In his “Reminiscences” he throws further light on the causes which induced him to live abroad. He says that there was nothing to keep him in Russia. Every thing around him was calculated to fill him with indignation, contempt, and scorn. “I could not hesitate long. It was necessary either to submit to humiliation, and calmly make up my mind to follow the general rut over the beaten road, or boldly to push away ‘every thing and all,’ even at the risk of losing much that was dear and near to my heart. And so I did. I threw myself head first into the ‘German sea,’ which should purify and regenerate me; and, when at last I emerged from its billows, I became a Zapadnik,—a Western man, and such I remained for all my life.”
In 1841 Turgénief returned to Russia, going directly to Moscow, where his mother was living. Here he became acquainted with the Slavophiles Aksákof, Khomiakof, and the Kiriyevskys, who at this time were just beginning to promulgate their ideas. But Turgénief found them hopelessly in the “general rut.”
He tells in his “Reminiscences” how he first thought of “Fathers and Sons.” “I was taking baths at Ventnor, a little town on the Isle of Wight, in August, 1860, when the first thought of ‘Fathers and Sons’ entered my mind,—that narrative which checked, as it seems to me, forever the kindly disposition of the Russian younger generation. More than once I read in journals, and heard that ‘I was off the track,’ or was ‘bringing in new ideas.’ Some praised me; others, on the contrary, blamed me. On my part, I must confess that I never attempted to ‘create a figure.’ I always had for my starting-point, not an idea, but a living person, to whom I would gradually add and join suitable elements. The same thing happened in ‘Fathers and Sons.’ As the foundation of the main figure, Bazarof, the person of a young provincial doctor, who surprised me very much at the time, was chosen. He died just before 1860. This remarkable man appeared to me to contain all the elements of what has since received the name of Nihilism, but which at that time was just beginning to rise, and had not yet been formulated. The impression made upon me by this person was very strong, and at the same time not very clear. At first I could not account for him very well; and I used my utmost endeavors to hear and see every thing about me, with a view of vivifying the truthfulness of my own impressions. This fact confused me. In no book of our literature could I find a single hint of what seemed to me to be everywhere. Reluctantly the doubt arose in me whether I was not hunting for a shadow.”
What he found at last was Bazarof, in which type he predicted the spirit of a new epoch, and showed “the new man” at the very moment of his appearance. No one understood it, and hence arose the storm which assailed the author.
“I experienced impressions,” says Turgénief, “of different kinds, but all equally disagreeable to me. I noticed coolness, even going so far as indignation, in many who had been near and dear to me. I received almost fulsome congratulations from people who belonged to the camp of my enemies. This confused me: ... it grieved me. But my conscience did not reproach me. I knew well that I had been true to the type which I had described.”
M. le Vicomte E. Melchior de Vogüé, in a capital study of Turgénief’s life and works, thus speaks of the reason for the novelist’s popularity and influence in Russia: “We read books as the passer-by glances at a painting in a shop-window, for an instant, from the corner of the eye, as he goes to his business. If you knew how differently they read their poets there [in Russia]! What for us is only a feast for enjoyment is for them the daily bread of the soul. It is the golden age of lofty literature, which all very youthful peoples in Asia, in Greece, in the Middle Ages have seen flourishing. The writer is the guide for his race, the master of a multitude of commingling thoughts; still in a measure the creator of his language, poet in the ancient and complete meaning of the word vates, poet, prophet. Simple-hearted and serious readers, new-comers into the world of ideas, eager for direction, full of illusions about the power of human genius, ask their intellectual guide for a doctrine, for a reason for life, for a perfect revelation of the ideal. In Russia the few members of the aristocratic élite long ago reached, and perhaps went beyond, our dilettanteism; but the lower classes are beginning to read: they read passionately, with faith and hope, as we read ‘Robinson’ at twelve.... For the Moscow merchant, the son of the village priest, the small country proprietor, to whom a few volumes of Pushkin, of Gogol, of Nekrásof represent the encyclopædia of the human mind, this novel [“Virgin Soil,” or “Fathers and Sons,” or “A Nest of Noblemen”] is one of the books of the national Bible: it assumes the importance and the epic significance which the story of Esther had for the people of Judæa, the story of Ulysses for the people of Athens, the romance of ‘The Rose’ or of ‘Renart’ for our ancestors.
“Three years ago, in dedicating the statue of Pushkin at Moscow, Turgénief quoted a characteristic remark made by a peasant standing near the monument. In reply to a comrade who asked the name of this gentleman in bronze, the muzhik said, ‘He was a schoolmaster.’ The orator appropriated the remark, and developed it, saying rightly that the peasant in his ignorance had hit upon the true name of the hero of the celebration. The first Russian poet had been the schoolmaster of his countrymen, he had given new life to their language and their thought. The day, not far distant, doubtless, when Turgénief’s statue will be erected at Moscow, the muzhik will be able to repeat his saying: he also was a schoolmaster.
“His generation listened to him more willingly than to any other. It would be a mistake to seek solely in what we call talent for the reasons of this popular adoption. How many among his primitive and passionate readers troubled themselves about the question of talent, of devices of form, delicacies of thought? In literature, as in politics, a people follow instinctively the men whom they feel belong to themselves, made of their flesh and their genius, marked by their virtues and their failings. Ivan Sergeyévitch personified the master qualities of the Russian people,—their simple-hearted goodness, simplicity, and resignation. He was, as it is said popularly, une âme du bon Dieu: that mighty brain was ruled by a child’s heart. Never did I approach him without better comprehending the magnificent meaning of the gospel saying about the “simple in spirit,” and how this state of soul can be allied to the artist’s exquisite gifts and knowledge. Devotion, generosity of heart and of hand, brotherly kindness—all were as natural to him as an organic function. In our cautious, complicated society, where every one is armed for the rough struggle of life, he seemed like a person from another sphere, from some pastoral and fraternal tribe of the Ural;—some grand, self-forgetful child, following his thoughts under the sky, as a shepherd follows his flocks in the steppe.
“Physically, likewise, this tall, calm old man, with his somewhat coarse features, his sculpturesque head, and his thoughtful gaze, brought to mind certain Russian peasants,—the elder who sits at the head of the table in patriarchal families,—but ennobled and transfigured by the labor of thought, like those peasants of old who became monks, were worshipped as saints, and are seen represented on the ikonostas with the aureole and the majesty of prayer. The first time that I met this good giant, the symbolical statue of his country, I had great difficulty in making my impression clear: it seemed to me that I saw and heard a muzhik upon whom had descended the fire of genius, who had been raised to the pinnacles of mind without losing any of his native candor. He would assuredly not have been offended by the comparison, he who so loved his people.”
M. de Vogüé goes on to speak of Turgénief’s work. “The public,” he says, referring to the “Annals of a Sportsman,” “did not at first perceive their hidden significance: the watchful censor was deceived. All that was seen in them was a literary manifestation of the first order, a new note in Russia. Doubtless Gogol’s influence was apparent in the young writer’s style, in his comprehension of nature: the ‘Evenings at the Farm’ set the model for the class. It was always the grand and melancholy symphony of the Russian land; but this time the interpretation by the artist was quite different. No longer were seen Gogol’s sharp humor, the frankly popular character of his paintings, his warm outbursts of enthusiasm suddenly checked by touches of irony: in Turgénief, no jests or enthusiasm; a soberer note, a more subdued emotion; landscapes and men are seen in the pale twilight, through an idealizing mistiness, yet clearly outlined and focussed, as it were, under the eyes of the ever watchful observer.