Turgenev Rudin Prezentaciya
“Deny everything and you will easily pass for a man of ability; it's a well known trick. Simple hearted people are quite ready to conclude that you are worth more than what you deny. Datj pechatnuyu platu unch tda 7294 3. And that's often an error.
In the first place, you can pick holes in anything; and secondly, even if you are right in what you say, it's the worse for you, your intellect, directed by simple negation, grows colorless and withers up. While you gratify your vanity, you are deprived of the true consolations of thought;life--the essence of life--evades your jaundiced and petty criticism, and you end by scolding and becoming ridiculous. Only one who loves has the right to censure and find fault.” ― Ivan Turgenev. “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, stands more than any other man as the incarnation of a 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.” ― Ivan Turgenev.
Contents • • • • • • • • • • • • • • • • • • • Context [ ] Rudin was written by Turgenev in the immediate aftermath of the, when it became obvious to many educated Russians that reform was needed. The main debate of Turgenev's own generation was that of versus Westernizers. Rudin depicts a typical man of this generation (known as 'the men of forties'), intellectual but ineffective. This interpretation of the superfluous man as someone who possesses great intellectual ability and potential, but is unable to realize them stems from Turgenev's own view of human nature, expressed in his 1860 speech ‘Hamlet and Don Quixote’, where he contrasts egotistical, too deep in reflection to act, and enthusiastic and un-thinking, but active. The main character of the novel, Rudin, is easily identified with Hamlet. Many critics suggest that the image of Rudin was at least partly autobiographical.
Turgenev himself maintained the character was a 'fairly faithful' portrait of the anarchist, whom the author knew well., who knew both men, said in his memoirs that the vacillating Rudin had more in common with the liberal Turgenev than the insurrectionist Bakunin. Rudin is often compared to ’s and ’s. The latter two are considered to be representations of their generations (‘men of twenties’ and ‘men of thirties’ respectively) as Rudin is considered to be a representation of his generation; the three literary works featuring these characters share many similarities in structure and all three characters are routinely referred to as ‘superfluous men’ (whether the term is applicable to all three has been a subject of scholarly debate). For a long time, Turgenev was unsure of the genre of Rudin, publishing it with a subtitle of ‘’. In 1860, it was published together with two other novels, but in the three editions of Turgenev's Works that followed it was grouped with short stories. In the final, 1880, edition it was again placed at the head of the novels. The theme of the superfluous man in love was further explored in Turgenev's subsequent novels, culminating in Fathers and Sons.