek. Turgenev first studied at the Weidenhammer boarding school; then he was sent as a boarder to the director of the Lazarevsky Institute, Krause.
In 1833, 15-year-old Turgenev (this age of students, given the low requirements at that time, was common) entered the literature department of Moscow University. A year later, due to his older brother joining the Guards Artillery, the family moved to St. Petersburg, and Turgenev then moved to St. Petersburg University.
As a 3rd year student, he presented to his court his drama “Stenio” written in iambic pentameter, in Turgenev’s own words - “a completely absurd work, in which a slavish imitation of Byron’s Manfred was expressed with furious ineptitude.”
In 1842, Turgenev, at the request of his mother, entered the office of the Ministry of Internal Affairs. He was a very bad official, and the head of the office, Dahl, although he was also a writer, was very pedantic about his service. The matter ended with the fact that after serving for a year and a half, Turgenev, much to the chagrin and displeasure of his mother, retired.
In 1847, Turgenev, together with the Viardot family, went abroad, lived in Berlin, Dresden, visited the sick Belinsky in Silesia, with whom he had the closest friendship, and then went to France. His affairs were in the most deplorable situation; he lived on loans from friends, advances from editorial offices, and even by reducing his needs to the minimum. Under the pretext of the need for solitude, he spent the winter months in complete solitude, either in Viardot's empty dacha or in the abandoned castle of Georges Sand, eating whatever he could find.
In 1850, Turgenev returned to Russia, but he never met his mother, who died that same year. Having shared his mother's large fortune with his brother, he eased the hardships of the peasants he inherited as much as possible. In 1852, a thunderstorm unexpectedly struck him. After Gogol's death, Turgenev wrote an obituary, which was not missed by the St. Petersburg censorship, because, as the famous Musin-Pushkin put it, “it is criminal to speak so enthusiastically about such a writer.” Only in order to show that “cold” Petersburg was also excited by the great loss, Turgenev sent an article to Moscow, V.P. Botkin, and he published it in Moskovskie Vedomosti.
In the intervals between his four famous novels, Turgenev wrote a thoughtful article “Hamlet and Don Quixote” (1860) and three wonderful stories: “Faust” (1856), “Asya” (1858), “First Love” (1860), in which gave several attractive female images. Princess Zasekina ("First Love") is simply graceful and flirtatious, but the heroine of "Faust" and Asya are unusually deep and integral natures. The first one burned from the depth of feeling that suddenly flew over her; Asya, like Natalya in “Rudin,” fled from her feeling when she saw how the weak-willed man she fell in love with did not correspond to his strength. - In “Fathers and Sons” Turgenev’s creativity reached its culmination point.
Reflecting with amazing sensitivity the moods and trends of the era that were in the air, Turgenev himself, to a certain extent, was the creator of social trends. Turgenev’s novels were not only read, but his heroes and heroines were imitated in life. When starting to depict the newly-minted “children,” Turgenev could not help but be aware of his alienation from them. In "On the Eve" he stands on the side of the young heroes of the novel, and he directly bows down to Elena, who so shocked people with her deviations from the conventional morality of the people of the old generation. He could not feel such sympathy for Bazarov, with his materialistic disdain for art and poetry, with his harshness, so alien to Turgenev’s soft nature.
Katkov, who published the novel in his journal, wrote to Turgenev: “You are groveling before the younger generation.” But the novel appeared at a very acute moment: the old concept of “harmful” ideas was revived again, a nickname was needed to denote political radicalism. It was found in the word “nihilist,” which Bazarov uses to define his negative attitude towards everything. Turgenev noted with horror how this term was used by people with whose political views it had nothing in common. In literature, the hostile attitude towards the novel was most clearly reflected in the article by the critic of Sovremennik, M.A. Antonovich: "Asmodeus of our time." With Sovremennik, where Turgenev was a permanent contributor until 1859, he had already established a cold relationship, partly because of Turgenev’s personal relationship with Nekrasov, partly because the radicalism of Chernyshevsky and Dobrolyubov was not sympathetic to Turgenev.
In his stories of those years, Turgenev captured the image of a Russian woman at the moment of her spiritual awakening, at the time when she began to realize herself as an individual: “... what is a Russian woman? What is her fate, her position in the world - in a word, what is her life? Turgenev's heroine is not satisfied with ordinary household chores, she “demands a lot from life, she reads, dreams... about love... but for her this word means a lot.” She is waiting for a hero who embodies everything for her: “happiness, love, and thought” - a hero who is able to change the course of life and resist “human vulgarity.” Having believed in the hero, Turgenev’s heroine “reveres him... studies, loves.”
The image of Turgenev's girl was not motionless. From story to story, the typical generalization that this image carried within itself became more and more profound and modern, absorbing features that each time illuminated a new side of Russian reality. Turgenev's girls are similar in the main thing - in relation to the ideal of life. These are girls full of rainbow, “winged hopes”, discovering for the first time a new world of bright feelings and thoughts.
Towards the end of his life, Turgenev's fame reached its apogee both in Russia, where he again became everyone's favorite, and in Europe, where criticism, in the person of its most prominent representatives - Taine, Renan, Brandes and others - ranked him among the first writers of the century.
The body of the great writer was, according to his wishes, brought to St. Petersburg and buried in the Volkov cemetery in front of such a crowd of people, which had never before or since been present at the funeral of a private person.
His visits to Russia in 1878 - 1881 were true triumphs. All the more painfully everyone was struck by the news of the severe turn that his usual gouty pains had taken since 1882. Turgenev died courageously, with full awareness of the approaching end, but without any fear of it. His death (in Bougival near Paris, August 22, 1883) made a huge impression, the expression of which was a grandiose funeral.
I.S. Turgenev. Review of creativity. What was he thinking about after living a beautiful life and leaving this earth? What did you remember, lying at the window of a villa in Bougival near Paris, looking at barges and boats floating along the Seine, at green meadows, chestnut trees, poplars, ash trees, weeping willows, and sparkling clouds? What was he thinking when he left?
The main goals and objectives are to expand students’ knowledge about the personal and creative biography of the writer; introduce the history of the creation of the novel “Fathers and Sons”; begin collecting material for students to create a project; make notes during a lesson on the biography of a writer.
Questions for discussion 1. What is characteristic of the era in which I. S. Turgenev lived? 2. How was the era reflected in the writer’s work? 3. What is the essence of I. S. Turgenev’s artistic attitude? 4. What are the socio-political views of the writer? 5. What requirements does I. S. Turgenev make for his heroes? 6. Who are the “Turgenev girls”? What qualities should they have?
The writer's father I.S. Turgenev was born on October 28, 1818 in Orel. It is difficult to imagine a greater contrast than the general spiritual appearance of Turgenev and the environment from which he directly emerged. His father, Sergei Nikolaevich, a retired cuirassier colonel, was a remarkably handsome man, insignificant in his moral and mental qualities. The son did not like to remember him, and in those rare moments when he spoke to friends about his father, he characterized him as “a great fisher before the Lord.”
Family nest Turgenev's estate Spasskoye-Lutovinovo is the native nest of the great writer. He spent his childhood here, he came here more than once and lived for a long time in adulthood. In Spassky-Lutovinovo, Turgenev worked on the creation of the novels “Rudin”, “The Noble Nest”, “On the Eve”, “Fathers and Sons”, “Nov”, wrote many short stories, novellas, “poems in prose”. Turgenev's guests in Spassky-Lutovinovo were A. A. Fet, M. S. Shchepkin, N. A. Nekrasov. L. N. Tolstoy. M. G. Savina, V. M. Garshin and many other prominent representatives of Russian culture.
Spasskoye-Lutovinovo and its shady linden alleys, its surroundings are reflected in the pages of “Notes of a Hunter”, novels, novellas, and stories by Turgenev, which throughout the world glorified the dim, but full of irresistible charm, beauty of the nature of central Russia. manor house
Writer's office Turgenev's house in Spassky with its huge library, study, living room. “Savino’s room” is inextricably linked with the memory of the writer’s creative thoughts, his intimate conversations and heated debates with friends, with the memory of the harsh Lutovinovo antiquity.
Library Since 1850, Spasskoye-Lutovinovo began to belong to I. S. Turgenev. For many years, Ivan Sergeevich did not make radical changes to the structure of the house. however, under him, the purpose of the rooms and, accordingly, the furnishings changed significantly. The servants’ rooms on the mezzanine were empty, “the lady’s own office” was gone, only the previous names remained behind the “maid’s room” and “casino”, the writer furnished the office to his liking, and the library became one of the main rooms of the house.
The Lutovinov family The Lutovinov family was a mixture of cruelty, greed and voluptuousness (Turgenev depicted its representatives in “Three Portraits” and in “Ovsyanikov’s Palace”). Having inherited their cruelty and despotism from the Lutovinovs, Varvara Petrovna was embittered by her personal fate. Having lost her father early, she suffered both from her mother, depicted by her grandson in the essay “Death” (an old woman), and from a violent, drunken stepfather, who, when she was little, barbarously beat and tortured her, and when she grew up, began to pursue him with vile proposals . On foot, half dressed, she escaped to her uncle, I.I. Lutovinov, who lived in the village of Spassky - the same rapist who is described in Ovsyanikov's Odnodvorets.
The writer's mother, almost completely alone, insulted and humiliated, Varvara Petrovna lived for up to 30 years in her uncle's house, until his death made her the owner of a magnificent estate and 5,000 souls. All information that has been preserved about Varvara Petrovna paints her in the most unattractive form. Through the environment of “beatings and torture” she created, Turgenev carried his gentle soul unharmed, in which it was the spectacle of the furies of the landowners’ power, long before theoretical influences, that prepared the protest against serfdom. He himself was subjected to cruel “beatings and torture,” although he was considered his mother’s favorite son.
Childhood The love for Russian literature was secretly instilled in Turgenev by one of the serf valets, depicted by him, in the person of Punin, in the story “Punin and Baburin.” Until the age of 9, Turgenev lived in the hereditary Lutovinovsky Spassky (10 versts from Mtsensk, Oryol province).
Youth In 1827, the Turgenevs settled in Moscow to educate their children; They bought a house on Samotek. Turgenev first studied at the Weidenhammer boarding school; then he was sent as a boarder to the director of the Lazarevsky Institute, Krause. In 1833, 15-year-old Turgenev (this age of students, given the low requirements at that time, was common) entered the literature department of Moscow University. A year later, due to his older brother joining the Guards Artillery, the family moved to St. Petersburg, and Turgenev then moved to St. Petersburg University. As a 3rd year student, he presented to his court his drama “Stenio” written in iambic pentameter, in Turgenev’s own words - “a completely absurd work, in which a slavish imitation of Byron’s Manfred was expressed with furious ineptitude.” In 1827, the Turgenevs settled in Moscow to educate their children; They bought a house on Samotek. Turgenev first studied at the Weidenhammer boarding school; then he was sent as a boarder to the director of the Lazarevsky Institute, Krause. In 1833, 15-year-old Turgenev (this age of students, given the low requirements at that time, was common) entered the literature department of Moscow University. A year later, due to his older brother joining the Guards Artillery, the family moved to St. Petersburg, and Turgenev then moved to St. Petersburg University. As a 3rd year student, he presented to his court his drama “Stenio” written in iambic pentameter, in Turgenev’s own words - “a completely absurd work, in which a slavish imitation of Byron’s Manfred was expressed with furious ineptitude.”
In 1836, Turgenev completed the course with the degree of a full student. Dreaming of scientific activity, the following year he again took the final exam, received a candidate's degree, and in 1838 he went to Germany. Having settled in Berlin, Turgenev diligently took up his studies. He didn’t have to “improve” so much as sit down to learn the ABCs. Listening to lectures on the history of Roman and Greek literature at the university, he was forced to “cram” the elementary grammar of these languages at home. Turgenev was greatly impressed by the entire system of Western European life. The conviction took root in his soul that only the assimilation of the basic principles of universal human culture could lead Russia out of the darkness in which it was plunged. In this sense, he becomes a convinced “Westerner.” In 1841 Turgenev returned to his homeland. But Turgenev had already lost his passion for professional learning; he is becoming more and more attracted to literary activities. In 1843 it starts to print.
Adult life In 1842, Turgenev, at the request of his mother, entered the office of the Ministry of Internal Affairs. He was a very bad official, and the head of the office, Dahl, although he was also a writer, was very pedantic about his service. The matter ended with the fact that after serving for a year and a half, Turgenev, much to the chagrin and displeasure of his mother, retired.
In 1847, Turgenev, together with the Viardot family, went abroad, lived in Berlin, Dresden, visited the sick Belinsky in Silesia, with whom he had the closest friendship, and then went to France. His affairs were in the most deplorable situation; he lived on loans from friends, advances from editorial offices, and even by reducing his needs to the minimum. Under the pretext of the need for solitude, he spent the winter months in complete solitude, either in Viardot's empty dacha or in the abandoned castle of Georges Sand, eating whatever he could find.
In 1850, Turgenev returned to Russia, but he never met his mother, who died that same year. Having shared his mother's large fortune with his brother, he eased the hardships of the peasants he inherited as much as possible. In 1852, a thunderstorm unexpectedly struck him. After Gogol's death, Turgenev wrote an obituary, which was not missed by the St. Petersburg censorship, because, as the famous Musin-Pushkin put it, “it is criminal to speak so enthusiastically about such a writer.” Only in order to show that “cold” Petersburg was also excited by the great loss, Turgenev sent an article to Moscow, V.P. Botkin, and he published it in Moskovskie Vedomosti.
In the intervals between his four famous novels, Turgenev wrote a thoughtful article “Hamlet and Don Quixote” (1860) and three wonderful stories: “Faust” (1856), “Asya” (1858), “First Love” (1860), in which gave several attractive female images. Princess Zasekina ("First Love") is simply graceful and flirtatious, but the heroine of "Faust" and Asya are unusually deep and integral natures. The first one burned from the depth of feeling that suddenly flew over her; Asya, like Natalya in “Rudin,” fled from her feeling when she saw how the weak-willed man she fell in love with did not correspond to his strength. - In “Fathers and Sons” Turgenev’s creativity reached its culmination point.
Creator of public opinion With amazing sensitivity reflecting the moods and trends of the era that were in the air, Turgenev himself, to a certain extent, was the creator of social trends. Turgenev’s novels were not only read, but his heroes and heroines were imitated in life. When starting to depict the newly-minted “children,” Turgenev could not help but be aware of his alienation from them. In "On the Eve" he stands on the side of the young heroes of the novel, and he directly bows down to Elena, who so shocked people with her deviations from the conventional morality of the people of the old generation. He could not feel such sympathy for Bazarov, with his materialistic disdain for art and poetry, with his harshness, so alien to Turgenev’s soft nature.
Magazine "Russian Messenger" Katkov, who published the novel in his magazine, wrote to Turgenev: "You are groveling before the younger generation." But the novel appeared at a very acute moment: the old concept of “harmful” ideas was revived again, a nickname was needed to denote political radicalism. It was found in the word “nihilist,” which Bazarov uses to define his negative attitude towards everything. Turgenev noted with horror how this term was used by people with whose political views it had nothing in common. In literature, the hostile attitude towards the novel was most clearly reflected in the article by the critic of Sovremennik, M.A. Antonovich: "Asmodeus of our time." With Sovremennik, where Turgenev was a permanent contributor until 1859, he had already established a cold relationship, partly because of Turgenev’s personal relationship with Nekrasov, partly because the radicalism of Chernyshevsky and Dobrolyubov was not sympathetic to Turgenev.
The image of Turgenev's girl In his stories of those years, Turgenev captured the image of a Russian woman at the moment of her spiritual awakening, at the time when she began to realize herself as an individual: “... what is a Russian woman? What is her fate, her position in the world - in a word, what is her life? Turgenev's heroine is not satisfied with ordinary household chores, she “demands a lot from life, she reads, dreams... about love... but for her this word means a lot.” She is waiting for a hero who embodies everything for her: “happiness, love, and thought” - a hero who is able to change the course of life and resist “human vulgarity.” Having believed in the hero, Turgenev’s heroine “reveres him... studies, loves.” The image of Turgenev's girl was not motionless. From story to story, the typical generalization that this image carried within itself became more and more profound and modern, absorbing features that each time illuminated a new side of Russian reality. Turgenev's girls are similar in the main thing - in relation to the ideal of life. These are girls full of rainbow, “winged hopes”, discovering for the first time a new world of bright feelings and thoughts.
The last years of his life Towards the end of his life, Turgenev's fame reached its apogee both in Russia, where he again became everyone's favorite, and in Europe, where criticism, in the person of its most prominent representatives - Taine, Renan, Brandes and others - ranked him among the first writers of the century. His visits to Russia in 1878 - 1881 were true triumphs. All the more painfully everyone was struck by the news of the severe turn that his usual gouty pains had taken since 1882. Turgenev died courageously, with full awareness of the approaching end, but without any fear of it. His death (in Bougival near Paris, August 22, 1883) made a huge impression, the expression of which was a grandiose funeral. The body of the great writer was, according to his wishes, brought to St. Petersburg and buried in the Volkov cemetery in front of such a crowd of people, which had never before or since been present at the funeral of a private person.
The themes of the projects are “The connection of times has broken down...” “Retired people” and “Heirs” “What is Bazarov? - He is a nihilist" "Bazarov in the face of love and death"
The life and work of I.S. Turgenev Prepared by: student of the 10th “A” class Selivanova Yulia I.S. Turgenev. Review of creativity. What was he thinking about after living a beautiful life and leaving this earth? What did you remember, lying at the window of a villa in Bougival near Paris, looking at barges and boats floating along the Seine, at green meadows, chestnut trees, poplars, ash trees, weeping willows, and sparkling clouds? What was he thinking when he left? The main goals and objectives are to expand students’ knowledge about the personal and creative biography of the writer; introduce the history of the creation of the novel “Fathers and Sons”; begin collecting material for students to create a project; make notes during a lesson on the biography of a writer. Questions for discussion 1. What is characteristic of the era in which I. S. Turgenev lived? 2. How was the era reflected in the writer’s work? 3. What is the essence of I. S. Turgenev’s artistic attitude? 4. What are the socio-political views of the writer? 5. What requirements does I. S. Turgenev make for his heroes? 6. Who are the “Turgenev girls”? What qualities should they have? The writer's father I.S. Turgenev was born on October 28, 1818 in Orel. It is difficult to imagine a greater contrast than the general spiritual appearance of Turgenev and the environment from which he directly emerged. His father, Sergei Nikolaevich, a retired cuirassier colonel, was a remarkably handsome man, insignificant in his moral and mental qualities. The son did not like to remember him, and in those rare moments when he spoke to friends about his father, he characterized him as “a great fisher before the Lord.” Family nest Turgenev's estate SpasskoyeLutovinovo is the native nest of the great writer. He spent his childhood here, he came here more than once and lived for a long time in adulthood. In Spassky-Lutovinovo, Turgenev worked on the creation of the novels “Rudin”, “The Noble Nest”, “On the Eve”, “Fathers and Sons”, “Nov”, wrote many short stories, novellas, “poems in prose”. Turgenev's guests in Spassky-Lutovinovo were A. A. Fet, M. S. Shchepkin, N. A. Nekrasov. L. N. Tolstoy. M. G. Savina, V. M. Garshin and many other prominent representatives of Russian culture. The Spasskoye-Lutovinovo manor house and its shady linden alleys, its surroundings are reflected in the pages of “Notes of a Hunter,” novels, novellas, and stories by Turgenev, which throughout the world glorified the dim, but full of irresistible charm, beauty of the nature of central Russia. Turgenev's house in the office of the writer Spassky with its huge library, study, living room. “Savino’s room” is inextricably linked with the memory of the writer’s creative thoughts, his intimate conversations and heated debates with friends, with the memory of the harsh Lutovinovo antiquity. Library Since 1850, Spasskoye-Lutovinovo began to belong to I. S. Turgenev. For many years, Ivan Sergeevich did not make radical changes to the structure of the house. however, under him, the purpose of the rooms and, accordingly, the furnishings changed significantly. The servants’ rooms on the mezzanine were empty, “the lady’s own office” was gone, only the previous names remained behind the “maid’s room” and “casino”, the writer furnished the office to his liking, and the library became one of the main rooms of the house. The Lutovinov family The Lutovinov family was a mixture of cruelty, greed and voluptuousness (Turgenev depicted its representatives in “Three Portraits” and in “Ovsyanikov’s Palace”). Having inherited their cruelty and despotism from the Lutovinovs, Varvara Petrovna was embittered by her personal fate. Having lost her father early, she suffered both from her mother, depicted by her grandson in the essay “Death” (an old woman), and from a violent, drunken stepfather, who, when she was little, barbarously beat and tortured her, and when she grew up, began to pursue him with vile proposals . On foot, half dressed, she escaped to her uncle, I.I. Lutovinov, who lived in the village of Spassky - the same rapist who is described in Ovsyanikov's Odnodvorets. The writer's mother, almost completely alone, insulted and humiliated, Varvara Petrovna lived for up to 30 years in her uncle's house, until his death made her the owner of a magnificent estate and 5,000 souls. All information that has been preserved about Varvara Petrovna paints her in the most unattractive form. Through the environment of “beatings and torture” she created, Turgenev carried his gentle soul unharmed, in which it was the spectacle of the furies of the landowners’ power, long before theoretical influences, that prepared the protest against serfdom. He himself was subjected to cruel “beatings and torture,” although he was considered his mother’s favorite son. Childhood The love for Russian literature was secretly instilled in Turgenev by one of the serf valets, depicted by him, in the person of Punin, in the story “Punin and Baburin.” Until the age of 9, Turgenev lived in the hereditary Lutovinovsky Spassky (10 versts from Mtsensk, Oryol province). Youth In 1827, the Turgenevs settled in Moscow to educate their children; They bought a house on Samotek. Turgenev first studied at the Weidenhammer boarding school; then he was sent as a boarder to the director of the Lazarevsky Institute, Krause. In 1833, 15-year-old Turgenev (this age of students, given the low requirements at that time, was common) entered the literature department of Moscow University. A year later, due to his older brother joining the Guards Artillery, the family moved to St. Petersburg, and Turgenev then moved to St. Petersburg University. As a 3rd year student, he presented to his court his drama “Stenio” written in iambic pentameter, in Turgenev’s own words “a completely ridiculous work, in which a slavish imitation of Byron’s Manfred was expressed with furious ineptitude.” In 1836, Turgenev completed the course with the degree of a full student. Dreaming of scientific activity, the following year he again took the final exam, received a candidate's degree, and in 1838 he went to Germany. Having settled in Berlin, Turgenev diligently took up his studies. He didn’t have to “improve” so much as sit down to learn the ABCs. Listening to lectures on the history of Roman and Greek literature at the university, he was forced to “cram” the elementary grammar of these languages at home. Turgenev was greatly impressed by the entire system of Western European life. The conviction took root in his soul that only the assimilation of the basic principles of universal human culture could lead Russia out of the darkness in which it was plunged. In this sense, he becomes a convinced “Westerner.” In 1841 Turgenev returned to his homeland. But Turgenev had already lost his passion for professional learning; he is becoming more and more attracted to literary activities. In 1843 it starts to print. Adult life In 1842, Turgenev, at the request of his mother, entered the office of the Ministry of Internal Affairs. He was a very bad official, and the head of the office, Dahl, although he was also a writer, was very pedantic about his service. The matter ended with the fact that after serving for a year and a half, Turgenev, much to the chagrin and displeasure of his mother, retired. In 1847, Turgenev, together with the Viardot family, went abroad, lived in Berlin, Dresden, visited the sick Belinsky in Silesia, with whom he had the closest friendship, and then went to France. His affairs were in the most deplorable situation; he lived on loans from friends, advances from editorial offices, and even by reducing his needs to the minimum. Under the pretext of the need for solitude, he spent the winter months in complete solitude, either in Viardot's empty dacha or in the abandoned castle of Georges Sand, eating whatever he could find. In 1850, Turgenev returned to Russia, but he never met his mother, who died that same year. Having shared his mother's large fortune with his brother, he eased the hardships of the peasants he inherited as much as possible. In 1852, a thunderstorm unexpectedly struck him. After Gogol's death, Turgenev wrote an obituary, which was not missed by the St. Petersburg censorship, because, as the famous Musin-Pushkin put it, “it is criminal to speak so enthusiastically about such a writer.” Only in order to show that “cold” Petersburg was also excited by the great loss, Turgenev sent an article to Moscow, V.P. Botkin, and he published it in Moskovskie Vedomosti. In the intervals between his four famous novels, Turgenev wrote a thoughtful article “Hamlet and Don Quixote” (1860) and three wonderful stories: “Faust” (1856), “Asya” (1858), “First Love” (1860), in which gave several attractive female images. Princess Zasekina ("First Love") is simply graceful and flirtatious, but the heroine of "Faust" and Asya are unusually deep and integral natures. The first one burned from the depth of feeling that suddenly flew over her; Asya, like Natalya in “Rudin,” fled from her feeling when she saw how the weak-willed man she fell in love with did not correspond to his strength. - In “Fathers and Sons” Turgenev’s creativity reached its culmination point. Creator of public opinion With amazing sensitivity reflecting the moods and trends of the era that were in the air, Turgenev himself, to a certain extent, was the creator of social trends. Turgenev’s novels were not only read, but his heroes and heroines were imitated in life. When starting to depict the newly-minted “children,” Turgenev could not help but be aware of his alienation from them. In "On the Eve" he stands on the side of the young heroes of the novel, and he directly bows down to Elena, who so shocked people with her deviations from the conventional morality of the people of the old generation. He could not feel such sympathy for Bazarov, with his materialistic disdain for art and poetry, with his harshness, so alien to Turgenev’s soft nature. Magazine "Russian Messenger" Katkov, who published the novel in his magazine, wrote to Turgenev: "You are groveling before the younger generation." But the novel appeared at a very acute moment: the old concept of “harmful” ideas was revived again, a nickname was needed to denote political radicalism. It was found in the word “nihilist,” which Bazarov uses to define his negative attitude towards everything. Turgenev noted with horror how this term was used by people with whose political views it had nothing in common. In literature, the hostile attitude towards the novel was most clearly reflected in the article by the critic of Sovremennik, M.A. Antonovich: "Asmodeus of our time." With Sovremennik, where Turgenev was a permanent contributor until 1859, he had already established a cold relationship, partly because of Turgenev’s personal relationship with Nekrasov, partly because the radicalism of Chernyshevsky and Dobrolyubov was not sympathetic to Turgenev. The image of Turgenev's girl In his stories of those years, Turgenev captured the image of a Russian woman at the moment of her spiritual awakening, at the time when she began to realize herself as an individual: “... what is a Russian woman? What is her fate, her position in the world - in a word, what is her life? Turgenev's heroine is not satisfied with ordinary household chores, she “demands a lot from life, she reads, dreams... about love... but for her this word means a lot.” She is waiting for a hero who embodies everything for her: “happiness, love, and thought” - a hero who is able to change the course of life and resist “human vulgarity.” Having believed in the hero, Turgenev’s heroine “reveres him... studies, loves.” The image of Turgenev's girl was not motionless. From story to story, the typical generalization that this image carried within itself became more and more profound and modern, absorbing features that each time illuminated a new side of Russian reality. Turgenev's girls are similar in the main thing - in relation to the ideal of life. These are girls full of rainbow, “winged hopes”, discovering for the first time a new world of bright feelings and thoughts. The last years of his life Towards the end of his life, Turgenev's fame reached its apogee both in Russia, where he again became everyone's favorite, and in Europe, where criticism, in the person of its most prominent representatives - Taine, Renan, Brandes and others - ranked him among the first writers of the century. His visits to Russia in 1878 - 1881 were true triumphs. All the more painfully everyone was struck by the news of the severe turn that his usual gouty pains had taken since 1882. Turgenev died courageously, with full awareness of the approaching end, but without any fear of it. His death (in Bougival near Paris, August 22, 1883) made a huge impression, the expression of which was a grandiose funeral. The body of the great writer was, according to his wishes, brought to St. Petersburg and buried in the Volkov cemetery in front of such a crowd of people, which had never before or since been present at the funeral of a private person. Topics for discussion “The connection of times has broken down...” “Retired people” and “Heirs” “What is Bazarov? - He is a nihilist" "Bazarov in the face of love and death"
Ivan Sergeevich Turgenev considered himself a writer of a “transitional era.” He entered the literary path when Pushkin and Lermontov were no longer around, became famous when Gogol fell silent, Dostoevsky was in hard labor, and Leo Tolstoy was still an aspiring writer and Turgenev took care of him.
His youth fell in the 40s of the 19th century - a time when a whole generation of Russian intelligentsia was formed, to which Turgenev counted himself. Literature did not pass by this generation and, following the images of Onegin and Pechorin, captured another type of Russian life - the “man of the 40s.” Turgenev saw in himself and those around him the traits of this type, both good and bad, and paid tribute to him with his stories and novels.
These years were not a time of action, but of ideological debate. It was then that two currents of Russian social thought took shape - Slavophilism and Westernism. The dispute between them was about which way Russia should develop. That is, both of them believed that the current state of the country and people is ugly. But how to get out of this state?
Slavophiles believed that all of Russia's troubles began with Peter I, who forcibly turned Russia onto the Western path of development. At the same time, he disfigured what constituted the strength of the Russian nation: the spiritual authority of the Orthodox Church, the communal nature of work and life, the peasant type of thinking.
Westerners believed that the reforms of Peter I were caused by the general crisis state of Ancient Rus', its backwardness, and all the current troubles come from the fact that Peter’s work was not completed. They argued that there is no need to invent some kind of “special” Russian path, when there is a ready-made road of progress and civilization, trodden by Western Europe, with its respect for freedom and individual rights.
Despite theoretical differences, Westerners and Slavophiles agreed in their criticism of the existing order of things, and the history of Russia went beyond their disputes. Turgenev himself was well aware of the limitations of any “system of views.” But he tried to see the truth of each side: the Westerners, the Slavophiles, and the new, radical generation. Turgenev considered himself a Westerner. However, it was the Westerner Turgenev who discovered folk Russia for Russian literature, and for Europe - Russian literature itself.
The world “fictional” by Turgenev
At the end of his life, the writer created a series of works that he called “Poems in Prose.” These are small sketches of a lyrical, philosophical, everyday nature. They, like a drop of water, reflect the writer’s universe. They clearly revealed the motives, style and author’s concept of the world, that is, the writer’s idea of what a person is and what his place and purpose is in society and on earth, what truth, goodness and beauty are in art and life.
“Only... love holds and moves life”
Turgenev could not help but know Nekrasov’s lines: “That heart will not learn to love that is tired of hating.” This position was always alien to Turgenev, although he could respect people who saw hatred as an indispensable companion of love. Among them were many of his personal friends, like Nekrasov, people who for him personified the honesty and sincerity of youth in the fight against outdated orders. But “preaching love with a hostile word of denial” was impossible for him. His ideal was Pushkin's attitude to life, in which love is the highest manifestation of the tragic beauty of the world.
"Noble Nests"
The favorite setting in Turgenev’s works is “noble nests” with the atmosphere of sublime experiences reigning in them. At the same time, the “noble nest” is a model of Russian society; here the fate of a person and the fate of Russia are decided. The noble estate is the node in which the life of the peasantry and the educated class, antiquity and newness are connected, here the views of “fathers” and “children” collide. Finally, the life of the estate is closely connected with the life of nature and obeys its rhythm: spring is a time of hope, summer of trials, autumn of gains and losses, and winter represents death. Turgenev's novels also follow this rhythm. The action of the novel “Fathers and Sons” begins in spring and ends in winter.
“Nest” is one of the key words in Turgenev’s artistic world. Speaking about “noble nests”, we used the name of one of Turgenev’s novels. "Nest" is a house. Homelessness is a misfortune. Turgenev himself experienced this himself, bitterly saying that he lived “on the edge of someone else’s nest,” that is, he was forced to spend his life next to the family of the singer and actress Pauline Viardot, whose love was his happiness and drama. Turgenev’s “nest” is a symbol of a family where the connection between generations is not interrupted. The hero of “Fathers and Sons”, having learned about the upcoming marriage of his friend, advises studying jackdaws, because the jackdaw is “the most respectable, family bird”... The “parental nest” is the place of birth and resting place, it closes the life cycle, like this happened to Bazarov.
“Love... is stronger than death and the fear of death”
Unlike Tolstoy and Dostoevsky, Turgenev does not have a motif of resurrection. Turgenev's death is absolute, it is the abolition of earthly existence, it is the irrevocable dissolution of the soul in nature. Therefore, the situation of the death of Turgenev’s hero is in some sense more tragic than that of the great contemporary writers. Gogol dreamed of reviving Chichikov and Plyushkin to spiritual life. Rodion Raskolnikov experiences spiritual death and resurrection. Death becomes an exit to another world for Tolstoy's heroes. For Turgenev, physical death is forever. And only the memory of love holds the irretrievably gone image of a person. Confirmation of this is the ending of the novel “Fathers and Sons”.
