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Ivan Turgenev

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Ivan Turgenev
Turgenev, by Vasily Perov, 1872
Turgenev, by Vasily Perov, 1872
BornIvan Sergeyevich Turgenev
(1818-11-09)November 9, 1818
Orel, Russian Empire
(now Oryol, Russian Federation)
DiedSeptember 3, 1883(1883-09-03) (aged 64)
Bougival, Seine-et-Oise, France
OccupationWriter
GenreNovel, play, short story
Literary movementRealism
Notable worksA Sportsman's Sketches • Fathers and Sons • A Month in the Country
Signature

Ivan Sergeyevich Turgenev (/tɜːrˈɡɛnjəf, -ˈɡeɪn-/;[1] Russian: Ива́н Серге́евич Турге́нев, IPA: [ɪˈvan sʲɪrˈɡʲeɪvʲɪtɕ tʊrˈɡʲenʲɪf]; November 9 [O.S. October 28] 1818 – September 3, 1883) was a Russian novelist, short story writer, and playwright.

His first major publication, a short story collection entitled A Sportsman's Sketches (1852), was a milestone of Russian Realism, and his novel Fathers and Sons (1862) is regarded as one of the major works of 19th-century fiction.

Life

Spasskoye-Lutovinovo, Turgenev's estate near Oryol

Ivan Sergeyevich Turgenev was born into a family of Russian land-owners in Oryol, Russia, on November 9, 1818 (October 28 Old Style). His father, Sergei Nikolaevich Turgenev, a colonel in the Russian cavalry, was a chronic philanderer[citation needed]. Ivan's mother, Varvara Petrovna Lutovinova, was a wealthy heiress, who had an unhappy childhood and suffered in her marriage.

Ivan's father died when Ivan was sixteen, leaving him and his brother Nicolas to be brought up by their abusive mother. Ivan's childhood was a lonely one, in constant fear of his mother who beat him often.

After the standard schooling for a son of a gentleman, Turgenev studied for one year at the University of Moscow and then moved to the University of Saint Petersburg from 1834 to 1837, focusing on Classics, Russian literature, and philology. From 1838 until 1841 he studied philosophy, particularly Hegel, and history at the University of Berlin. He returned to Saint Petersburg to complete his master's examination.

Turgenev was impressed with German society and returned home believing that Russia could best improve itself by incorporating ideas from the Age of Enlightenment. Like many of his educated contemporaries, he was particularly opposed to serfdom. In 1841, Turgenev started his career in Russian civil service and spent two years working for the Ministry of Interior (1843-1845).

When Turgenev was a child, a family serf had read to him verses from the Rossiad of Mikhail Kheraskov, a celebrated poet of the 18th century. Turgenev's early attempts in literature, poems, and sketches gave indications of genius and were favorably spoken of by Vissarion Belinsky, then the leading Russian literary critic. During the latter part of his life, Turgenev did not reside much in Russia: he lived either at Baden-Baden or Paris, often in proximity to the family of the celebrated opera singer Pauline Viardot, with whom he had a lifelong affair.

Turgenev never married, but he had some affairs with his family's serfs, one of which resulted in the birth of his illegitimate daughter, Paulinette. He was tall and broad-shouldered, but was timid, restrained, and soft-spoken. When Turgenev was 19, while traveling on a steamboat in Germany, the boat caught fire and Turgenev reacted in a cowardly manner. Rumors circulated in Russia and followed him for his entire career, providing the basis for his story A Fire at Sea. His closest literary friend was Gustave Flaubert, with whom he shared similar social and aesthetic ideas. Both rejected extremist right and left political views, and carried a nonjudgmental, although rather pessimistic, view of the world. His relations with Leo Tolstoy and Fyodor Dostoyevsky were often strained, as the two were, for various reasons, dismayed by Turgenev's seeming preference for Western Europe.

Turgenev, unlike Tolstoy and Dostoyevsky, lacked religious motives in his writings, representing the more social aspect to the reform movement. He was considered to be an agnostic.[2] Tolstoy, more than Dostoyevsky, at first anyway, rather despised Turgenev. While traveling together in Paris, Tolstoy wrote in his diary, "Turgenev is a bore." His rocky friendship with Tolstoy in 1861 wrought such animosity that Tolstoy challenged Turgenev to a duel, afterwards apologizing. The two did not speak for 17 years, but never broke family ties. Dostoyevsky parodies Turgenev in his novel The Devils (1872) through the character of the vain novelist Karmazinov, who is anxious to ingratiate himself with the radical youth. However, in 1880, Dostoyevsky's speech at the unveiling of the Pushkin monument brought about a reconciliation of sorts with Turgenev, who, like many in the audience, was moved to tears by his rival's eloquent tribute to the Russian spirit.

Turgenev receiving honorary doctorate, Oxford, 1879

Turgenev occasionally visited England, and in 1879 the honorary degree of Doctor of Civil Law was conferred upon him by the University of Oxford.

Turgenev died from spinal tumor at Bougival, near Paris, on September 3, 1883. His remains were taken to Russia and buried in Volkoff Cemetery in St. Petersburg. On his death bed he pleaded with Tolstoy: "My friend, return to literature!" After this Tolstoy wrote such works as The Death of Ivan Ilyich and The Kreutzer Sonata.

Turgenev first made his name with (Записки охотника), also known as Sketches from a Hunter's Album or Notes of a Hunter, a collection of short stories, based on his observations of peasant life and nature, while hunting in the forests around his mother's estate of Spasskoye. Most of the stories were published in a single volume in 1852, with others being added in later editions. The book is credited with having influenced public opinion in favour of the abolition of serfdom in 1861. Turgenev himself considered the book to be his most important contribution to Russian literature; it is reported that Pravda,[3] and Tolstoy, among others, agreed wholeheartedly, adding that Turgenev's evocations of nature in these stories were unsurpassed.[4] One of the stories in A Sportsman's Sketches, known as "Bezhin Lea" or "Byezhin Prairie", was later to become the basis for the controversial film Bezhin Meadow (1937) – directed by Sergei Eisenstein.

In the 1840s and early 1850s, during the rule of Tsar Nicholas I, the political climate in Russia was stifling for many writers. This is evident in the despair and subsequent death of Gogol, and the oppression, persecution, and arrests of artists, scientists, and writers. During this time, thousands of Russian intellectuals, members of the intelligentsia, emigrated to Europe. Among them were Alexander Herzen and Turgenev himself, although the latter's decision to settle abroad probably had more to do with his fateful love for Pauline Viardot than anything else.

In 1852, when his first major novels of Russian society were still to come, Turgenev wrote an obituary for Nikolai Gogol, intended for publication in the Saint Petersburg Gazette. The key passage reads: "Gogol is dead!... What Russian heart is not shaken by those three words?... He is gone, that man whom we now have the right (the bitter right, given to us by death) to call great." The censor of Saint Petersburg did not approve of this and banned publication, but the Moscow censor allowed it to be published in a newspaper in that city. The censor was dismissed; but Turgenev was held responsible for the incident, imprisoned for a month, and then exiled to his country estate for nearly two years. It was during this time that Turgenev wrote his short story Mumu ("Муму") in 1854. The story tells a tale of a deaf and dumb peasant who is forced to drown the only thing in the world which brings him happiness, his dog Mumu. Like his A Sportsman's Sketches (Записки охотника), this work takes aim at the cruelties of a serf society. This work was later applauded by John Galsworthy who claimed, "no more stirring protest against tyrannical cruelty was ever penned in terms of art."

Pauline Viardot, by P. F. Sokolov, 1840s

While he was still in Russia in the early 1850s, Turgenev wrote several novellas (povesti in Russian): "The Diary of a Superfluous Man" ("Дневник лишнего человека"), Faust ("Фауст"), The Lull ("Затишье"), expressing the anxieties and hopes of Russians of his generation.

Following the thoughts of the influential critic Vissarion Belinsky, Turgenev abandoned Romantic idealism for a more realistic style. Belinsky defended sociological realism in literature; Turgenev portrayed him in Yakov Pasinkov (1855). During the period of 1853-62 Turgenev wrote some of his finest stories as well as the first four of his novels: Rudin ("Рудин") (1856), A Nest of the Gentry ("Дворянское гнездо") (1859), On the Eve ("Накануне") (1860) and Fathers and Sons ("Отцы и дети") (1862). Some themes involved in these works include the beauty of early love, failure to reach one's dreams, and frustrated love. Great influences on these works are derived from his love of Pauline and his experiences with his mother, who controlled over 500 serfs with the same strict demeanor in which she raised him.

In 1854 he moved to Western Europe, and during the following years produced the novel Rudin ("Рудин"), the story of a man in his thirties, who is unable to put his talents and idealism to any use in the Russia of Nicholas I. Rudin is also full of nostalgia for the idealistic student circles of the 1840s.

In 1858 Turgenev wrote the novel A Nest of the Gentry ("Дворянское гнездо") also full of nostalgia for the irretrievable past and of love for the Russian countryside. It contains one of his most memorable female characters, Liza, whom Dostoyevsky paid tribute to in his Pushkin speech of 1880, alongside Tatiana and Tolstoy's Natasha Rostova.

Alexander II ascended the Russian throne in 1855, and the political climate became more relaxed. In 1859, inspired by reports of positive social changes, Turgenev wrote the novel On the Eve ("Накануне") (published 1860), portraying the Bulgarian revolutionary Insarov.

The following year saw the publication of one of his finest novellas, First Love ("Первая любовь"), which was based on bitter-sweet childhood memories, and the delivery of his speech ("Hamlet and Don Quixote", at a public reading in Saint Petersburg) in aid of writers and scholars suffering hardship. The vision presented therein of man torn between the self-centered skepticism of Hamlet and the idealistic generosity of Don Quixote is one that can be said to pervade Turgenev's own works. It is worth noting that Dostoyevsky, who had just returned from exile in Siberia, was present at this speech, for eight years later he was to write The Idiot, a novel whose tragic hero, Prince Myshkin, resembles Don Quixote in many respects.[5] Turgenev, whose knowledge of Spanish, thanks to his contact with Pauline Viardot and her family, was good enough for him to have considered translating Cervantes's novel into Russian, played an important role in introducing this immortal figure of world literature into the Russian context.

I. Turgenev, photo

Fathers and Sons ("Отцы и дети"), Turgenev's most famous and enduring novel, appeared in 1862. Its leading character, Eugene Bazarov, considered the 'first Bolshevik' in Russian literature, was in turn heralded and reviled as either a glorification or a parody of the 'new men' of the 1860s. The novel examined the conflict between the older generation, reluctant to accept reforms, and the nihilistic youth. In the central character, Bazarov, Turgenev drew a classical portrait of the mid-nineteenth-century nihilist. Fathers and Sons was set during the six-year period of social ferment, from Russia's defeat in the Crimean War to the Emancipation of the Serfs. Hostile reaction to Fathers and Sons ("Отцы и дети") prompted Turgenev's decision to leave Russia. As a consequence he also lost the majority of his readers. Many radical critics at the time (with the notable exception of Dimitri Pisarev) did not take Fathers and Sons seriously; and, after the relative critical failure of his masterpiece, Turgenev was disillusioned and started to write less.

Turgenev's next novel, Smoke ("Дым"), was published in 1867 and was again received less than enthusiastically in his native country, as well as triggering a quarrel with Dostoyevsky in Baden-Baden.

His last substantial work attempting to do justice to the problems of contemporary Russian society, Virgin Soil ("Новь"), was published in 1877.

Stories of a more personal nature, such as Torrents of Spring ("Вешние воды"), King Lear of the Steppes ("Степной король Лир"), and The Song of Triumphant Love ("Песнь торжествующей любви"), were also written in these autumnal years of his life. Other last works included the Poems in Prose and "Clara Milich" ("After Death"), which appeared in the journal European Messenger.

"The conscious use of art for ends extraneous to itself was detestable to him... He knew that the Russian reader wanted to be told what to believe and how to live, expected to be provided with clearly contrasted values, clearly distinguishable heroes and villains.... Turgenev remained cautious and skeptical; the reader is left in suspense, in a state of doubt: problems are raised, and for the most part left unanswered" – Isaiah Berlin, Lecture on Fathers and Children[6]

Turgenev wrote on themes similar to those found in the works of Tolstoy and Dostoyevsky, but he did not approve of the religious and moral preoccupations that his two great contemporaries brought to their artistic creation. Turgenev was closer in temperament to his friends Gustave Flaubert and Theodor Storm, the North German poet and master of the novella form, who also often dwelt on memories of the past and evoked the beauty of nature.[7]

Legacy

Turgenev late in his career.

Turgenev's artistic purity made him a favorite of like-minded novelists of the next generation, such as Henry James and Joseph Conrad, both of whom greatly preferred Turgenev to Tolstoy and Dostoyevsky. James, who wrote no fewer than five critical essays on Turgenev's work, claimed that "his merit of form is of the first order" (1873) and praised his "exquisite delicacy", which "makes too many of his rivals appear to hold us, in comparison, by violent means, and introduce us, in comparison, to vulgar things" (1896).[8] Vladimir Nabokov, notorious for his casual dismissal of many great writers, praised Turgenev's "plastic musical flowing prose", but criticized his "labored epilogues" and "banal handling of plots". Nabokov stated that Turgenev "is not a great writer, though a pleasant one", and ranked him fourth among nineteenth-century Russian prose writers, behind Tolstoy, Gogol, and Anton Chekhov, but ahead of Dostoyevsky.[9] His idealistic ideas about love, specifically the devotion a wife should show her husband, were cynically referred to by characters in Chekhov's "An Anonymous Story".

Bibliography

Public Domain This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). Encyclopædia Britannica (11th ed.). Cambridge University Press. {{cite encyclopedia}}: Missing or empty |title= (help)

Selected novels

Selected shorter fiction

Ivan Turgenev hunting (1879) by Nikolai Dmitriev-Orenburgsky (private collection)
  • 1850 – Dnevnik Lishnego Cheloveka (Дневник лишнего человека); novella, English translation: The Diary of a Superfluous Man
  • 1852 – Zapiski Ohotnika (Записки охотника); collection of stories, English translations: A Sportsman's Sketches, The Hunter's Sketches, A Sportsman's Notebook
  • 1854 – Mumu (Муму); short story, English translation: Mumu
  • 1855 – Yakov Pasynkov (Яков Пасынков); novella
  • 1855 – Faust (Фауст); novella
  • 1858 – Asya (Aся); novella, English translation: Asya or Annouchka
  • 1860 – Pervaia Liubov (Первая любовь); novella, English translation: First Love
  • 1870 – Stepnoy Corol' Lir (Степной король Лир); novella, English translation: King Lear of the Steppes
  • 1881 – Pesn' Torzhestvuyuschey Liubvi (Песнь торжествующей любви); novella, English translation: The Song of Triumphant Love
  • 1883 – Klara Milich (Клара Милич); novella, English translation: The Mysterious Tales

Selected plays

  • 1843 – Neostorozhnost (Неосторожность); A Rash Thing to Do
  • 1847 – Gde Tonko, Tam i Rwyotsya (Где тонко, там и рвётся); It Tears Where It is Thin
  • 1849/1856 – Zavtrak u Predvoditelia (Завтрак у предводителя); Breakfast at the Chief's
  • 1850/1851 – Razgovor na Bol'shoy Doroge (Разговор на большой дороге); A Conversation on the Highway
  • 1846/1852 – Bezdenezhie (Безденежье); Lack of Money
  • 1851 – Provincialka (Провинциалка); English translation: A Provincial Lady
  • 1857/1862 – Nahlebnik (Нахлебник); English translation: The Hanger-On; Fortune's Fool; The Family Charge
  • 1855/1872 – Mesiats v Derevne (Месяц в деревне); English translation: A Month in the Country
  • 1882 – Vecher v Sorrento (Вечер в Сорренто); An Evening in Sorrento

See also

References

  1. ^ "Turgenev". Random House Webster's Unabridged Dictionary.
  2. ^ Harold Bloom, ed. (2003). Ivan Turgenev. Chelsea House Publishers. pp. 95–96. ISBN 9780791073995. For example, Leonard Schapiro, Turgenev, His Life and Times (New York: Random, 1978) 214, writes about Turgenev's agnosticism as follows: "Turgenev was not a determined atheist; there is ample evidence which shows that he was an agnostic who would have been happy to embrace the consolations of religion, but was, except perhaps on some rare occasions, unable to do so"; and Edgar Lehrman, Turgenev's Letters (New York: Knopf, 1961) xi, presents still another interpretation for Turgenev's lack of religion, suggesting literature as a possible substitution: "Sometimes Turgenev's attitude toward literature makes us wonder whether, for him, literature was not a surrogate religion - something in which he could believe unhesitatingly, unreservedly, and enthusiastically, something that somehow would make man in general and Turgenev in particular a little happier."
  3. ^ Pravda 1988: 308
  4. ^ Tolstoy said after Turgenev's death: "His stories of peasant life will forever remain a valuable contribution to Russian literature. I have always valued them highly. And in this respect none of us can stand comparison with him. Take, for example, Living Relic (Живые мощи), Loner (Бирюк), and so on. All these are unique stories. And as for his nature descriptions, these are true pearls, beyond the reach of any other writer!" Quoted by K. N. Lomunov, "Turgenev i Lev Tolstoi: Tvorcheskie vzaimootnosheniia", in S. E. Shatalov (ed.), I. S. Turgenev v sovremennom mire (Moscow: Nauka, 1987).
  5. ^ See the "Influences" section in the Infobox of the article on Dostoyevsky for a reference to a study dealing with precisely this issue.
  6. ^ Isaiah Berlin, Russian Thinkers (Penguin, 1994), pp. 264-305.
  7. ^ See Karl Ernst Laage, Theodor Storm. Biographie (Heide: Boyens, 1999).
  8. ^ See Henry James, European Writers & The Prefaces (The Library of America: New York, 1984).
  9. ^ See Vladimir Nabokov, Lectures on Russian Literature (HBJ, San Diego: 1981).

Further reading

  • Cecil, David. 1949. "Turgenev," in David Cecil, Poets and Story-tellers: A Book of Critical Essays. New York: Macmillan Co.: 123-138.
  • Freeborn, Richard. 1960. Turgenev: the Novelist's Novelist, a Study. London: Oxford University Press.
  • Magarshack, David. 1954. Turgenev: a Life. London: Faber and Faber.
  • Sokolowska, Katarzyna. 2011. Conrad and Turgenev: Towards the Real. Boulder: Eastern European Monographs.
  • Troyat, Henri. 1988. Turgenev. New York: Dutton.
  • Yarmolinsky, Avrahm. 1959. Turgenev, the Man, his Art and his Age. New York: Orion Press.
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