Ivan Turgenev

"Asya" - is a novella by Ivan Turgenev which was first published in 1858. The story is told from the viewpoint of an anonymous narrator (Mr. NN), who recalls his youth and in particular his stay in the small town west to the Rhine. Critics considered the hero to be a classic type of the "superfluous man" - indecisive and uncertain of their place in life.

Yazarın eski nesil ile yeni nesil arasındaki anlaşmazlıkları işlediği şaheseri "Babalar ve Oğullar" onun sanatını tüm yönleriyle ortaya koyan en iyi eserdir.

Cinta Pertama adalah salah satu novelet Turgenev yang indah, kisah cinta yang dilukiskan sangat peka dan mengharukan sekali, terbit pertamakalinya tahun 1860. Rusman Sutiasumarga yang menerjemahkan ke dalam bahasa Indonesia melalui bahasa Belanda, telah pula menerjemahkan ke dalam bahasa Sunda, dimuat bersambung dalam Majalah Sunda tahun 1965 (dengan judul Baleg Tampele) Turgenev meninggal tahun 1883 di Bougival dekat Paris, dan setelah ia meninggal barulah bukunya yang berjudul Sajak-sajak dalam Prosa terbit, berisi tinjauan tentang rakyat Rusia yang ditulis dalam gaya yang indah serta sempurna

Contos de assombro é uma coletânea de dezoito narrativas e um ensaio que procura abordar a literatura fantástica e de mistério fora dos nichos de gênero, como um convite a um público mais amplo que o habitual. O inesperado está presente não apenas como temática, mas também na inclusão de autores clássicos reconhecidos por outras filiações, como Émile Zola, Edith Wharton, Ivan Turguêniev, Luigi Pirandello e Virginia Woolf. Em todos eles se encontra a sensação de assombro – seja por meio de uma sátira sobre a crueldade do ser humano, caso da narrativa implacável de Zola, ou pela descrição minuciosa de um único gesto refletido num espelho, no delicado conto de Woolf.

Poco antes de morir, Chulkaturin decide iniciar un diario con el que se despedirá de este mundo. No sabe qué puede contar, pues se considera, simplemente, un hombre superfluo, prescindible por completo. Su infancia fue normal y no ha hecho nada reseñable en toda su vida. Tampoco se ha preocupado por sus relaciones con los demás. Ni siquiera cuando conoció a Yelizaveta... El concepto de hombre superfluo, como hombre inteligente, sensible e idealista pero nihilista e indeciso, se hizo popular gracias a la publicación de esta obra de Iván Turguénev en 1850. Este es un personaje tipo en la literatura rusa del siglo XIX y su recurrente presencia en poemas, novelas y teatro acabó convirtiéndolo en un arquetipo nacional.

Il Diario è anello di una catena di tutto rispetto; affonda radici nei classici e tocca altri classici con rami più fogliosi e fruttuosi di quanto, a uno sguardo rapido, si potrebbe sospettare. In Čulkaturin c’è l’“uomo superfluo” à la russe ma anche una sua versione pura, distillata, paradigmatica (quasi ageografica, quasi astorica). Čulkaturin fa contemporaneamente da arrivo e da abbrivio, quindi. E se sommiamo a tutto ciò l’indiscussa maestria e la squisitezza stilistica universalmente riconosciute a Turgenev (…) a ragione il Diario può aspirare allo status di piccolo classico, di piccolo chef-d’oeuvre. (dalla postfazione di Alessandro Niero)

A vivid picture of nineteenth-century Russian society, but above all the poignant story of a man whose mortality becomes the only aspect of life that he shares with his fellow man. When Turgenev published Diary of a Superfluous Man in 1850, he created one of the first literary portraits of the alienated man. Turgenev once said that there was a great deal of himself in the unsuccessful lovers who appear in his fiction. This failure, along with painful self-consciousness, is a central fact for the ailing Chulkaturin in this melancholy tale. As he reflects on his life, he tells the story of Liza, whom he loved, and a prince, whom she loved instead, and the curious turns all their lives took.

The novel is accompanied by a rich selection of Turgenev's letters that illustrate his involvement in the critical controversy that surrounded the publication of Fathers and Children. Four of the most significant critiques of the day--by Dmitry Pisarev, Nikolai Strakhov, Apollon Grigorev, and Alexander Herzen--further enhance the reader's understanding of this critical firestorm. Twenty-three critical essays--seven of which are new to the Second Edition--are organized around several themes: the issue of translation; politics, including Turgenev's liberalism, his view of revolution, and his attitude toward nihilism; and various literary aspects, including Turgenev's use of imagery, generational conflict, the role of women, and the growing impact of science on society. A Chronology of Tolstoy's life and work and an updated Selected Bibliography are also included.

Bazarov—a gifted, impatient, and caustic young man—has journeyed from school to the home of his friend Arkady Kirsanov. But soon Bazarov’s outspoken rejection of authority and social conventions touches off quarrels, misunderstandings, and romantic entanglements that will utterly transform the Kirsanov household and reflect the changes taking place across all of nineteenth-century Russia. Fathers and Sons enraged the old and the young, reactionaries, romantics, and radicals alike when it was first published. At the same time, Turgenev won the acclaim of Flaubert, Maupassant, and Henry James for his craftsmanship as a writer and his psychological insight. Fathers and Sons is now considered one of the greatest novels of the nineteenth century. A timeless depiction of generational conflict during social upheaval, it vividly portrays the clash between the older Russian aristocracy and the youthful radicalism that foreshadowed the revolution to come—and offers modern-day readers much to reflect upon as they look around at their own tumultuous, ever changing world. Introduction by Jane Costlow

In this rediscovered literary gem, Turgenev explores the elusive nature of love, suggesting that with the loss of love comes a sense of resignation?and the conviction that the essence of life lies in self-denial. It is published here with the short story Yakov Pasynkov. In a series of letters to a friend, the narrator relates how he has managed to convince a married woman?hitherto shielded from the powerful effects of poetry and fiction?of the importance of developing the imagination. By introducing her to Goethe’s masterpiece, he sets in motion a chain of crucial events. In this poetic exploration of spiritual awakening, Turgenev demonstrates his preoccupation with the culture of Western Europe and the nature of human relations. Ivan Turgenev was a Russian novelist and playwright who spent much of his life in Western Europe. His writing profoundly affected the course of European literature.

When the down-at-heel Princess Zasyekin moves next door to the country estate of Vladimir Petrovich's parents, he instantly and overwhelmingly falls in love with his new neighbour's daughter, Zinaida. But the capricious young woman already has many admirers and as she plays her suitors against each other, Vladimir's unrequited youthful passion soon turns to torment and despair - although he remains unaware of his true rival for Zinaida's affections. Set in the world of nineteenth-century Russia's fading aristocracy, Turgenev's story depicts a boy's growth of knowledge and mastery over his own heart as he awakens to the complex nature of adult love.

This collection brings together six of Turgenev's best-known `long' short stories, in which he turns his skills of psychological observation and black comedy to subjects as diverse as the tyranny of serfdom, love, and revenge on the Russian steppes. These stories all display the elegance and clarity of Turgenev's finest writing.

Ivan Turgenev's 1860 novel "First Love" charts the course of a 16-year old boy's infatuation with the princess next door in the summer of 1833, while on holiday at the family dacha just outside Moscow. What could have been trite, in Turgenev's hands achieves universal significance as he depicts the powerful emotions experienced by someone who is leaving childhood behind and entering the world of adult relationships, with all their joys and heartbreaks. The title suggests a light summer romance of the 'old enough to know better, young enough not to care' variety, but Turgenev instead delivers a powerful dissection of the infatuations of youth.

First Love is a novella by Ivan Turgenev, first published in 1860. It is one of his most popular pieces of short fiction. Like many of Turgenev's works, this one is highly autobiographical. Indeed, the author claimed it was the most autobiographical of all his works. Here Turgenev is retelling an incident from his own life, his infatuation with a young neighbour in the country, Catherine Shakovskoy (the Zinaida of the novella), an infatuation that lasted until his discovery that Catherine was in fact his own father's mistress.

Stories include: "First Love" by Turgenev "The Gambler" by Dostoyevsky "Master and Man" by Tolstoy "The Duel" by Chekhov

Home of the Gentry is a novel by Ivan Turgenev published in the January 1859 issue of "Sovremennik". I t was enthusiastically received by the Russian society and remained his least controversial and most widely-read novel until the end of the 19th century. It was turned into a movie by Andrey Konchalovsky in 1969. The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.

"No, no, I've got your word for it, I've got to die ... you promised me ... you told me ..." Turgenev's accounts of hunting in rural Russia, and the extraordinary characters he meets there. Introducing Little Black Classics: 80 books for Penguin's 80th birthday. Little Black Classics celebrate the huge range and diversity of Penguin Classics, with books from around the world and across many centuries. They take us from a balloon ride over Victorian London to a garden of blossom in Japan, from Tierra del Fuego to 16th-century California and the Russian steppe. Here are stories lyrical and savage; poems epic and intimate; essays satirical and inspirational; and ideas that have shaped the lives of millions. Ivan Turgenev (1818-1883). Turgenev's works available in Penguin Classics are Fathers and Sons, First Love, Home of the Gentry, On the Eve, Rudin, Sketches from a Hunter's Album, Spring Torrents and Three Sketches from a Hunter's Album.

Döneminin Avrupalı bakış açısına sahip tek Rus yazarı olarak anılan Turgenyev’in önce “Ölümden Sonra” ismiyle yayımlamayı düşündüğü ancak ispritizma suçlamalarına maruz kalacağını düşünerek ismini değiştirdiği öyküsü “Klara Miliç” yazarın son dönem eserlerinden biridir. Sabahattin Ali’nin de Kürk Mantolu Madonna romanında atıfta bulunduğu Klara Miliç, başka bir deyişle ölümden sonra başlayan, mistisizmle örülü bir aşkın hikâyesidir.

From the most romantic of the Russian greats, an enthralling selection of short stories and novellasIvan Turgenev was able to contain the narrative sweep of a novel in a single short story. His tales evoke the joy and painful tubulence of first love, the grandiose flights of youthful imagination, and the wistful reflections of maturity. Tugenev brought his characters vividly to life, rendering their complex interior lives, whether nobleman or serf, in writing charged with a profound social conscience.This collection, in a lyrical new translation by Nicolas Pasternak Slater and Maya Slater, places Turgenev's great novella First Love alongside a selection of his classic stories. From the evocative rural scenes of 'Bezhin Meadown' and 'The Rattling!' to the pathos and profundity of 'The District Doctor' and 'Biryuk', these are miniature epics brimming with humanity.Ivan Turgenev was born to an aristocratic family in 1818. He wrote plays, poetry, short stories and novels. A liberal who found himself frequently at odds with tsarist rule, he lived for much of his life in Western Europe, where he became friends with writers such as Gustave Flaubert and Henry James. His most famous novel Fathers and Sons was poorly received by many Russian critics. It is now regarded as one of the greatest novels of the nineteenth century.

Nascido e criado no meio aristocrático rural, Ivan Turguêniev (1818-1883) passou a maior parte de sua vida no exterior, onde travou contato com alguns dos grandes nomes da literatura e da cultura europeia. Mas esse distanciamento não o impediu de criar um dos mais tocantes e profundos retratos da antiga Rússia, as Memórias de um caçador. Nestas páginas, povoadas por camponeses iletrados e proprietários de dureza implacável, a exuberância da natureza é sempre contraposta à injustiça da servidão, denunciada de maneira sutil, porém contundente. Não à toa, quando publicados pela primeira vez num só volume em 1852, os 25 contos aqui reunidos renderam a seu autor fama imediata nos círculos liberais e, por conseguinte, a fúria do regime tsarista, que o condenou a prisão domiciliar. No entanto, com o passar dos anos, o livro acabaria por se tornar uma peça fundamental no processo de emancipação dos servos. No Ocidente, a reputação de Turguêniev também cresceu, graças, sobretudo, a seus romances - entre eles Rúdin (1856) e Pais e filhos (1862). Na Rússia, seu legado como contista é igualmente importante: a delicadeza de suas narrativas curtas ressoa em algumas das melhores páginas de Búnin, Kuprin ou Tchekhov. Até mesmo Tolstói, em seu diário de juventude, confessa: "li as Memórias de um caçador de Turguêniev, e como é difícil escrever depois dele".

Mumu (Russian: «Муму») is a short story by Ivan Turgenev, a Russian novelist and story writer, written in 1854. The story of Gerasim, a deaf and mute serf whose life of poverty is brought into sharp relief by his connection with Mumu, a dog he rescued, brought greater national attention to the cruelties of serfdom, and received praise for its brutal portrayal of this institution in Russian society.

Though essentially a love story with a historical background, On the Eve hints in its title at social and political implications which no Russian reader could miss when it appeared in 1859. Turgenev's study of Elena Stahov, in love with a Bulgarian revolutionary, is a memorable achievement of character-drawing, but the authors artistry is nowhere more clearly shown than in his development of the minor characters. Turgenev's touch is light and his sense of humour delicious, and the story, as it moves to its inevitable and tragic conclusion, is never oppressive. Turgenev is an author who no longer belongs to Russia only. During the last fifteen years of his life he won for himself the reading public, first in France, then in Germany and America, and finally in England. In his funeral oration the spokesman of the most artistic and critical of European nations, Ernest Renan, hailed him as one of the greatest writers of our times: 'The Master, whose exquisite works have charmed our century, stand more than any other man as the incarnation of the whole race', because 'a whole world lived in him and spoke through his mouth'. Not the Russian world only, we may add, but the whole Slavonic world, to which it was 'an honour to have been expressed by so great a Master'. As regards his method of dealing with his material and shaping it into mould, he stands even higher than as a pure creator. Tolstoy is more plastical, and certainly as deep and original and rich in creative power as Turgenev, and Dostoevsky is more intense, fervid, and dramatic. But as an artist, as master of the combination of details into a harmonious whole, as an architect of imaginative work, he surpasses all the prose writers of his country, and has but few equals among the great novelists of other lands.

O Primeiro Amor é uma narrativa sobre o amor adolescente. Voldemar, um jovem de dezasseis anos, apaixona-se pela filha do seu vizinho, a bela Zinaída, alguns anos mais velha que ele e a quem não faltam pretendentes. O leitor é arrastado pelas inconstantes emoções de Voldemar: exaltação, ciúme, desespero, ódio, renúncia e, de novo, devoção. No final, Voldemar sente-se destroçado ao descobrir a identidade do seu verdadeiro rival – uma revelação esmagadora, que, no entanto, lhe abre as portas para a compreensão dos abismos da paixão.

Bazarov—a gifted, impatient, and caustic young man—has journeyed from school to the home of his friend Arkady Kirsanov. But soon Bazarov’s outspoken rejection of authority and social conventions touches off quarrels, misunderstandings, and romantic entanglements that will utterly transform the Kirsanov household and reflect the changes taking place across all of nineteenth-century Russia. Fathers and Sons enraged the old and the young, reactionaries, romantics, and radicals alike when it was first published. At the same time, Turgenev won the acclaim of Flaubert, Maupassant, and Henry James for his craftsmanship as a writer and his psychological insight. Fathers and Sons is now considered one of the greatest novels of the nineteenth century. A timeless depiction of generational conflict during social upheaval, it vividly portrays the clash between the older Russian aristocracy and the youthful radicalism that foreshadowed the revolution to come—and offers modern-day readers much to reflect upon as they look around at their own tumultuous, ever changing world.

Convinto "occidentalista", e nello stesso tempo interprete fedele dei problemi e dell'anima della terra russa, Turgenev si inserì autorevolmente nella tematica del suo tempo, trovandosi spesso al centro di vivaci polemiche. È il caso di Padri e figli che, pubblicato nel 1862, suscitò grande scalpore e accanite discussioni attorno alla figura del protagonista del romanzo, Bazarov. Materialista e antitradizionalista Bazarov è l'uomo nuovo della Russia agitata dai primi fermenti rivoluzionari che si contrappone alla vecchia generazione degli aristocratici idealisti e inconcludenti. Bazarov è un "nichilista" - secondo il termine coniato dallo stesso Turgenev e poi diffusosi in tutto il mondo - «un uomo che non si inchina dinanzi a nessuna autorità, che non presta fede a nessun principio». Personaggio vivo e vitale, Bazarov incarna la ribellione agli schemi, il desiderio di vita e di progresso di chi, pur di essere coerente, è pronto a pagare fino in fondo le conseguenze delle sue scelte.

Traduzido pela primeira vez diretamente do russo para o português, este clássico é responsável por uma das maiores polêmicas da literatura russa. No início da década de 1860, dois eventos transformaram significativamente a sociedade russa: o fim da servidão e a fundação do movimento Terra e Liberdade, organização secreta que lutava contra as autoridades e instituições oficiais. A abordagem desse contexto fez com que Pais e filhos despertasse uma das maiores fendas da história da literatura russa. O termo "niilista" se popularizou e Ivan Turguêniev (1818-1883) foi acusado de ser responsável por atos criminosos cometidos por radicais influenciados por sua obra. Na trama, o jovem Arkádi Nikolaitch, acompanhado de seu amigo e mentor Bazárov, volta à propriedade de sua família após formar-se na universidade. Bazárov é um personagem singular: despreza qualquer autoridade, é antissocial e se autoproclama um "niilista".

În vara anului 1859, tânărul Arkadi Nikolaevici Kirsanov revine la moșia tatălui său împreună cu noul lui prieten, Evgheni Vasilievici Bazarov, un tânăr medic cu maniere neglijente. Bazarov este însă „omul nou“, „eroul timpului nostru“, trecut prin școala aspră a muncii și a sacrificiului. Părinți și copii, considerat de critică cel mai reușit roman al lui Turgheniev, a provocat la apariție aprinse discuții contradictorii, legate de conflictul dintre generația părinților, care se inspiră din idealurile umaniste tradiționale, și cea rebelă a fiilor, materialistă, dezamăgită și lipsită de iluzii. În afară de frumuseţea artistică, romanul lui Turgheniev e remarcabil şi prin faptul că stimulează mintea, dă de gândit […] deoarece de la început până la sfârşit e pătruns de o sinceritate absolută, emoţionantă. Tot ce este scris în el a fost simţit până în cele mai mici amănunte; şi simţirea aceasta nu-şi găseşte expresia în digresiunile lirice, ci iese la iveală fără voia autorului, fără ca el să fie conştient de asta, şi animă naraţiunea obiectivă. D.I. Pisarev

Povestitorul lui Turgheniev vânează prea puţin, iar atunci cand vaneaza, iar atenţia i se îndreaptă mai tot timpul spre oameni şi poveştile lor. Fie că înnoptează în podul unei mori bântuite, că-l prinde ploaia într-o pădure necunoscută, că păzeşte caii alături de copiii guralivi ai unor ţărani, el foloseşte orice prilej să iscodească poveşti de viaţă, să scoată la iveală întâmplări cu stafii sau personaje incredibile, să istorisească viaţa şi aventurile vreunei fete frumoase, pe care-o întâlneşte întâmplător.

„O, tinerete, tinerete! Tie nu-ti pasa de nimic, ca si cum ai stapini toate comorile lumii, pina si tristetea te mingiie, pina si durerea iti sta bine, tu esti sigura de tine si indrazneata, tu spui: «Doar eu traiesc, priviti!». Dar si zilele tale fug si pier, nenumarate si fara de urma, si totul dispare in tine, precum ceara la soare, precum zapada... Si poate ca toata taina farmecului tau sta nu in posibilitatea de a face orice, ci in posibilitatea de a crede ca poti sa faci orice, sta tocmai in faptul ca arunci in vint puteri pe care nici n-ai sti sa le folosesti altfel, in faptul ca fiecare dintre noi se considera, fara gluma, un risipitor si crede, fara gluma, ca are dreptul sa spuna: «O, cite as fi facut, daca nu as fi irosit timpul!».” (I.S. Turgheniev)

Em um passeio por sua casa de veraneio nos arredores de Moscou, o garoto Vladímir Petróvitch, filho único de uma família tradicional, vê uma moça exuberante brincando nos fundos da propriedade. Trata-se de Zinaida, filha de sua vizinha, por quem se apaixonará de forma avassaladora. À medida que eles se aproximam, fica claro quem está no controle da situação. Disposto a tudo para ser correspondido, Vladímir terá de aprender rapidamente o intrincado jogo da sedução, em que as regras são tão aleatórias quanto obscuras. Admirado por Henry James e Flaubert, Ivan Turguêniev foi o primeiro autor russo a ser traduzido na Europa, reconhecido, ainda em vida, como um dos grandes escritores de sua época.

Contemporáneo de Flaubert, con quien mantuvo una buena amistad, y de figuras como Gógol, Dostoyevski y Tolstoi, Ivan Turguenev (1818-1883) es otra de las cimas de la fecunda literatura rusa del siglo xix. Si en novelas como «En vísperas» (L 5670) o «Padres e hijos» dejó patente su maestría para plasmar en el género novelesco los problemas más acuciantes de la Rusia de su tiempo, Primer amor (1860) es uno de los mejores ejemplos de su capacidad para retratar como pocos los movimientos y pasiones del alma humana. Pocos lectores, en efecto, podrán dejar de reconocer en mayor o menor medida un territorio ya visitado al leer el relato en primera persona del violento enamoramiento del que cae presa el adolescente Vladimir Petrovich por la joven princesa Zenaida Alexandrovna y de los incesantes, cambiantes y contradictorios sentimientos que experimenta –amor, vergüenza, ensueños, desconcierto, ilusión, desaliento, hastío, celos, dudas…– dentro del marco de una historia casi vulgar cuyo intenso e inexorable final abre las puertas de la edad adulta.

Il primo amore è quello di Vladimir per Zinaida. Ma il vero protagonista del racconto è il padre di lui: un «uomo che ha vissuto», struggentemente attratto dal «breve temporale mattutino di primavera» della gioventù. Dalla passione di lui, il figlio è dapprima stravolto, poi gradualmente ne diventa stupefatto e commosso spettatore; e il suo amore diventa esperienza - quindi crescita ma anche consunzione - attraverso la vicenda del padre. Un riflettersi del padre nel figlio e del figlio nel padre in cui è possibile intravedere (Turghèniev ebbe davvero nel padre un rivale d'amore) i recessi profondi di una vita.

Dalla dolcezza di un'estate nella campagna russa nella prima metà del XIX secolo alla cupa atmosfera di intrigo e magia della corte di Ferrara ai tempi dell'Ariosto. L'innocente amore del giovane Vladimir per la bellissima e affascinante Zinaida, che ai suoi occhi di adolescente incarna l'ideale dell'eterno femminino; la torbida passione di Muzio che, grazie alla magia nera appresa in Oriente, vuole strappare Valeria, che ha respinto il suo amore, a suo marito Fabio. La storia di due amori difficili e impossibili. Ma anche un'analisi dell'amore vissuto come sogno, come rimpianto e anche come mezzo di formazione e della passione sfrenata che non si ferma di fronte a nulla pur di raggiungere il suo scopo.

RUDIN (1856) by Ivan Sergeevich Turgenev (1818-1883) tells the story of a character typical to Turgenev -- a "superfluous" man, weak of will, brimming with indecisive frustration -- and yet tormented by ideals. Rudin is made impotent by the dissonance of honoring the older generations while at the same time embracing the new bold epoch of pre-revolutionary Russia. The theme of melancholic powerless men coupled with vital idealistic women is prevalent in Turgenev's work, and it would be hard to find a clearer study of the type than RUDIN.

Dono de um estilo refinado, a que esta bela tradução de Fátima Bianchi faz plena justiça, Ivan Turguêniev (1818-1883) foi o primeiro autor russo a se consagrar no Ocidente e um dos maiores expoentes da literatura de seu país. Grandes escritores como Joseph Conrad e Henry James consideravam-no mesmo superior a Tolstói e Dostoiévski. Publicado em 1856, Rúdin, seu romance de estreia, foi prontamente aclamado pela crítica. Primeiro de uma sequência de romances de temática semelhante, como Ninho de fidalgos (1859) e a obra-prima Pais e filhos (1862), Turguêniev retrata aqui o "homem supérfluo", motivo central da literatura russa de então, lançando um olhar simultaneamente terno e irônico sobre a juventude de sua própria geração, que, inspirada pelos ideais democráticos que chegavam da Europa, foi tolhida pelo conservadorismo da Rússia de Nicolau I. Embora seja o retrato de um tipo específico da Rússia do século XIX, a figura de Rúdin lembra tantos outros que, como ele, sofrem por nutrir sonhos que não conseguem transformar em realidade. Críticos já associaram o herói de Turguêniev ao atormentado Hamlet. Mas poderíamos também conceber como suas as palavras de Fernando Pessoa: "Não sou nada. Nunca serei nada. Não posso querer ser nada. À parte isso, tenho em mim todos os sonhos do mundo".

Turgenev's first major prose work is a series of twenty-five Sketches: the observations and anecdotes of the author during his travels through Russia satisfying his passion for hunting. His album is filled with moving insights into the lives of those he acquaints with, peasants and landowners, doctors and bailiffs, neglected wives and bereft mothers each providing a glimpse of love, tragedy, courage and loss, and anticipating Turgenev's great later works such as First Love and Fathers and Sons. His depiction of the cruelty and arrogance of the ruling classes was considered subversive and led to his arrest and confinement to his estate, but these sketches opened the minds of contemporary readers to the plight of the peasantry and were even said to have led Tsar Alexander II to abolish serfdom.

Returning to Russia from a tour in Italy, twenty-three-year-old Dimitry Sanin breaks his journey in Frankfurt, where he encounters the beautiful Gemma Roselli, who works in her parents' patisserie, and falls deeply and deliriously in love for the first time. Convinced that nothing can come in the way of everlasting happiness with his fiancee, Dimitry impetuously decides to begin a new life and sell his Russian estates. But when he meets the potential buyer, the intriguing Madame Polozov, his youthful vulnerability makes him prey for a darker, destructive infatuation. A novel of haunting beauty, "Spring Torrents" (1870-1) is a fascinating, partly autobiographical account of one of Turgenev's favourite themes - a man's inability to love without losing his innocence and becoming enslaved to obsessive passions.

Ivan Sergeyevich Turgenev (1818-1883) was a great Russian novelist and playwright. His novel Fathers and Sons is regarded as one of major works of 19th-century fiction. After the standard schooling for a child of a gentleman's family, He studied for one year at the University of Moscow and then moved to the University of St Petersburg, focusing on the classics, Russian literature and philology. Turgenev was impressed with German Central-European society, and believed that Russia could best improve itself by imitating the West. Like many of his educated contemporaries, he was particularly opposed to serfdom. He first made his name with A Sportsman's Sketches, also known as Sketches From a Hunter's Album; or, Notes of a Hunter. He wrote several short novels like The Diary of a Superfluous Man, Faust and The Lull. In them Turgenev expressed the anxieties and hopes of Russians of his generation. Amongst his other works are Liza: A Nest of Nobles, The Jew and Other Stories, On the Eve, A Reckless Character and Other Stories, The Torrents of Spring, and The Rendezvous.

6 hrs. 11 min. When young Russian aristocrat Dimitri Sanin, on his way home from Italy, enters a patisserie in Frankfurt, he little dreams it will alter the course of his entire life. Faced with Gemma, the most beautiful girl he has ever seen, he is blown away by the spring torrents of love. But fate has a challenge in store for Sanin, one he must successfully overcome or else he will lose his chance of future happiness. This tale of struggle against the force of natural passion speaks to the hearts of all who have experienced the fragile beauty of first love and the dark power of desire.

On one level the novel is about the homecoming of Lavretsky, who, broken and disillusioned by a failed marriage, returns to his estate and finds love again - only to lose it. The sense of loss and of unfulfilled promise, beautifully captured by Turgenev, reflects his underlying theme that humanity is not destined to experience happiness except as something ephemeral and inevitably doomed. On another level Turgenev is presenting the homecoming of a whole generation of young Russians who have fallen under the spell of European ideas that have uprooted them from Russia, their 'home', but have proved ultimately superfluous. In tragic bewilderment, they attempt to find reconciliation with their land.

This book was converted from its physical edition to the digital format by a community of volunteers. You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

Рассказ «Муму» был написан И.С.Тургеневым (1818-1883) весной 1852 г. В его основу были положены реальные события. Похожий случай произошел с крепостным матери Тургенева Варвары Петровны, немым Андреем. Правда, Андрей, в отличие от Герасима, не ушел в деревню, а продолжал служить своей барыне до конца ее дней.

Читать Тургенева! Чтобы хоть как-то начать разбираться в любви.