Where was Turgenev? The writer Ivan Sergeevich Turgenev died near Paris. Film “The Great Singer of Great Russia. I.S. Turgenev"
Turgenev Ivan Sergeevich (1818-1883)
Great Russian writer. Born in the city of Orel, into a middle-class noble family. He studied at a private boarding school in Moscow, then at universities - Moscow, St. Petersburg, Berlin. Turgenev began his literary career as a poet. In 1838-1847 he writes and publishes lyrical poems and poems in magazines (“Parasha”, “Landowner”, “Andrey”, etc.).
At first, Turgenev's poetic creativity developed under the sign of romanticism, later realistic features predominated in it.
Having switched to prose in 1847 (“Khor and Kalinich” from the future “Notes of a Hunter”), Turgenev left poetry, but at the end of his life he created a wonderful cycle of “Poems in Prose.”
Had a great influence on Russian and world literature. An outstanding master of psychological analysis and description of pictures of nature. He created a number of socio-psychological novels - “Rudin” (1856), “On the Eve” (1860), “ Noble Nest"(1859), "Fathers and Sons" (1862), the stories "Leia", "Spring Waters", in which he brought out both representatives of the outgoing noble culture and new heroes of the era - commoners and democrats. His images of selfless Russian women enriched literary studies with a special term - “Turgenev girls”.
In his later novels “Smoke” (1867) and “Nov” (1877) he depicted the life of Russians abroad.
At the end of his life, Turgenev turned to memoirs (“Literary and Everyday Memoirs”, 1869-80) and “Poems in Prose” (1877-82), where almost all the main themes of his work are presented, and the summing up takes place as if in the presence of approaching death.
The writer died on August 22 (September 3), 1883 in Bougival, near Paris; buried at the Volkov cemetery in St. Petersburg. Death was preceded by more than a year and a half of painful illness (spinal cord cancer).
TURGENEV Ivan Sergeevich(1818 - 1883), Russian writer, corresponding member of the St. Petersburg Academy of Sciences (1860). In the cycle of stories “Notes of a Hunter” (1847-52) he showed the high spiritual qualities and talent of the Russian peasant, the poetry of nature. In the socio-psychological novels “Rudin” (1856), “The Noble Nest” (1859), “On the Eve” (1860), “Fathers and Sons” (1862), the stories “Asya” (1858), “Spring Waters” (1872) ) images of the passing noble culture and new heroes of the era of commoners and democrats, images of selfless Russian women were created. In the novels “Smoke” (1867) and “Nov” (1877) he depicted the life of Russians abroad and the populist movement in Russia. In his later years, he created the lyrical and philosophical “Poems in Prose” (1882). A master of language and psychological analysis, Turgenev had a significant influence on the development of Russian and world literature.
TURGENEV Ivan Sergeevich, Russian writer.
On his father's side, Turgenev belonged to an old noble family; his mother, nee Lutovinova, was a wealthy landowner; on her estate Spasskoye-Lutovinovo (Mtsensk district of the Oryol province) the childhood years of the future writer passed, who early learned to subtly feel nature and hate serfdom. In 1827 the family moved to Moscow; At first, Turgenev studied in private boarding schools and with good home teachers, then, in 1833, he entered the literature department of Moscow University, and in 1834 he transferred to the history and philology department of St. Petersburg University. One of the strongest impressions early youth(1833) falling in love with Princess E. L. Shakhovskaya, who was experiencing an affair with Turgenev’s father at that time, was reflected in the story “First Love” (1860).
In 1836, Turgenev showed his poetic experiments in a romantic spirit to the writer of Pushkin’s circle, university professor P. A. Pletnev; he invites the student to literary evening
In May 1838, Turgenev went to Germany (the desire to complete his education was combined with rejection of the Russian way of life, based on serfdom). The disaster of the steamship “Nicholas I”, on which Turgenev sailed, will be described by him in the essay “Fire at Sea” (1883; in French). Until August 1839, Turgenev lived in Berlin, attended lectures at the university, studied classical languages, wrote poetry, and communicated with T. N. Granovsky and N. V. Stankevich. After a short stay in Russia, in January 1840 he went to Italy, but from May 1840 to May 1841 he was again in Berlin, where he met M. A. Bakunin. Arriving in Russia, he visits the Bakunins' estate Premukhino, meets with this family: soon an affair with T. A. Bakunina begins, which does not interfere with the connection with the seamstress A. E. Ivanova (in 1842 she will give birth to Turgenev's daughter Pelageya). In January 1843 Turgenev entered service in the Ministry of Internal Affairs.
In 1843, a poem based on modern material, “Parasha,” appeared, which was highly appreciated by V. G. Belinsky. Acquaintance with the critic, which turned into friendship (in 1846 Turgenev became the godfather of his son), rapprochement with his entourage (in particular, with N. A. Nekrasov) changed his literary orientation: from romanticism he turned to an ironic and morally descriptive poem (“The Landowner” , “Andrei”, both 1845) and prose close to the principles of the “natural school” and not alien to the influence of M. Yu. Lermontov (“Andrei Kolosov”, 1844; “Three Portraits”, 1846; “Breter”, 1847).
November 1, 1843 Turgenev meets the singer Pauline Viardot (Viardot-Garcia), whose love will largely determine the external course of his life. In May 1845 Turgenev retired. From the beginning of 1847 to June 1850, he lives abroad (in Germany, France; Turgenev is a witness to the French Revolution of 1848): he takes care of the sick Belinsky during his travels; communicates closely with P. V. Annenkov, A. I. Herzen, meets J. Sand, P. Mérimée, A. de Musset, F. Chopin, C. Gounod; writes the stories “Petushkov” (1848), “Diary extra person"(1850), the comedy "The Bachelor" (1849), "Where it is thin, there it breaks", "Provincial Girl" (both 1851), the psychological drama "A Month in the Country" (1855).
The main work of this period is “Notes of a Hunter,” a cycle of lyrical essays and stories that began with the story “Khor and Kalinich” (1847; the subtitle “From the Notes of a Hunter” was invented by I. I. Panaev for publication in the “Mixture” section of the Sovremennik magazine) ); a separate two-volume edition of the cycle was published in 1852; later the stories “The End of Chertopkhanov” (1872), “Living Relics”, “Knocking” (1874) were added. The fundamental diversity of human types, isolated for the first time from a previously unnoticed or idealized mass of people, testified to the infinite value of every unique and free human personality; the serfdom appeared as an ominous and dead force, alien to natural harmony (detailed specifics of heterogeneous landscapes), hostile to man, but unable to destroy the soul, love, creative gift. Having discovered Russia and the Russian people, laying the foundation for " peasant theme"in Russian literature, "Notes of a Hunter" became the semantic foundation of all of Turgenev's further work: from here the threads stretch both to the study of the phenomenon of the "superfluous man" (the problem outlined in "Hamlet of the Shchigrovsky District"), and to the understanding of the mysterious ("Bezhin Meadow") , and to the problem of the artist’s conflict with the everyday life that stifles him (“Singers”).
In April 1852, for his response to the death of N.V. Gogol, which was banned in St. Petersburg and published in Moscow, Turgenev, by the highest order, was put on the congress (the story “Mumu” was written there). In May he was exiled to Spasskoye, where he lived until December 1853 (work on an unfinished novel, the story “Two Friends”, acquaintance with A. A. Fet, active correspondence with S. T. Aksakov and writers from the Sovremennik circle); A.K. Tolstoy played an important role in efforts to free Turgenev.
Until July 1856, Turgenev lived in Russia: in the winter, mainly in St. Petersburg, in the summer in Spassky. His closest environment is the editorial office of Sovremennik; acquaintances took place with I. A. Goncharov, L. N. Tolstoy and A. N. Ostrovsky; Turgenev takes part in the publication of F. I. Tyutchev’s “Poems” (1854) and provides it with a preface. Mutual cooling with the distant Viardot leads to a brief, but almost ending in marriage, affair with distant relative O. A. Turgeneva. The stories “The Calm” (1854), “Yakov Pasynkov” (1855), “Correspondence”, “Faust” (both 1856) were published.
“Rudin” (1856) opens a series of Turgenev’s novels, compact in volume, unfolding around a hero-ideologist, journalistically accurately capturing current socio-political issues and, ultimately, placing “modernity” in the face of the unchanging and mysterious forces of love, art, nature . Inflaming the audience, but incapable of action, the “superfluous man” Rudin; Lavretsky, dreaming in vain about happiness and coming to humble self-sacrifice and hope for happiness for the people of modern times (“The Noble Nest”, 1859; events take place in the context of the approaching “great reform”); the “iron” Bulgarian revolutionary Insarov, who becomes the chosen one of the heroine (that is, Russia), but is “stranger” and doomed to death (“On the Eve”, 1860); " new person"Bazarov, hiding a romantic rebellion behind nihilism ("Fathers and Sons", 1862; post-reform Russia is not freed from eternal problems, and "new" people remain people: the "dozen" will live, but those captured by passion or idea will die); the characters of “Smoke” (1867), sandwiched between “reactionary” and “revolutionary” vulgarity; revolutionary populist Nezhdanov, an even more “new” person, but still unable to answer the challenge of a changed Russia (“Nov”, 1877); all of them, coupled with minor characters(with individual dissimilarity, differences in moral and political orientations and spiritual experience, varying degrees of closeness to the author), are closely related, combining in different proportions the features of two eternal psychological types of the heroic enthusiast, Don Quixote, and the self-absorbed reflector, Hamlet (cf. programmatic article “Hamlet and Don Quixote”, 1860).
Having departed abroad in July 1856, Turgenev finds himself in a painful whirlpool of ambiguous relationships with Viardot and his daughter, who was raised in Paris. After the difficult Parisian winter of 1856-57 (the gloomy “Trip to Polesie” was completed), he went to England, then to Germany, where he wrote “Asya,” one of the most poetic stories, which, however, can be interpreted in a social way (article by N. G. . Chernyshevsky “Russian man at rendez-vous”, 1858), and spends the autumn and winter in Italy. By the summer of 1858 he was in Spassky; in the future, Turgenev’s year will often be divided into “European, winter” and “Russian, summer” seasons.
After "The Day Before" and dedicated to the novel articles by N. A. Dobrolyubov “When will the real day come?” (1860) Turgenev breaks up with the radicalized Sovremennik (in particular, with N.A. Nekrasov; their mutual hostility persisted until the end). The conflict with the “younger generation” was aggravated by the novel “Fathers and Sons” (pamphlet article by M. A. Antonovich “Asmodeus of Our Time” in Sovremennik, 1862; the so-called “schism in the nihilists” largely motivated the positive assessment of the novel in the article by D. I. Pisarev “Bazarov”, 1862). In the summer of 1861 there was a quarrel with L.N. Tolstoy, which almost turned into a duel (reconciliation in 1878). In the story “Ghosts” (1864), Turgenev condenses the mystical motifs outlined in “Notes of a Hunter” and “Faust”; this line will be developed in “The Dog” (1865), “The Story of Lieutenant Ergunov” (1868), “The Dream”, “The Story of Father Alexei” (both 1877), “Song of Triumphant Love” (1881), “After Death (Klara Milich )" (1883). The theme of the weakness of man, who turns out to be the toy of unknown forces and doomed to non-existence, to a greater or lesser extent colors all of Turgenev’s late prose; it is most directly expressed in lyrical story
"Enough!" (1865), perceived by contemporaries as evidence (sincere or flirtatiously hypocritical) of Turgenev’s situationally determined crisis (cf. F. M. Dostoevsky’s parody in the novel “Demons”, 1871). In 1863, a new rapprochement between Turgenev and Pauline Viardot took place; until 1871 they lived in Baden, then (at the end of the Franco-Prussian War) in Paris. Turgenev is closely associated with G. Flaubert and through him with E. and J. Goncourt, A. Daudet, E. Zola, G. de Maupassant; he assumes the function of an intermediary between Russian and Western literatures. His pan-European fame is growing: in 1878, at the international literary congress in Paris, the writer was elected vice-president; in 1879 he received an honorary doctorate from the University of Oxford.
Turgenev maintains contacts with Russian revolutionaries (P. L. Lavrov, G. A. Lopatin) and provides material support to emigrants. In 1880, Turgenev took part in the celebrations in honor of the opening of the monument to Pushkin in Moscow. In 1879-81 life, Turgenev turns to memoirs (“Literary and Everyday Memoirs”, 1869-80) and “Poems in Prose” (1877-82), where almost all the main themes of his work are presented, and the summing up takes place as if in the presence of approaching death . Death was preceded by more than a year and a half of painful illness (spinal cord cancer).
Biography of I.S. Turgenev
Film “The Great Singer of Great Russia. I.S. Turgenev"
Ivan Sergeevich Turgenev. Born on October 28 (November 9), 1818 in Orel - died on August 22 (September 3), 1883 in Bougival (France). Russian realist writer, poet, publicist, playwright, translator. One of the classics of Russian literature who made the most significant contribution to its development in the second half of the 19th century. Corresponding Member Imperial Academy Sciences in the category of Russian language and literature (1860), honorary doctor of the University of Oxford (1879).
Created by him art system influenced the poetics of not only Russian, but also Western European novels of the second half of the 19th century century. Ivan Turgenev was the first in Russian literature to begin to study the personality of the “new man” - the sixties, his moral qualities And psychological characteristics, thanks to him, the term “nihilist” began to be widely used in Russian. He was a promoter of Russian literature and drama in the West.
Studying the works of I. S. Turgenev is a mandatory part of general education school programs Russia. Most famous works- a series of stories “Notes of a Hunter”, a story “Mumu”, a story “Asya”, novels “The Noble Nest”, “Fathers and Sons”.
The family of Ivan Sergeevich Turgenev came from an ancient family of Tula nobles, the Turgenevs. In a memorial book, the mother of the future writer wrote: “On October 28, 1818, on Monday, a son, Ivan, 12 inches tall, was born in Orel, in his house, at 12 o’clock in the morning. Baptized on the 4th of November, Feodor Semenovich Uvarov and his sister Fedosya Nikolaevna Teplova.”
Ivan's father Sergei Nikolaevich Turgenev (1793-1834) served at that time in a cavalry regiment. The carefree lifestyle of the handsome cavalry guard upset his finances, and to improve his position, in 1816 he entered into a marriage of convenience with the middle-aged, unattractive, but very wealthy Varvara Petrovna Lutovinova (1787-1850). In 1821, my father retired with the rank of colonel of a cuirassier regiment. Ivan was the second son in the family.
The mother of the future writer, Varvara Petrovna, came from a wealthy noble family. Her marriage to Sergei Nikolaevich was not happy.
The father died in 1834, leaving three sons - Nikolai, Ivan and Sergei, who died early from epilepsy. The mother was a domineering and despotic woman. She herself lost her father at an early age, suffered from the cruel attitude of her mother (whom her grandson later portrayed as an old woman in the essay “Death”), and from a violent, drinking stepfather, who often beat her. Due to constant beatings and humiliation, she later moved in with her uncle, after whose death she became the owner of a magnificent estate and 5,000 souls.
Varvara Petrovna was a difficult woman. Feudal habits coexisted in her with being well-read and educated; she combined concern for raising children with family despotism. Ivan was also subjected to maternal beatings, despite the fact that he was considered her beloved son. The boy was taught literacy by frequently changing French and German tutors.
In Varvara Petrovna’s family, everyone spoke exclusively French to each other, even prayers in the house were said in French. She traveled widely and was an enlightened woman who read a lot, but also mainly in French. But also native language and literature were not alien to her: she herself possessed excellent, figurative Russian speech, and Sergei Nikolaevich demanded that the children write letters to him in Russian during their father’s absences.
The Turgenev family maintained connections with V. A. Zhukovsky and M. N. Zagoskin. Varvara Petrovna followed the latest literature, was well aware of the works of N.M. Karamzin, V.A. Zhukovsky, and, whom she readily quoted in letters to her son.
A love of Russian literature was also instilled in young Turgenev by one of the serf valets (who later became the prototype of Punin in the story “Punin and Baburin”). Until he was nine years old, Ivan Turgenev lived on his mother’s hereditary estate Spasskoye-Lutovinovo, 10 km from Mtsensk, Oryol province.
In 1827, the Turgenevs, in order to give their children an education, settled in Moscow, buying a house on Samotek. The future writer first studied at the Weidenhammer boarding school, then became a boarder with the director of the Lazarev Institute I.F. Krause.
In 1833, at the age of 15, Turgenev entered the literature department of Moscow University. At the same time, they also studied here. A year later, after Ivan’s older brother joined the Guards Artillery, the family moved to St. Petersburg, where Ivan Turgenev transferred to the Faculty of Philosophy at St. Petersburg University. At the university, T. N. Granovsky, the future famous scientist-historian of the Western school, became his friend.
At first, Turgenev wanted to become a poet. In 1834, as a third-year student, he wrote a dramatic poem in iambic pentameter "Steno". The young author showed these samples of writing to his teacher, professor of Russian literature P. A. Pletnev. During one of his lectures, Pletnev quite strictly analyzed this poem, without revealing its authorship, but at the same time also admitted that there was “something in the author.”
These words prompted the young poet to write a number of more poems, two of which Pletnev published in 1838 in the Sovremennik magazine, of which he was the editor. They were published under the signature “....въ”. The debut poems were “Evening” and “To the Venus of Medicine”.
Turgenev's first publication appeared in 1836 - in the Journal of the Ministry of Public Education he published a detailed review of A. N. Muravyov's “On a Journey to Holy Places.”
By 1837, he had already written about a hundred short poems and several poems (the unfinished “The Old Man’s Tale,” “Calm on the Sea,” “Phantasmagoria on a Moonlit Night,” “Dream”). In 1836, Turgenev graduated from the university with the degree of a full student. Dreaming about scientific activity
, the following year he passed the final exam and received a candidate's degree. In 1838 he went to Germany, where he settled in Berlin and took up his studies seriously. Attended lectures on Roman history at the University of Berlin Greek literature
, and at home he studied the grammar of ancient Greek and Latin. Knowledge of ancient languages allowed him to read the ancient classics fluently. In May 1839 an old house in Spassky it burned down, and Turgenev returned to his homeland, but already in 1840 he went abroad again, visiting Germany, Italy and Austria. Impressed by his meeting with a girl in Frankfurt am Main, Turgenev later wrote a story.
"Spring Waters"
At the beginning of 1842, he submitted a request to Moscow University for admission to the exam for the degree of Master of Philosophy, but at that time there was no full-time professor of philosophy at the university, and his request was rejected. Unable to find a job in Moscow, Turgenev satisfactorily passed the exam for a master's degree in Greek and Latin philology at Latin at St. Petersburg University and wrote a dissertation for the literature department. But by this time, the craving for scientific activity had cooled, and literary creativity began to attract more and more.
Having refused to defend his dissertation, he served until 1844 with the rank of collegiate secretary in the Ministry of Internal Affairs.
In 1843, Turgenev wrote the poem “Parasha”. Not really hoping for positive feedback, he still took the copy to V.G. Belinsky. Belinsky praised Parasha, publishing his review in Otechestvennye zapiski two months later. From that time on, their acquaintance began, which later grew into a strong friendship. Turgenev was even godfather to Belinsky’s son, Vladimir.
In November 1843, Turgenev created a poem "Foggy Morning", set to music over the years by several composers, including A.F. Gedicke and G.L. Catoire. The most famous, however, is the romance version, originally published under the signature “Music of Abaza.” Whether it belongs to V.V. Abaza, E.A. Abaza or Yu.F. Abaza has not been definitively established. After its publication, the poem was perceived as a reflection of Turgenev's love for Pauline Viardot, whom he met at this time.
A poem was written in 1844 "Pop", which the writer himself characterized rather as fun, devoid of any “deep and significant ideas.” Nevertheless, the poem attracted public interest for its anti-clerical nature. The poem was truncated by Russian censorship, but was published in its entirety abroad.
In 1846, the stories “Breter” and “Three Portraits” were published. In “The Breter,” which became Turgenev’s second story, the writer tried to imagine the struggle between Lermontov’s influence and the desire to discredit posturing. The plot for his third story, “Three Portraits,” was drawn from the Lutovinov family chronicle.
Since 1847, Ivan Turgenev participated in the transformed Sovremennik, where he became close to N. A. Nekrasov and P. V. Annenkov. His first feuilleton “Modern Notes” was published in the magazine, the first chapters began to be published "Notes of a Hunter". In the very first issue of Sovremennik, the story “Khor and Kalinich” was published, which opened countless publications famous book. The subtitle “From the Notes of a Hunter” was added by editor I. I. Panaev to attract the attention of readers to the story. The success of the story turned out to be enormous, and this gave Turgenev the idea of writing a number of others of the same kind.
In 1847, Turgenev and Belinsky went abroad and in 1848 lived in Paris, where he witnessed revolutionary events.
Having witnessed the killing of hostages, many attacks, the construction and fall of the barricades of the February French Revolution, he forever endured a deep disgust for revolutions in general. A little later, he became close to A.I. Herzen and fell in love with Ogarev’s wife N.A. Tuchkova.
The late 1840s - early 1850s became the time of Turgenev's most intense activity in the field of drama and a time of reflection on issues of history and theory of drama.
In 1848 he wrote such plays as “Where it is thin, there it breaks” and “Freeloader”, in 1849 - “Breakfast at the Leader” and “Bachelor”, in 1850 - “A Month in the Country”, in 1851 -m - “Provincial”. Of these, “Freeloader”, “Bachelor”, “Provincial Woman” and “A Month in the Country” enjoyed success thanks to excellent stage performances.
To master literary devices The writer also worked on translations of Shakespeare. At the same time, he did not try to copy Shakespeare’s dramatic techniques, he only interpreted his images, and all attempts by his contemporaries-playwrights to use Shakespeare’s work as a role model and to borrow his theatrical techniques only caused Turgenev irritation. In 1847 he wrote: “Shakespeare’s shadow looms over all dramatic writers; they cannot rid themselves of memories; These unfortunates read too much and lived too little.”
In 1850, Turgenev returned to Russia, but he never saw his mother, who died that same year. Together with his brother Nikolai, he shared his mother’s large fortune and, if possible, tried to ease the hardships of the peasants he inherited.
After Gogol's death, Turgenev wrote an obituary, which St. Petersburg censorship did not allow. The reason for her dissatisfaction was that, as the chairman of the St. Petersburg Censorship Committee M. N. Musin-Pushkin put it, “it is criminal to speak so enthusiastically about such a writer.” Then Ivan Sergeevich sent the article to Moscow, V.P. Botkin, who published it in Moskovskie Vedomosti. The authorities saw a rebellion in the text, and the author was placed in a moving house, where he spent a month. On May 18, Turgenev was exiled to his native village, and only thanks to the efforts of Count A.K. Tolstoy, two years later the writer again received the right to live in the capitals.
There is an opinion that the real reason for the exile was not Gogol’s obituary, but the excessive radicalism of Turgenev’s views, manifested in sympathy for Belinsky, suspiciously frequent trips abroad, sympathetic stories about serfs, and a laudatory review of Turgenev by the emigrant Herzen.
Censor Lvov, who allowed “Notes of a Hunter” to be published, was, by personal order of Nicholas I, dismissed from service and deprived of his pension.
Russian censorship also banned the re-publication of Notes of a Hunter, explaining this step by the fact that Turgenev, on the one hand, poeticized the serfs, and on the other hand, depicted “that these peasants are oppressed, that the landowners behave indecently and illegally... finally, that it is more comfortable for the peasant to live in freedom "
During his exile in Spassky, Turgenev went hunting, read books, wrote stories, played chess, listened to Beethoven’s “Coriolanus” performed by A.P. Tyutcheva and her sister, who lived in Spassky at that time, and from time to time was subjected to raids by the police officer .
Most of the “Notes of a Hunter” were created by the writer in Germany.
“Notes of a Hunter” was published in Paris as a separate edition in 1854, although at the beginning of the Crimean War this publication was in the nature of anti-Russian propaganda, and Turgenev was forced to publicly express his protest against the poor quality French translation Ernest Charrière. After the death of Nicholas I, four of the writer’s most significant works were published one after another: “Rudin” (1856), “The Noble Nest” (1859), “On the Eve” (1860) and “Fathers and Sons” (1862).
In the fall of 1855, Turgenev's circle of friends expanded. In September of the same year, Tolstoy’s story “Cutting the Forest” was published in Sovremennik with a dedication to I. S. Turgenev.
Turgenev took an active part in the discussion of the upcoming Peasant reform, participated in the development of various collective letters, draft addresses addressed to the sovereign, protests, etc.
In 1860, Sovremennik published an article “When will the real day come?”, in which the critic spoke very flatteringly about the new novel “On the Eve” and Turgenev’s work in general. Nevertheless, Turgenev was not satisfied with Dobrolyubov’s far-reaching conclusions that he made after reading the novel. Dobrolyubov connected the idea of Turgenev’s work with the events of the approaching revolutionary transformation of Russia, which the liberal Turgenev could not reconcile with.
At the end of 1862, Turgenev was involved in the trial of the 32 in the case of “persons accused of having relations with London propagandists.” After the authorities ordered an immediate appearance at the Senate, Turgenev decided to write a letter to the sovereign, trying to convince him of the loyalty of his convictions, “completely independent, but conscientious.” He asked for the interrogation points to be sent to him in Paris. In the end, he was forced to go to Russia in 1864 for Senate interrogation, where he managed to avert all suspicions from himself. The Senate found him not guilty. Turgenev’s appeal personally to Emperor Alexander II caused Herzen’s bilious reaction in The Bell.
In 1863, Turgenev settled in Baden-Baden. The writer actively participated in cultural life Western Europe, establishing acquaintances with the greatest writers of Germany, France and England, promoting Russian literature abroad and introducing Russian readers to the best works contemporary Western authors. Among his acquaintances or correspondents were Friedrich Bodenstedt, William Thackeray, Henry James, Charles Saint-Beuve, Hippolyte Taine, Prosper Mérimée, Ernest Renan, Théophile Gautier, Edmond Goncourt, Alphonse Daudet, .
Despite living abroad, all of Turgenev’s thoughts were still connected with Russia. He wrote a novel "Smoke"(1867), which caused a lot of controversy in Russian society. According to the author, everyone scolded the novel: “both red and white, and above, and below, and from the side - especially from the side.”
In 1868 Turgenev became permanent employee liberal magazine "Bulletin of Europe" and broke ties with M. N. Katkov.
Since 1874, famous Bachelor's "dinners of five" - Flaubert, Edmond Goncourt, Daudet, Zola and Turgenev. The idea belonged to Flaubert, but Turgenev was given the main role in them. Luncheons took place once a month. Various topics were raised at them - about the features of literature, about the structure French, told stories and simply enjoyed delicious food. Dinners were held not only at Parisian restaurateurs, but also at the homes of the writers themselves.
In 1878, at the international literary congress in Paris, the writer was elected vice-president.
On June 18, 1879, he was awarded the title of honorary doctor of the University of Oxford, despite the fact that the university had never given such an honor to any fiction writer before him.
The fruit of the writer’s thoughts in the 1870s became the largest in volume of his novels - "Nove"(1877), which was also criticized. For example, he regarded this novel as a service to the autocracy.
In April 1878, Leo Tolstoy invited Turgenev to forget all the misunderstandings between them, to which Turgenev happily agreed. Friendly relations and correspondence were resumed. Turgenev explained the significance of modern Russian literature, including Tolstoy's work, to Western readers. In general, Ivan Turgenev played a big role in promoting Russian literature abroad.
However, in the novel “Demons” he portrayed Turgenev as the “great writer Karmazinov” - a loud, petty, well-worn and practically mediocre writer who considers himself a genius and is holed up abroad. Similar attitude the ever-needy Dostoevsky to Turgenev was caused, among other things, by Turgenev’s secure position in his noble life and the highest literary fees for those times: “To Turgenev for his “Noble Nest” (I finally read it. Extremely well) Katkov himself (from whom I ask 100 rubles per sheet) gave 4000 rubles, that is, 400 rubles per sheet. My friend! I know very well that I write worse than Turgenev, but not too much worse, and finally, I hope to write not worse at all. Why am I, with my needs, taking only 100 rubles, and Turgenev, who has 2000 souls, 400 each?”
Turgenev, without hiding his hostility towards Dostoevsky, in a letter to M.E. Saltykov-Shchedrin in 1882 (after Dostoevsky’s death) also did not spare his opponent, calling him “the Russian Marquis de Sade.”
His visits to Russia in 1878-1881 were real triumphs. All the more alarming in 1882 was the news of a severe exacerbation of his usual gouty pain.
In the spring of 1882, the first signs of the disease were discovered, which soon turned out to be fatal for Turgenev. With temporary relief from the pain, he continued to work and a few months before his death he published the first part of “Poems in Prose” - a cycle of lyrical miniatures, which became his kind of farewell to life, homeland and art.
Parisian doctors Charcot and Jacquot diagnosed the writer with angina pectoris. Soon intercostal neuralgia joined her. Last time Turgenev was in Spassky-Lutovinovo in the summer of 1881. The sick writer spent the winters in Paris, and in the summer he was transported to Bougival to the Viardot estate.
By January 1883 the pain had become so severe that he could not sleep without morphine. He had surgery to remove a neuroma in the lower abdomen, but the surgery helped little because it did not relieve the pain in the thoracic region of the spine. The disease progressed; in March and April the writer suffered so much that those around him began to notice momentary cloudings of reason, caused in part by taking morphine.
The writer was fully aware of his imminent death and came to terms with the consequences of the disease, which deprived him of the ability to walk or simply stand.
The confrontation between “an unimaginably painful illness and an unimaginably strong organism” (P.V. Annenkov) ended on August 22 (September 3), 1883 in Bougival near Paris. Ivan Sergeevich Turgenev died from myxosarcoma (a malignant tumor of the bones of the spine). Doctor S.P. Botkin testified that the real reason
His death was clarified only after an autopsy, during which his brain was also weighed by physiologists. As it turned out, among those whose brains were weighed, Ivan Sergeevich Turgenev had the largest brain (2012 grams, which is almost 600 grams more than the average weight).
Turgenev's death was a great shock for his admirers, resulting in a very impressive funeral. The funeral was preceded by mourning celebrations in Paris, in which over four hundred people took part. Among them were at least a hundred Frenchmen: Edmond Abou, Jules Simon, Emile Ogier, Emile Zola, Alphonse Daudet, Juliette Adam, artist Alfred Dieudonnet, composer Jules Massenet. Ernest Renan addressed the mourners with a heartfelt speech.
Even from the border station of Verzhbolovo, memorial services were held at stops. On the platform of the St. Petersburg Warsaw Station there was a solemn meeting between the coffin and the body of the writer.
Russian liberals were outraged by this news, considering it a provocation. The conservative press represented by M. N. Katkov, on the contrary, took advantage of Lavrov’s message to posthumously persecute Turgenev in the Russky Vestnik and Moskovskiye Vedomosti in order to prevent the honoring in Russia of the deceased writer, whose body “without any publicity, with special caution” should was to arrive in the capital from Paris for burial.
The trace of Turgenev's ashes greatly worried the Minister of Internal Affairs D. A. Tolstoy, who feared spontaneous rallies. According to the editor of Vestnik Evropy, M. M. Stasyulevich, who accompanied Turgenev’s body, the precautions taken by officials were as inappropriate as if he were accompanying the Nightingale the Robber, and not the body of the great writer.
Personal life of Ivan Sergeevich Turgenev:
The first romantic interest of young Turgenev was falling in love with the daughter of Princess Shakhovskaya - Ekaterina Shakhovskaya(1815-1836), young poetess. The estates of their parents in the Moscow region bordered, they often exchanged visits. He was 15, she was 19.
In letters to her son, Varvara Turgenev called Ekaterina Shakhovskaya a “poet” and a “villain,” since Sergei Nikolaevich himself, Ivan Turgenev’s father, to whom the girl reciprocated, could not resist the charms of the young princess, which broke the heart of the future writer. The episode much later, in 1860, was reflected in the story “First Love,” in which the writer endowed some of the features of Katya Shakhovskaya with the heroine of the story, Zinaida Zasekina.
In 1841, during his return to Lutovinovo, Ivan became interested in the seamstress Dunyasha ( Avdotya Ermolaevna Ivanova). A romance began between the young couple, which ended in the girl’s pregnancy. Ivan Sergeevich immediately expressed a desire to marry her. However, his mother made a serious scandal about this, after which he went to St. Petersburg. Turgenev's mother, having learned about Avdotya's pregnancy, hastily sent her to Moscow to her parents, where Pelageya was born on April 26, 1842. Dunyasha was married off, leaving her daughter in an ambiguous position. Turgenev officially recognized the child only in 1857.
Soon after the episode with Avdotya Ivanova, Turgenev met Tatiana Bakunina(1815-1871), sister of the future emigrant revolutionary M. A. Bakunin. Returning to Moscow after his stay in Spassky, he stopped at the Bakunin estate Premukhino. The winter of 1841-1842 was spent in close communication with the circle of Bakunin brothers and sisters.
All of Turgenev's friends - N.V. Stankevich, V.G. Belinsky and V.P. Botkin - were in love with Mikhail Bakunin's sisters, Lyubov, Varvara and Alexandra.
Tatyana was three years older than Ivan. Like all young Bakunins, she was passionate about German philosophy and perceived her relationships with others through the prism of Fichte’s idealistic concept. She wrote letters to Turgenev on German, full of lengthy reasoning and introspection, despite the fact that the young people lived in the same house, and from Turgenev she also expected an analysis of the motives of her own actions and reciprocal feelings. “The ‘philosophical’ novel,” as G. A. Byaly noted, “in the vicissitudes of which the entire younger generation of Premukha’s nest took a lively part, lasted several months.” Tatyana was truly in love. Ivan Sergeevich did not remain completely indifferent to the love he awakened. He wrote several poems (the poem “Parasha” was also inspired by his communication with Bakunina) and a story dedicated to this sublimely ideal, mostly literary and epistolary hobby. But he could not respond with serious feelings.
Among the writer’s other fleeting hobbies, there were two more that played a certain role in his work. In the 1850s, a fleeting romance broke out with a distant cousin, eighteen-year-old Olga Alexandrovna Turgeneva. The love was mutual, and the writer was thinking about marriage in 1854, the prospect of which at the same time frightened him. Olga later served as the prototype for the image of Tatyana in the novel “Smoke”.
Turgenev was also indecisive with Maria Nikolaevna Tolstoy. Ivan Sergeevich wrote about Leo Tolstoy’s sister to P.V. Annenkov: “His sister is one of the most attractive creatures I have ever met. Sweet, smart, simple - I couldn’t take my eyes off her. In my old age (I turned 36 on the fourth day) - I almost fell in love.”
For the sake of Turgenev, twenty-four-year-old M.N. Tolstaya had already left her husband; she mistook the writer’s attention to herself for true love. But Turgenev limited himself to a platonic hobby, and Maria Nikolaevna served him as a prototype for Verochka from the story “Faust”.
In the autumn of 1843, Turgenev first saw him on the stage of the opera house, when great singer came on tour to St. Petersburg. Turgenev was 25 years old, Viardot was 22 years old. Then, while hunting, he met Polina’s husband, the director of the Italian Theater in Paris, a famous critic and art critic, Louis Viardot, and on November 1, 1843, he was introduced to Polina herself.
Among the mass of fans, she did not particularly single out Turgenev, who was better known as an avid hunter rather than a writer. And when her tour ended, Turgenev, together with the Viardot family, left for Paris against the will of his mother, still unknown to Europe and without money. And this despite the fact that everyone considered him a rich man. But this time his extremely cramped financial situation was explained precisely by his disagreement with his mother, one of the richest women in Russia and the owner of a huge agricultural and industrial empire.
For his attachment to the “damned gypsy,” his mother did not give him money for three years. During these years, his lifestyle bore little resemblance to the stereotype of the life of a “rich Russian” that had developed about him.
In November 1845, he returned to Russia, and in January 1847, having learned about Viardot’s tour in Germany, he left the country again: he went to Berlin, then to London, Paris, a tour of France and again to St. Petersburg. Without an official marriage, Turgenev lived with the Viardot family “on the edge of someone else’s nest,” as he himself said.
Polina Viardot raised Turgenev's illegitimate daughter.
In the early 1860s, the Viardot family settled in Baden-Baden, and with them Turgenev (“Villa Tourgueneff”). Thanks to the Viardot family and Ivan Turgenev, their villa became an interesting musical and artistic center.
The war of 1870 forced the Viardot family to leave Germany and move to Paris, where the writer also moved.
The true nature of the relationship between Pauline Viardot and Turgenev is still a matter of debate. There is an opinion that after Louis Viardot was paralyzed as a result of a stroke, Polina and Turgenev actually entered into a marital relationship. Louis Viardot was twenty years older than Polina; he died the same year as I. S. Turgenev.
Last love The writer became an actress at the Alexandrinsky Theater. Their meeting took place in 1879, when the young actress was 25 years old and Turgenev was 61 years old. The actress at that time played the role of Verochka in Turgenev’s play “A Month in the Village.” The role was played so vividly that the writer himself was amazed. After this performance, he went to the actress backstage with a large bouquet of roses and exclaimed: “Did I really write this Verochka?!”
Ivan Turgenev fell in love with her, which he openly admitted. The rarity of their meetings was compensated by regular correspondence, which lasted four years. Despite Turgenev's sincere relationship, for Maria he was rather good friend. She was planning to marry someone else, but the marriage never took place. Savina’s marriage to Turgenev was also not destined to come true - the writer died in the circle of the Viardot family.
Turgenev's personal life was not entirely successful. Having lived for 38 years in close contact with the Viardot family, the writer felt deeply lonely. Under these conditions, Turgenev’s depiction of love was formed, but love that was not entirely characteristic of his melancholy creative manner. There is almost no happy ending in his works, and the last chord is often sad. But nevertheless, almost none of the Russian writers paid so much attention to the depiction of love; no one idealized a woman to such an extent as Ivan Turgenev.
Turgenev never started his own family. The writer's daughter from seamstress Avdotya Ermolaevna Ivanova, married to Brewer (1842-1919), from the age of eight was raised in the family of Pauline Viardot in France, where Turgenev changed her name from Pelageya to Polina (Polinet, Paulinette), which seemed more euphonious to him.
Ivan Sergeevich arrived in France only six years later, when his daughter was already fourteen. Polinette almost forgot the Russian language and spoke exclusively French, which touched her father. At the same time, he was upset that the girl had developed difficult relationship with Viardot herself. The girl was hostile to her father's beloved, and soon this led to the fact that the girl was sent to a private boarding school. When Turgenev next came to France, he took his daughter from the boarding school, and they moved in together, and a governess from England, Innis, was invited for Polynet.
At the age of seventeen, Polynet met the young entrepreneur Gaston Brewer, who made a pleasant impression on Ivan Turgenev, and he agreed to his daughter’s marriage. As a dowry, my father gave a considerable amount for those times - 150 thousand francs. The girl married Brewer, who soon went bankrupt, after which Polynette, with the assistance of her father, hid from her husband in Switzerland.
Since Turgenev's heir was Polina Viardot, his daughter found herself in a difficult situation after his death. financial situation. She died in 1919 at the age of 76 from cancer. Polynet's children - Georges-Albert and Jeanne - had no descendants.
Georges-Albert died in 1924. Zhanna Brewer-Turgeneva never married - she lived, earning a living by giving private lessons, since she was fluent in five languages. She even tried herself in poetry, writing poems in French. She died in 1952 at the age of 80, and with her the family branch of the Turgenevs along the line of Ivan Sergeevich ended.
Bibliography of Turgenev:
1855 - “Rudin” (novel)
1858 - “The Noble Nest” (novel)
1860 - “On the Eve” (novel)
1862 - “Fathers and Sons” (novel)
1867 - “Smoke” (novel)
1877 - “Nov” (novel)
1844 - “Andrei Kolosov” (story)
1845 - “Three Portraits” (story)
1846 - “The Jew” (story)
1847 - “Breter” (story)
1848 - “Petushkov” (story)
1849 - “The Diary of an Extra Man” (short story)
1852 - “Mumu” (story)
1852 - “The Inn” (story)
“Notes of a Hunter”: a collection of stories
1851 - “Bezhin Meadow”
1847 - “Biryuk”
1847 - “The Burmister”
1848 - “Hamlet of the Shchigrovsky district”
1847 - “Two Landowners”
1847 - “Yermolai and the miller’s wife”
1874 - “Living Relics”
1851 - “Kasyan with a Beautiful Sword”
1871-72 - “The End of Tchertopkhanov”
1847 - "Office"
1847 - “Swan”
1848 - “Forest and steppe”
1847 - “Lgov”
1847 - “Raspberry Water”
1847 - “My neighbor Radilov”
1847 - “Ovsyannikov’s Palace”
1850 - "Singers"
1864 - “Peter Petrovich Karataev”
1850 - "Date"
1847 - "Death"
1873-74 - “Knocks!”
1847 - “Tatyana Borisovna and her nephew”
1847 - “County doctor”
1846-47 - “Khor and Kalinich”
1848 - “Tchertophanov and Nedopyuskin”
1855 - “Yakov Pasynkov” (story)
1855 - “Faust” (story)
1856 - “Quiet” (story)
1857 - “A Trip to Polesie” (story)
1858 - “Asya” (story)
1860 - “First Love” (story)
1864 - “Ghosts” (story)
1866 - “Brigadier” (story)
1868 - “The Unhappy” (story)
1870 - “Strange Story” (short story)
1870 - “King Lear of the Steppes” (story)
1870 - “Dog” (story)
1871 - “Knock... knock... knock!..” (story)
1872 - “Spring Waters” (story)
1874 - “Punin and Baburin” (story)
1876 - “The Hours” (story)
1877 - “Dream” (story)
1877 - “The Story of Father Alexei” (short story)
1881 - “Song of Triumphant Love” (short story)
1881 - “The Master’s Own Office” (story)
1883 - “After Death (Klara Milich)” (story)
1878 - “In memory of Yu. P. Vrevskaya” (poem in prose)
1882 - “How beautiful, how fresh the roses were...” (prose poem)
18?? - “Museum” (story)
18?? - “Farewell” (story)
18?? - “The Kiss” (story)
1848 - “Where it is thin, there it breaks” (play)
1848 - “Freeloader” (play)
1849 - “Breakfast at the Leader’s” (play)
1849 - “The Bachelor” (play)
1850 - “A Month in the Country” (play)
1851 - “Provincial Girl” (play)
1854 - “A few words about the poems of F. I. Tyutchev” (article)
1860 - “Hamlet and Don Quixote” (article)
1864 - “Speech on Shakespeare” (article)
The future master of the living word was born on October 28 (November 9), 1818, to nobles living in Orel. Turgenev's father came from a very old family and at one time was a hussar officer, captain of the Cavalry Guard Regiment. The writer's mother came from a wealthy landowner family.
Ivan Sergeevich spent his childhood on the family estate Spasskoye-Lutovinovo. His trustees and educators were teachers and tutors who came from German and Swiss backgrounds. Nannies looked after the child. Little Ivan grew up in rather harsh conditions. An atmosphere of autocracy reigned on the parents' estate. Rarely did young Turgenev go without punishment from his domineering mother, who in this way taught her son to.
His own experience and observations of the life of forced peasants from a young age awakened in Turgenev an aversion to serfdom.
As a child, Turgenev did not like to tinker with toys. He was very interested in nature, which attracted him with its mystery, mystery and simplicity. Young Turgenev loved to wander for a long time through the forest and park, and often visited the pond. The hunters and foresters who lived on the estate encouraged the future writer’s emerging interest in nature, telling him about the life of birds and forest animals.
In 1827, Turgenev moved to Moscow, where Ivan received his education under the guidance and supervision of private teachers. Much later, the writer admitted that he was very acutely worried about the severance of ties with his former way of life.
History of the House of Turgenev
The house and estate of the Turgenevs were located in the current Sovetsky district of the city of Orel. Since its initial development, the city has been subject to frequent fires. Wooden houses were placed quite close to each other, so entire city blocks often perished in the destructive fire elements. Historical sources contain indications that in one of these fires the house where Turgenev was born subsequently burned down.
The Turgenev estate occupied almost the entire block along Borisoglebskaya and Georgievskaya streets. Unfortunately, historians were unable to find a reliable image of the writer’s home.
A few years after the fire, a one-story house was built on the site of the burned building, which subsequently passed successively to several owners.
In modern Orel there are no buildings on the site of the Turgenevs’ former house. A memorial plaque dedicated to the writer is mounted a little further into the courtyard, on the wall of the administrative building.
Video on the topic
Tip 2: Vanni himself: biography, creativity, career, personal life
The artist Vanni himself is one of the founders of abstract art. It was he who first attracted the public to this direction of art and with his drawings proved that meaningful abstract illustrations can represent a huge public value. After all, with their help you can reflect your most authentic thoughts in an allegorical form. The history of this amazing person, his life path determine his creative nature, constantly striving for perfection in everything.
Biography
Vanni himself was born on July 6, 1908 in the city of Vyborg. He grew up in rich family having Jewish roots. The boy’s parents were engaged in trade at that time and allowed him to independently manage his free time. It was during his childhood that Vanni himself began to develop his artistic abilities, drawing various illustrations in his albums. Until 1941 he was known as Samuil the Besprozvanny, and then he had to change his name to get rid of persecution by the Nazis.
From early childhood, the boy studied linguistics, showing a special affinity for the Finnish language. He learned to read and write early, and even earlier, to draw strange illustrations that few people understood. In 1921, Samuel and his family moved to Helsinki. There he entered the prestigious Academy fine arts, where he immediately impressed his teachers with his unique approach to creativity, preferring meaningful abstractionism to clear classical forms. After graduation, the young man took private lessons from the Florentine artist Väinö Aaltonen for some time to improve his theoretical and practical knowledge of art.
Career
Samuel's creative career began in 1931, when he presented his best works at a Finnish exhibition. Critics and art researchers immediately noted the originality of the artist, and journalists actively began to cover his activities in the media. Fame began to come to Samuel the Besprozvanny, which he had never purposefully strived for.
IN free time He began giving private painting lessons, teaching at local art institutions and teaching children not only the traditional methods of the artist's craft, but also unique approaches to creating shapes, lines, and abstract objects. He often came up with his own designs for activities that delighted his students.
In 1941, Samuel, fearing persecution from Nazi Germany, took the pseudonym Sam Vanni. At the same time, his career took off again. The artist has finally found his true calling, realizing that he had to devote his life to abstract art. Society did not immediately positively evaluate his new works with a deeper focus on abstract creativity, but a little later the whole world realized the significance of this new direction in art. Some traditional critics accused Vanni of putting form above content, but his contemporaries, on the contrary, admired this skill, trying to unravel the meaning of each painting by the abstract artist.
Creation
Vanni himself left a large-scale creative heritage. His paintings still adorn the walls of the most majestic art galleries peace. In addition, the artist was awarded many times for creative success and during life. For example, in 1950 he won a public competition in Finland with his mural “Contrapunctus”. It still decorates the hall of the Helsinki Finnish Workers' College today. And in 1955 Vanni himself founded his own art group"Prism", which organized art exhibitions, conferences and meetings. A little later, the Academy of Finland highly appreciated the artist, making him an honorary member and awarding him the “Pro Finlandia” medal.
Personal life
Like everyone else creative person, the artist had a rich personal life. His first love was Tuva Jansson. Vanni himself was amazed by the beauty and creative talents of his young student. Their for a long time formed a friendship that later turned into whirlwind romance. However, later the couple stopped dating due to different perceptions of fascism.
After this, Vanni himself married another of his friends, Maya London. The lovers lived together for a long time until problems and mutual hostility began to be traced in their relationship. In 1958, Maya and Sam filed for divorce, and in 1960 the artist married again. This time his chosen one was the beautiful Paula Saarenheim, whom he loved madly. A little later, their children were born - Mikko and Simo.
Brief biography of Ivan Turgenev
Ivan Sergeevich Turgenev – Russian realist writer XIX century, poet, translator and corresponding member of the St. Petersburg Academy of Sciences. Turgenev was born on October 28 (November 9), 1818 in the city of Orel into a noble family. The writer's father was a retired officer, and his mother was a hereditary noblewoman. Turgenev spent his childhood on a family estate, where he had personal teachers, tutors, and serf nannies. In 1827, the Turgenev family moved to Moscow in order to give their children a decent education. There he studied at a boarding school, then studied with private teachers. Since childhood, the writer owned several foreign languages, including English, French and German.
In 1833, Ivan entered Moscow University, and a year later he transferred to St. Petersburg to the literature department. In 1838 he went to Berlin to lecture in classical philology. There he met Bakunin and Stankevich, with whom he had meetings great importance for the writer. During the two years spent abroad, he managed to visit France, Italy, Germany and Holland. The return to their homeland took place in 1841. At the same time, he begins to actively attend literary circles, where he meets Gogol, Herzen, Aksakov, etc.
In 1843, Turgenev entered service in the office of the Minister of Internal Affairs. In the same year he met Belinsky, who had a significant influence on the formation of literary and public views young writer. In 1846, Turgenev wrote several works: “Briter”, “Three Portraits”, “Freeloader”, “Provincial Woman”, etc. In 1852 one of the best stories writer - "Mumu". The story was written while serving exile in Spassky-Lutovinovo. In 1852, “Notes of a Hunter” appeared, and after the death of Nicholas I, 4 of Turgenev’s largest works were published: “On the Eve”, “Rudin”, “Fathers and Sons”, “The Noble Nest”.
Turgenev gravitated towards the circle of Westernized writers. In 1863, together with the Viardot family, he left for Baden-Baden, where he actively participated in cultural life and made acquaintances with the best writers Western Europe. Among them were Dickens, George Sand, Prosper Merimee, Thackeray, Victor Hugo and many others. Soon he became the editor of foreign translators of Russian writers. In 1878 he was appointed vice-president of the international congress of literature held in Paris. On next year Turgenev was awarded an honorary doctorate from Oxford University. Living abroad, his soul was still drawn to his homeland, which was reflected in the novel “Smoke” (1867). The largest in volume was his novel “New” (1877). I. S. Turgenev died near Paris on August 22 (September 3), 1883. The writer was buried according to his will in St. Petersburg.
Video of a short biography of Ivan Turgenev
