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Apparitions (1856)

par Ivan Turgenev

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De prime abord sympathique, puis antipathique, puis pitoyable, le personnage de Dimitri Roudinenous chappe. Qui est-il ? Un menteur ? Un imposteur ? Aime-t-il, comme il le pr tend, Natalie qui va pouser l'un de ses amis ? Sait-il la passion qu'il inspire Doria ? Il est pourtant capable de bont , de d vouement; de beaucoup de bassesses aussi... Dans le fond, c'est toute la vie qui se d couvre nous, travers cet tranger ind cis, complexe et d licat.En dition bilingue russe/fran ais, avec lecture audio int gr e: Non seulement vous pouvez lireRoudine en fran ais et en russe, mais vous pouvez galement couter la lecture de cet ouvrage dans sa version originale russophone ainsi que dans sa traduction fran aise, gr ce votre t l phone ou tablette. L'id al pour am liorer votre ma trise de la langue de Tourgueniev... et de Moli re Sans doute le roman le plus intense d'Ivan Tourgueniev.… (plus d'informations)
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Affichage de 1-5 de 7 (suivant | tout afficher)
This review is written with a GPL 4.0 license and the rights contained therein shall supersede all TOS by any and all websites in regards to copying and sharing without proper authorization and permissions. Crossposted at WordPress, Blogspot, & Librarything by Bookstooge’s Exalted Permission
Title: Rudin
Series: (The Russians)
Author: Ivan Turgenev
Rating: 4 of 5 Stars
Genre: Classic
Pages: 183
Words: 49K

Synopsis:

From Wikipedia

Rudin’s Arrival

The novel begins with the introduction of three of the characters – Aleksandra, Lezhnev, and Pandalevskii. Pandalevskii relates to Aleksandra Dar’ya Mikhailovna's invitation to come and meet a Baron Muffel’. Instead of the Baron, Rudin arrives and captivates everyone immediately with his intelligent and witty speeches during the argument with Pigasov. Rudin's arrival is delayed until Chapter Three. After his success at Dar’ya Mikhailovna's, he stays the night and the next morning meets Lezhnev who arrives to discuss some business affairs with Dar’ya Mikhailovna. This is the first time the reader finds out that Rudin and Lezhnev are acquainted, and studied together at university. During the day that follows Rudin has his first conversation with Natasha; as she speaks of him highly and says he “ought to work”, he replies with a lengthy speech. What follows is a description quite typical of Turgenev, where the character of Rudin is shown not through his own words, but through the text which underlines Rudin's contradictory statements:

“Yes, I must act. I must not bury my talent, if I have any; I must not squander my powers on talk alone — empty, profitless talk — on mere words,’ and his words flowed in a stream. He spoke nobly, ardently, convincingly, of the sin of cowardice and indolence, of the necessity of action.”[5]

On the same day, Sergei leaves Dar’ya Mikhailovna's early and arrives to see that Lezhnev is visiting. Lezhnev then gives his first description of Rudin.

Rudin and Natasha

In two months, we are told, Rudin is still staying at Dar’ya Mikhailovna's, living off borrowed money. He spends a lot of time with Natasha; in a conversation with her he speaks of how an old love can only be replaced by a new one. At the same time, Lezhnev gives the account of his youth and his friendship with Rudin, making for the first time the point that Rudin is “too cold” and inactive. On the next day, Natasha quizzes Rudin over his words about old and new love. Neither she, nor he confess their love for each other but in the evening, Rudin and Natasha meet again, and this time Rudin confesses his love for her; Natasha replies that she, too, loves him. Unfortunately, their conversation is overheard by Pandalevskii, who reports it to Dar’ya Mikhailovna, and she strongly disapproves of this romance, making her feelings known to Natasha. The next time Natasha and Rudin meet, she tells him that Dar’ya Mikhailovna knows of their love and disapproves of it. Natasha wants to know what plan of action is Rudin going to propose, but he does not fulfil her expectations when he says that one must “submit to destiny”. She leaves him, disappointed and sad:

“I am sad because I have been deceived in you… What! I come to you for counsel, and at such a moment! — and your first word is, submit! submit! So this is how you translate your talk of independence, of sacrifice, which …”

Rudin then leaves Dar’ya Mikhailovna's estate. Before his departure he writes two letters: one to Natasha and one to Sergei. The letter to Natasha is particularly notable in its confession of the vices of inactivity, inability to act and to take responsibility for one's actions – all the traits of a Hamlet which Turgenev later detailed in his 1860 speech. Lezhnev, meanwhile, asks Aleksandra to marry him and is accepted in a particularly fine scene.

The Aftermath

Chapter Twelve and the Epilogue detail events of over two years past Rudin's arrival at Dar’ya Mikhailovna's estate. Lezhnev is happily married to Aleksandra. He arrives to give her news of Sergei's engagement to Natasha, who is said to “seem contented”. Pigasov lives with Lezhnevs, and amuses Aleksandra as he used to amuse Dar’ya Mikhailovna. A conversation which follows happens to touch on Rudin, and as Pigasov begins to make fun of him, Lezhnev stops him. He then defends Rudin's “genius” while saying that his problem is that he had no “character” in him. This, again, refers to the superfluous man's inability to act. He then toasts Rudin. The chapter ends with the description of Rudin travelling aimlessly around Russia. In the Epilogue, Lezhnev happens by chance to meet Rudin at a hotel in a provincial town. Lezhnev invites Rudin to dine with him, and over the dinner Rudin relates to Lezhnev his attempts to “act” – to improve an estate belonging to his friend, to make a river navigable, to become a teacher. In all three of this attempts Rudin demonstrated inability to adapt to the circumstances of Nicholas I's Russia, and subsequently failed, and was in the end banished to his estate. Lezhnev then appears to change his opinion of Rudin as inherently inactive, and says that Rudin failed exactly because he could never stop striving for truth. The Epilogue ends with Rudin's death at the barricades during the French Revolution of 1848; even at death he is mistaken by two fleeing revolutionaries for a Pole.

My Thoughts:

After Anna Karenina and it's almost 1300 pages, every other Russian novel that's under 500 pages suddenly makes me feel like somehow I'm cheating and having an easy time of it. Russian literature is bleak and grim and depressing and your very soul is supposed to suffer while reading it. And here I am, breezing along like I'm on a circus ride or something.

It's just not right. Or maybe I'm just not right. OR (prepare for Conspiracy Theory Numero Uno).....

….. The WP4 have brainwashed me into somehow liking Russian Literature. I can totally see Dix trying to brainwash me, so I'm going with the Conspiracy Theory option.

Thankfully the titular character is not the main character. He's an arrogant jackass who won't stick to anything unless it is done exactly his way. Since he pretty much sponges off of other people, well, you can see the friction there. What got to me was near the end of the novel, Lezhnev (I'd call him a main character) meets Rudin (who is now practically homeless and barely surviving) and is very charitable to him. That was fine and showed what a good man Lezhnez was. What I really disliked was how Lezhnev starts praising Rudin for everything that I abominated in him. His inability to get along with others. His laziness. His excuses for not finishing things. His playing with people's lives as if they exist for his use alone. I was actually waiting for him to starve to death all alone but I think how Turgenev portrayed him dying, getting shot at the barricades during the French Revolution of 1848 (I had to go look on wikipedia, but this Revolution was just another one by the Frenchies, not the one portrayed in Dickens' Tale of Two Cities). It was very fitting for Rudin to die while sticking his nose into a completely different country's business.

I have to admit, I am not skilled enough to be able to tell the differences in writing style of Turgenev from either Tolstoy or Dostoyevsky. Part of that might be that a good bit of Russian literature was translated by Constance Garnett and if she wasn't careful, her own style would overpower theirs. While no translator is listed for this book, the public domain version is translated by Garnett so I'm going to assume this is her translation.

And yet, with everything, I still enjoyed this quite a bit. Turgenev sees people and does an excellent job of putting that down in words. I get all the benefit of a varied circle of acquaintences without actually having to deal with people. That is a Win-Win situation as far as I'm concerned!

The only other Turgenev that I've read is Fathers and Sons. I definitely preferred that to Rudin. However, I do look forward to more Turgenev as I continue this Russian journey.

★★★★☆ ( )
  BookstoogeLT | Dec 9, 2021 |
It is debatable whether we should read a novel entirely for its own merit, even disregarding the intention of the author, while it is questionable how much a reader twice removed could make of a classical novel, written nearly 200 years ago, and belonging to an entirely different age, and entirely different culture. The significance of Turgenev's first novel, Rudin (1855) might even be difficult for Russian readers to grasp.

Without reading the introduction or any other literary criticism, Rudin would appear merely a stiff novella. Where the novels of Dostoyevsky still appeal to universal sentiment or character, the early novels of Turgenev are novels of manner. Rudin surely can be read as a short, failed love story, the main character Rudin being more of an anti-hero than a hero. However, as the introduction explains, the reader can make more of the novel when it is understood that in Rudin Turgenev portrays a type rather than an individual character, a cultural phenomenon rather than a tragic hero. Rudin exemplifies a certain type of man of his time, a personification of the ills of Russian society at that time. It is this added dimension which enable us to see Rudin as a tragic figure.

Nonetheless, Rudin remains a somewhat stifled short novel, and the long, difficult Russian names of relatively many characters add to the reading difficulty. Readable, but not very enjoyable. ( )
  edwinbcn | Dec 23, 2019 |
Just as with Steve McQueen in 'The Great Escape', we have to wait until a quarter of the story has been told before we meet Rudin, the eponymous protagonist and all-round flawed hero. But the scene is completely stolen by the supporting cast; you finish the book almost wondering if Rudin had been necessary to begin with. ( )
  soylentgreen23 | Aug 20, 2017 |
Turgenev’s first novel, Rudin, is another ‘superfluous man’ story, with Rudin representing a “man of the 1840’s”, sensing change was necessary, but having difficulty fitting in and being a productive member of society. Rudin rejects the outright nihilism and misogyny in Pigasov (who perhaps represents a “man of the 1860’s, and a cruder version of Bazarov), but is a failure because he cannot live up to the philosophies he studies and talks so eruditely about. The love interests and Pigasov are somewhat interesting, but the novel is not fully developed enough to recommend to anyone other than a hardcore Turgenev fan.

Quotes:
On regret:
“There’s no harder thing in the world than being aware of your own recent stupidity.”

And this one, actually quoting Pushkin’s Eugene Onegin:
“Whoe’er has felt will feel alarmed
By phantoms of the days long gone…
There are not fascinations left for him,
Already the serpent of remembering,
The pangs of conscience will be gnawing him…”

On transience:
“’I remember a Scandinavian legend,’ he said in conclusion. ‘A king is sitting with his warriors in a long, dark hall, around a fire. It takes place at night, in winter. Suddenly a small bird flies in through one open door and out at another. The king remarks that the little bird is like a man in this world: it flew out of the darkness and back into the darkness again, and did not stay long in the warmth and light…’Oh, king,’ the eldest warrior objects, ‘the little bird will not lose itself in the dark but will find its nest.’ It is just like our life on earth that is so fleeting and insignificant; but everything great on earth is accomplished only by men. For man the awareness of being the instrument of these higher powers must take the place of all other joys: in death itself man will find his life, his nest…’” ( )
2 voter gbill | Oct 14, 2016 |
ociosos terratenientes y jóvenes de talento se dan cita en la casa de verano de una rica viuda. En este clima tenso y contradictorio, el autor traza en Rudin un espléndido retrato del hombre superfluo, de palabra vacía y la que solo trágicamente puede cobrar sentido ( )
  pedrolopez | Oct 19, 2014 |
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De prime abord sympathique, puis antipathique, puis pitoyable, le personnage de Dimitri Roudinenous chappe. Qui est-il ? Un menteur ? Un imposteur ? Aime-t-il, comme il le pr tend, Natalie qui va pouser l'un de ses amis ? Sait-il la passion qu'il inspire Doria ? Il est pourtant capable de bont , de d vouement; de beaucoup de bassesses aussi... Dans le fond, c'est toute la vie qui se d couvre nous, travers cet tranger ind cis, complexe et d licat.En dition bilingue russe/fran ais, avec lecture audio int gr e: Non seulement vous pouvez lireRoudine en fran ais et en russe, mais vous pouvez galement couter la lecture de cet ouvrage dans sa version originale russophone ainsi que dans sa traduction fran aise, gr ce votre t l phone ou tablette. L'id al pour am liorer votre ma trise de la langue de Tourgueniev... et de Moli re Sans doute le roman le plus intense d'Ivan Tourgueniev.

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