December 14, 1825 Decembrist uprising took place on Senate Square. One of the leaders was KF Ryleev. His name is forever recorded in the annals of Russian history. An integral part of Ryleev's life was his literary and civil work. Kondraty Fedorovich Ryleev was born on September 18, 1895. in the village of Batovo, Sofia district, Petersburg province. A small estate brought little income, and the parents could not give the future poet a brilliant education and upbringing. Ryleev's father, Lieutenant Colonel of the Estonian Regiment, after retiring, managed the Kyiv estate of the Galitsin princes. He treated his son coldly, and by nature he was stingy and cruel. But Ryleev's mother was cordial and kind, and the son became attached to her. the boy was sent to the First Cadet Corps, where he spent thirteen years. Friendships were established here, literary interests were awakened, civic feelings and concepts arose. The world at that time was filled with anxiety and expectation. In Russia, a short time of liberalism has come - "The days of Alexander's are a great start." The tsar's promises to grant a constitution and free the peasants foreshadowed significant changes. Ensign Ryleev went abroad as part of an artillery brigade. He saw Poland, Germany, and Switzerland. Later, in his testimony during the investigation, Ryleev admitted: “I initially became infected with love of freedom during campaigns in France in 1814 and 1815. Upon returning to his homeland at the end of 1815 and until the end of 1818, Ryleev served as an officer in the Ostrogozhsky district of the Voronezh province. Here he met the daughter of a local landowner, Natalia Mikhailovna Tevyashova, whom he married in January 1819. In Ostrogozhsk, Ryleev continued to write poetry. The young poet imitates Zhukovsky and Batyushkov and the elegiac poetry they created at school. The Ostrogozh period is the time to master the style and forms of psychological lyrics. In 1818, Ryleev retired. The army, in which drill, shagistics, cruelty to soldiers were planted, was left by many honored officers. “For the current service,” Ryleev wrote to his mother, “scoundrels are needed.” After his marriage, the poet leaves first for Batovo, and then, in the autumn of 1820, he settles in St. Petersburg. Here his civil and literary career began. Ryleev's ideological and literary maturation is facilitated by large international and domestic events. on the recommendation of A.A. Delvig, he is accepted into the Free Society of Lovers of Russian Literature, which gathered leading writers. The further development of these principles in the work of Ryleev takes place in 1821-1823 not in odes and elegies, but in thoughts. Dumas were the transitional genre that helped Ryleev combine civil thought and personal experiences. The poet wanted to awaken civil feelings in the noble youth, instill in them love for the motherland and hatred for despotism, move them to active and conscious action, ignite them with historical examples .. Ryleev demanded unconditional dedication from the younger generation. In 1823, Ryleev was admitted to the Northern Society by I.I. Pushchin. In 1824, after meeting with P.I. Pestel noticeably deepened the revolutionary mood of Ryleev. If in 1821 - 1823 the poet still believed in enlightened absolutism, then since 1824 he has defended the republican form of government and sincerely wishes the death of autocracy. The arrival of Ryleev immediately revived the secret organization of the Decembrists. Soon, the personal merits of the poet were recognized by everyone, and he entered the supreme body of society - the Duma, rallying around him an influential and radical group of republicans. In November 1825, Alexander the First died suddenly. The Decembrists decided to use the right moment for an armed uprising. At the poet's apartment, one meeting was replaced by another. Ryleev, having soberly assessed the situation, found that the Decembrists were not ready for action. He showed exceptional resourcefulness and perseverance, outlining practical measures. The uprising was crushed. Ryleev was arrested and imprisoned in the Peter and Paul Fortress. After a painful investigation, the poet, among the five Decembrists, was sentenced to death by quartering, but then it was replaced by hanging. In the early morning of July 13 (25), 1826, the “great citizen” - this is how the Decembrist A.V. called Ryleev. Poggio - was executed. With the death of Ryleev, his civic passion did not fade away, his poetic voice did not stop. The traditions of Ryleev's poetry, saturated with great social ideas and feelings, nourished Russian literature. And today, Ryleev's work is remembered and loved, because it - to use the expression of Alexander Blok - "rooted into the Russian heart"

The directory contains only Moscow and St. Petersburg. Although the subtitle of the reference book gives a link to the whole of Russia.

The compiler limited all biographical information about writers to only one front-line period. The editor-in-chief of the reference book, Ivan Kolos, believes that this is enough "for the reader to see from where, from what fate the writers' books grew."

In general, the idea was the most noble - to perpetuate all front-line writers, but the execution turned out to be useless.

- Biographical dictionary "Russian writers of the 20th century". P.I. Nikolaev.

In his brief preface, the compiler Pyotr Nikolaev makes special mention of the achievements of the so-called "village" prose.

Kurchatkin and Lichutin, Esin and Makanin, Prokhanov and Krupin got into the dictionary. But there is no Anatoly Afanasiev and Vladimir Gusev, Ruslan Kireev and Ernst Safonov.

The compiler did not forget the postmodernist poets and all metametaphysicians. He included Parshchikov and Alexander Eremenko, Prigov and Vsevolod Nekrasov in the dictionary. And traditional poetry is given for some reason selectively. In particular, Nikolai Dmitriev and Gennady Krasnikov "fell out" for some reason.

The dictionary selectively presents a new generation that has loudly declared itself in the last five to ten years: Pietsukh, Klekh, Pelevin, Slapovsky.

And how is the material presented in the dictionary of P. Nikolaev. Maybe this is the first publication about Russian writers of the 20th century that meets almost all the mandatory attributes of a biographical reference book and at the same time preserves the peculiarities of the style of the authors of dictionary entries. Almost all articles are very voluminous, informative and readable.

- Directory "100 poets of XIX - XX centuries". Chelyabinsk publishing house "Ural LTD". E.S. Abramovskikh.

Judging by the selection of names, Elena Abramovskikh is more attracted to the avant-garde. She found a place for Vertinsky, Okudzhava, but for some reason "forgot" about the main brawler of the Soviet literary era, Yevtushenko, remembered Kharms, but read Tvardovsky, appreciated Brodsky, but missed Yuri Kuznetsov. Each article by the Abramovskys begins with a one-line, maximum two-line epigraph (for Zabolotsky, she picked up the words of A. Tarkovsky: "Not a man, but the skull of the century"). Then comes a short cut - just one sentence, in which, in a rather figurative form, an attempt is made to express the essence of the poet or, at worst, to somehow indicate his contribution to world culture. As it is done about Akhmatova: "Do not disgrace my name!" - said her father, having learned about her poems. And the "17-year-old crazy girl" chose a Tatar surname, which has become a symbol of female destiny in Russia. Then the whole biography of the hero is divided into four or five periods with their own names, the key moments of each period are searched for (an iconic poetic line, some personal story, a fateful meeting or something else), and one or two paragraphs and preferably in an expressive form is given characteristics of each life stage. And as a result, the image of, for example, Daniil Kharms visibly appears. Abramovskikh so read his fate. She left the tricks of childhood, as always, without unnecessary comments, only one or two significant facts. And then the first stage. Abramovskikh named it: "1922 - 1925: Man-Performance". Then: "Since 1925: Faces and Masks"; "1925 - . 1928: A gathering of friends abandoned by fate". Further passions run high: "1926 - 1929: Collision of an oak with a sage". And here is a close denouement: "1930 - 1942: A poet forgotten by heaven." The final lines of the terrible drama: "In August 1941, Kharms was arrested (for the second time); having played insanity, he was placed in a psychiatric hospital in a Novosibirsk prison, where he died." The author immediately limited herself to the volume: she devoted exactly two book pages to each poet, and not a line more. Hence the strict principles of selection and construction of material.

2002 - Three-volume "Russian humanitarian encyclopedic dictionary". St. Petersburg State University in cooperation with the humanitarian publishing center "Vlados" at the Moscow State Pedagogical University.

The dictionary contains over 10,000 articles, including over 300 articles dedicated to Russian writers of the 20th century.

In the article with the letter "A" it is immediately evident that the compilers and publishers, according to the once sadly established tradition, are poorly aware of the realities of the literary life of the last decade, but at least they did not forget to mention the most significant characters from the history of Russian literature 1960 - 1980 -s. Front-line soldiers were presented by pundits F. Abramov, V. Astafyev and E. Asadov. Rural prose is personified by M. Alekseev, city prose by V. Aksyonov. There are fashionable poets of the sixties (in the person of B. Akhmadulina). Literary critics (M.P. Alekseev, S. Averintsev, I. Andropov, M. Azadovsky) and playwrights (A. Arbuzov, S. Alyoshin) are not well-established. There was a place for the victims of the Gulag (A. Aldan-Semyonov) and dissidents (A. Amalrik, Yu. Aleshkovsky). It's great that the old guard is not forgotten (V. Azhaev, M. Aliger, P. Antokolsky). Well, of the relatively new names, only one poet Yu. Arasov got into the dictionary (and then not so much for poetry, but for scripts for suitable films by Sokurov). Not all articles are equal, of course. Very rarely, but still there are factual errors. Let's say Mich. Alekseev headed the magazine "Moscow" not in 1986, but almost two decades earlier. But more remarks of a different nature. The authors of the dictionary not only do not know how Russian literature has developed over the past ten years (otherwise how to explain the absence, for example, in the article about Astafiev of references to his novel "Cursed and Killed" and the story "Merry Soldier"; for encyclopedists, it seems, The last work of the writer was "The Sad Detective" written in 1986), they have a poor idea of ​​what happened even in the 1970s and 1980s (judging by the dictionary, Aldan-Semyonov did not create anything after the first book of the novel "The Reds and white").

A. Ananiev with his "Years without War", S. Antonov with "Ravines" and I. Akulov with "Cold Kasyan" did not get into the dictionary.

Of course, this to some extent reduces the completeness of the publication.

However, as the dictionary entries beginning with other letters of the alphabet were studied, the mood began to change. There are no articles about Y. Bondarev, D. Balashov, L. Borodin, K. Vorobyov, T. Glushkova, An. Ivanov, V. Kondratiev, St. Kunyaev, Y. Kuznetsov, V. Krupin, V. Lichutin, G. Markov, B. Mozhaev, E. Nosov, V. Pikul, Y. Polyakov, A. Prokhanov, V. Soloukhin, I. Stadnyuk, N. Starshinov. Although these writers are far from the last row.

Most of the articles devoted to Russian writers of the 20th century are in the style of a dry biographical note, without any assessment of creativity and life deeds. And only two and a half dozen articles are replete with negative reviews and remarks of a negative nature. This will be clear if the names of the writers about whom negative judgments are placed are announced: E. Isaev, A. Prokofiev, V. Kataev, N. Gribachev, A. Sofronov, M. Sholokhov. Most of the reproaches addressed to these writers are fair. We must honestly admit: Yegor Isaev is a bad, useless poet. Yes, absolutely right, Alexander Prokofiev "in the 60s opposed the young poets A. Voznesensky, E. Yevtushenko and others, and later - against I. Brodsky." Valentin Kataev "in politics, however, did not allow himself any free thinking and, being a member of the CPSU since 1958, obediently fulfilled all its requirements (for example, he signed a letter inspired by the authorities and published on August 31, 1973 condemning A. Solzhenitsyn)". By the way, why is the dictionary entry listing almost all of Kataev's creations, except for the 1980 story "Werther has already been written."

Very tendentious and biased are presented in the dictionary and literary magazines. It is clear that the "New World" of the times of Tvardovsky is described in pathetic tones and exclusively as a fighter against conservative and neo-soil tendencies.

I remember that the works of Blok, Gorky or Bunin were always evaluated not only by how these writers reacted to the October 1917 coup. Everyone was also interested in the aesthetics of their books. Speaking about Novy Mir, the authors of the dictionary describe in detail how the authorities persecuted and expelled Tvardovsky. That's right, that's how it was in life. But it is not clear why the article about The magazine "Young Guard" only in passing mentions that Anatoly Nikonov left his post. And in the article about "Our Contemporary" not a word was said at all about what persecution Yury Seleznev, the first deputy of S. Vikulov, was subjected to in the early 1980s - for daring to print V. Krupin's story "Fortieth" in one issue at once day", articles by V. Kozhinov and A. Lanshchikov and a passing, but someone at the top did not like the reviewer of S. Semanov.

Dictionaries are created so that people can find truthful information in them. In this case, the authors chose a different method: fraud and silence. For example, for some reason they were embarrassed to mention that after the death of V. Kozhevnikov, the poet Yu. Voronov directed the magazine Znamya for two years before G. Baklanov came to the office. Baklanov left Znamya in 1993, and for nine years the critic S. Chuprinin has been the "main standard-bearer". But these facts are not in the article about the "Banner". Complete silence in the dictionary and about who replaced Tvardovsky in the "New World". After all, in 1986 Zalygin did not come from scratch. It is possible to evaluate the 16-year period of the magazine in different ways from the departure of Tvardovsky to the appearance of Zalygin, but it was, and then Kosolapov, S. Narovchatov and scout V. Karpov held the helm in turn, who, the more years passes after the war, the more in his interviews captures "languages". By the way, after Zalygin, the "New World" was headed by the critic A. Vasilevsky.

It seems that tendentiousness is the main distinguishing feature of the "Russian Humanitarian Encyclopedic Dictionary".

Russian historians, philologists, and northern scholars are subjectively represented in the dictionary in the same way. After all, this is nonsense: world-famous historians Boris Rybakov, A. Okladnikov and Nikolai Pokrovsky did not get into the dictionary. Not in the dictionary of the great linguist Academician Oleg Trubachev and the greatest Slavist Vladimir Toporov. Of the northern scholars of the first row, V. Avrorin, G. Menovshchikov, Val. Chernetsov, P. Skorik, S. Stebnitsky and O. Sunik.

Officially, the reference book is called "Russian Humanitarian Encyclopedic Dictionary". The emphasis is on the word "Russian". This means that the editors wanted to represent the whole of Russia.

In fact, in such publications it would be nice to mark the authorship of each article. And then you have to scold the entire editorial office of the dictionary, together with consultants, for the biased selection of personalities and the mistakes made. But among the consultants of this dictionary there are many decent people, including the now deceased Yu. Lotman and A. Panchenko.

And the third remark concerns the referenced bibliography. It remained so incomprehensible to me why it is in the references about N. Zabolotsky and B. Zaitsev, but is not in the articles about E. Zamyatin or A. Platonov. It seems that when the dictionary was still being compiled, the left hand did not know what the right hand was doing. Well, the general conclusion is this: it seems that academic and university sciences have lost their potential. In any case, humanitarian encyclopedic dictionaries are not compiled in this way.

This Dictionary is included in the system of encyclopedic works devoted to Russian verbal culture. It characterizes all types of writing: prose, poetry, drama, children's literature, literary criticism and literary criticism.

It corresponds to the main provisions of modern science about the historical path of Russian literature in the twentieth century. This path was, as it were, foreseen by the last classics of the previous century, A. Chekhov and L. Tolstoy, who met the new century with anxiety and hope, which are also related to culture. (Strictly speaking, these names should have been included in the present edition, but still they are the flesh of the flesh of the nineteenth century.) Both of them were fully confirmed.

According to this Dictionary, one can compile a martyrology of writers of the 20th century much more gigantic in comparison with the well-known martyrology of A. Herzen. Not only the history of Russia turned out to be tragic, but also the fate of its artists of the word. Even outwardly prosperous, not rejected by the authorities (M. Gorky, M. Sholokhov, A. Fadeev, I. Ehrenburg, K. Simonov, etc.) did not escape the drama.

On the other hand, one of the confirmations of the hopes of the great writers of the past was the flourishing of Russian literature, which, in spite of everything, retained its aesthetic freedom as a whole. Of the Russian artists of the word of the 20th century, more than a hundred writers are world-famous. In quantitative terms, this is much more than what the "golden age" of Russian literature gave.

Political regimes in the 20th century did not like culture. Not only the one that directly opposed the government, but also the one that was on the side of the existing system: in this case, they feared its relative independence. Therefore, for example, after the Patriotic War of 1941-1945, which was won partly thanks to literature that shaped the patriotic feelings of the people, one of the first political actions of the authorities was the trial of writers, and soon also of artists representing other types of art. II general motive for condemning artists who are so dissimilar in outlook and style as A. Akhmatova and M. Zoshchenko - they think and behave independently.

Defending itself, fiction in the second half of the 20th century appealed to the people and at the same time defended them from the regime. It is no coincidence that her main aesthetic achievement during this period was the so-called "village prose", prepared by the great poetic experience of A. Tvardovsky and represented by such names as F. Abramov, S. Zalygin, V. Astafiev, B. Mozhaev, V. Rasputin, V. Belov and, of course, A. Solzhenitsyn.

The dictionary denies the cemetery, "commemorative" motives regarding Soviet literature. Not to mention its classics, one cannot but admit that even many writers of the Russian diaspora matured within its confines. New well-known names that have declared themselves in the last decade are more heirs of the previous long stage in the history of the culture of the 20th century than it seems to modern criticism.

D. S. Likhachev said that the history of culture is not its progress: it is the accumulation of culture. Rejecting the metonymic view of literature, when a part of an artistic phenomenon is presented as its whole, the Dictionary tries to present a general positive aesthetic result of everything accumulated in the history of our national literature. The “components” of this result are very different in value, in artistic content, but there are also internal connecting threads between them, which is quite understandable: culture is one.

The dictionary can be perceived as a continuation of the multi-volume dictionary “Russian Writers. 1800-1917”, carried out by the publishing house “Great Russian Encyclopedia” (four volumes have been published). But the proposed edition also has specific structural features: it can be called an "author's encyclopedia". Of course, all the traditional genre and content qualities of dictionary entries, their bibliographic "norms" are present here, but there are individual author's styles and analytical approaches to the material. The conditional definition of the publication as an "author's encyclopedia" explains some of its content and structural aspects. The editorial board took into account the author's terminological characteristics of historical events. For example, “October 1917”: both “revolution” and “coup” - all the more so since this discord was common for that time, including among the Bolsheviks (JV Stalin titled his anniversary article in the newspaper “ Pravda" in 1918: "The October Revolution").

We also considered it necessary to agree with the author's definition of the scope of a particular article; as a rule, it was dictated not only (and sometimes not so much) by the significance of the object of encyclopedic consideration, but by the degree of study of the "subject" or today's awareness of it (for example, articles about D. Bedny, A. Bezymensky). And also - the manner of presentation of one or another author of the article, which the editorial board sought to preserve, thus presenting not only a panorama of the literature of the 20th century, but also a range of different research approaches and style features of modern analysts of the literary process. This last circumstance partly clarifies the question of the addressee of the publication. It is intended both for all those who are interested in Russian literature of the 20th century, and for its researchers. The creators of the Dictionary hope that this book will serve as meaningful material for the future scientific history of Russian literature of the outgoing century - and at the same time will be an exciting read for the narrowest circle of readers, including schoolchildren and students. This is not surprising for a book whose authors include such writers as S. Zalygin, L. Ozerov, F. Iskander, A. Borschagovsky, as well as major literary scholars and critics, who initiated this publication. Some of them have themselves become objects of encyclopedic narration.

The structure of the articles could not but be affected by the great difference in the literary experience of the authors and their belonging to different literary "workshops". In the Dictionary, in essence, an attempt was made to unite two, strictly speaking, unequal "departments": literary criticism with its historical "generosity", mandatory for science, and literary criticism, free from this (which is not its shortcoming, but its very nature). But the authors-critics tried to avoid journalistic predilections (one of the characteristic examples is the articles by A. Bocharov about the writer's antipodes: V. Grossman and V. Kozhevnikov), although, of course, some ideological preferences could not but affect the text.

The authors did not use the material to substantiate their current cultural and sociological concepts. They proceeded from the fact that it is self-sufficient, expensive for its historical quality. The information and analytical principle of the publication can be called "unifying". That is, creating a kind of pantheon of Russian literary literature of the outgoing century, writers, literary critics, and critics saw this as an opportunity for creative harmony, which the modern literary community really needs. Everyone is aware of such a social and moral need. In Russian literature of the 20th century, which, for all its differences (and not only in the sense of aesthetic quality), had in the best examples, as already mentioned, one thing in common - relative freedom from the dictates of external circumstances. The need for its encyclopedic characterization follows from the general task of our time: to expand the information space of knowledge about the past cultural development of Russia, which allows at least to a small extent to predict its near and distant future.

The vocabulary of the publication was based on two criteria: the artistic level of the works and the significance of the names of their authors - in the national and world consciousness. They did not always coincide, these criteria, but in any literary experience - great or not so significant - there was one or another sign.

This Dictionary is not academic, like the mentioned volumes of the well-known publication “Russian Writers. 1800-1917”, and is not saturated with large source data (archival in particular) - this is a matter of the not-too-distant future.

Naturally, not all worthy writers of the 20th century are represented here. And many of those who are characterized no longer satisfy the current positive aesthetic perception. But here is the biographical history of Russian literature as it was in the great and tragic century. Many authors of articles were and remain active participants in literary history - the more justified their right to participate in this publication looks.

Readers may point out the absence of entries in the Dictionary about such remarkable writers as G. Aigi, V. Bykov, Ch. Aitmatov and others. Many of their texts were created in Russian, their contribution to Russian literature and Russian culture in general is very significant. But the main source of their creativity is in their national spiritual element: Chuvash, Belarusian, Kyrgyz, etc. They, as a rule, began to write in their native language and the life of their national homeland was the subject of their narrations. Therefore, in the modern art world, they, first of all, represent their national literature. The examples of V. Nabokov and I. Brodsky do not refute this position: the main principles of their work are within the limits of specifically Russian artistic phenomena.

There were different stages in the work on the Dictionary. Initially, it was created, so to speak, on a voluntary basis, with a small financial support from the Open Society Institute, in the private publishing house Randevu-AM (editor-in-chief S. A. Nadeev). Famous authors did not complain about meager fees. Three or four people were involved in the editorial work - also on a voluntary basis (a special role in editing the texts belonged to I. I. Nikolaeva, who passed away shortly before the Dictionary was published).

Some articles were created almost on a competitive basis: two or three authors, and sometimes more, provided different texts about one writer - most often, a major one. Sometimes living writers (A. Solzhenitsyn and others) helped in clarifying biographical data.

At the final stage, already in the publishing house "Great Russian Encyclopedia", work on the Dictionary acquired a qualitatively new character, the vocabulary of the publication was significantly expanded, and its information base was strengthened (here a special role belonged to the doctor of philological sciences G. V. Yakusheva). The work of professional encyclopedic bibliographers and proofreaders also contributed to the correction of the discovered factual errors and inaccuracies.

The study of Russian literature of the 20th century in the encyclopedic genre is just beginning. It will undoubtedly continue. Future encyclopaedists will have to evaluate a huge number of new names, and then it will become clear what place Russian literary literature of the twentieth century occupied in the spiritual life of Russia and the world.

The dictionary "Russian Writers of the 20th Century" will become a significant milestone in the history of Russian science and culture and just a gift for all connoisseurs of great Russian literature.

Using the resources of the Internet and materials from biographical dictionaries, Russian writers of the 19th century, prepare an oral report on the life and work of Fryleeva, thanks in advance

Answers:

Kondraty Fedorovich Ryleev was born on September 18, 1795. After graduating from the cadet corps, he took part in the foreign campaigns of the Russian army in 1814-1815, where he began to think about the ideal of a free life for the first time. KF Ryleev - a member of the Northern Society, one of the leaders of the Decembrist uprising. He was one of the creators of the popular almanac The North Star, which published romantic works, the main idea of ​​which was the idea of ​​citizenship. Ryleev's poems "Voinarovsky", "Nalivaiko", his thoughts are saturated with political associations. It can be said that for Ryleev, turning to history served as a pretext for solving contemporary problems, an opportunity to speak out on topical, but taboo topics in the literature of that time. Ryleev was executed in 1826 among five Decembrists - participants and organizers of the uprising on Senate Square.

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Ivan Sergeevich Turgenev, on his father's side, belonged to an old noble family - the names of his ancestors have been found in descriptions of historical events since the time of Ivan the Terrible.

In the Time of Troubles, one of the Turgenevs - Pyotr Nikitich - was executed at the Execution Ground for denouncing False Dmitry.

The writer's father began his service in the cavalry guard regiment and by the time he met his future wife he was in the rank of lieutenant. Mother is a wealthy landowner, the owner of the Spasskoye estate in the Mtsensk district of the Oryol province.

The entire management of the Spasskoye estate was in the hands of Varvara Petrovna's mother. Around the spacious two-story manor house, built in the shape of a horseshoe, gardens were laid out, greenhouses and greenhouses were arranged. The alleys formed the Roman numeral XIX, denoting the century in which Spasskoe arose. The boy began to notice early on that everything around was subject to the arbitrariness and whims of the owner of the estate. The realization of this darkened the love for Spassky and his nature.

Childhood and youthful memories of life in Spasskoye deeply sunk into the soul of Turgenev and were later reflected in his stories. "My biography," he once said, "is in my works." Separate character traits of Varvara Petrovna are guessed in the images of some of Turgenev's heroines ("Mumu").

The home library had many books in Russian, English, German, but most of the books were in French.

Some misunderstandings constantly occurred with tutors and home teachers. They were changed frequently. The future writer was occupied by nature, hunting, and fishing.

But now the time has come to part with Spassky for a long time. The Turgenevs decided to move to Moscow in order to prepare their children for entering educational institutions. We bought a house on Samotek. First, the children were placed in a boarding school, after leaving it, again diligent studies with teachers: preparations were underway for entering the University. As a result, teachers noted the high level of development of adolescents. The father in letters encourages his sons to write more letters in Russian, and not in French and German. Turgenev was not yet fifteen years old when he applied to Moscow University, to the verbal department.

The beginning of the 1830s was marked by the stay at the University of such remarkable people as Belinsky, Lermontov, Goncharov, Turgenev and others. But the future writer studied there for only a year. His parents moved to St. Petersburg, and he transferred to the philological department of the Philosophical Faculty of St. Petersburg University. Soon Turgenev began to write a dramatic poem. Small poems were created by him back in Moscow. In the first year of his life in St. Petersburg there was a meeting with Zhukovsky, he became close to Professor P. A. Pletnev, with Granovsky. A. S. Pushkin became the idol of friends. Turgenev was not yet eighteen years old when his first work appeared.

To complete his education, he leaves for the University of Berlin. The German professors were struck by the unquenchable thirst for knowledge among Russian students, their readiness to sacrifice everything to the truth, the thirst for activity for the good of the motherland. In early December 1842, Turgenev returned from abroad to St. Petersburg. He devotes himself to creative work with a vengeance.

* * * According to N. Bogoslovsky * * *

Questions and tasks

1. What new did you learn about I. S. Turgenev from an article prepared based on the materials of the book by N. Bogoslovsky "Turgenev"?
2. Using biographical dictionaries "Russian writers" and Internet resources, prepare an oral report about the writer's life path.