Read First Love by Ivan Turgenev Online


A timeless tale of youth, love, and loss, masterfully rendered by Ivan Turgenev Vladimir Petrovich and his friends are gathered at a party recounting stories of their first loves. Vladimir tells a vivid tale of unrequited adolescent passion: When he was sixteen, he met the beautiful twenty-one-year-old Zinaida Alexandrovna Zasyekina and fell head over heels. UnfortunatelyA timeless tale of youth, love, and loss, masterfully rendered by Ivan Turgenev Vladimir Petrovich and his friends are gathered at a party recounting stories of their first loves. Vladimir tells a vivid tale of unrequited adolescent passion: When he was sixteen, he met the beautiful twenty-one-year-old Zinaida Alexandrovna Zasyekina and fell head over heels. Unfortunately for Vladimir, several other—more eligible—suitors also hoped to win the affections of the beautiful Zinaida.   An assured classic, Turgenev’s poignant novella follows young Vladimir through the peaks of ecstatic ardor and the valleys of bitter disappointment, concluding in inevitable tragedy.   This ebook has been professionally proofread to ensure accuracy and readability on all devices....

Title : First Love
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ISBN : 9781504013918
Format Type : ebook
Number of Pages : 112 Pages
Status : Available For Download
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First Love Reviews

  • Dolors
    2019-04-20 08:22

    This short story explores the complexity of love, its raptures and tormenting effects on the heart of an inexperienced young man of sixteen, Vladimir, who spends the summer of 1833 in a cottage nearby the Neskuchni gardens in the outskirts of Moscow.Who doesn’t remember falling in love for the first time? Trying to put into words the rush of contradictory emotions, the awakening of desire tangled with the insecurities of youth and the loss of the innocence of childhood is like trying to describe the immeasurable vastness of the universe, of which we cannot even start scratching the surface. And yet Turgenev masters his art and delivers a tale so rich in nuance, detail and realism that it’s impossible not to relive the inexpressible state of intoxication that is linked to first love.There is a distinctive European taste to Turgenev’s approach without it resembling the contemporary Romantic authors of the time. Vladimir will enter the adult world of deceitfulness, guilt, jealousy and suffering that so is intrinsically woven into the human psyche and will become painfully aware of the treacherous nature of emotions. Princess Zaskeyin, the object of his fervent adoration, will change the meaning of the young man’s life in ways he cannot predict that will also affect the apparent balance of his family of noble descend, which reflects the ongoing profound change the Russian society was submitted to at the onset of the nineteenth century. Turgenev’s character portrayal is not only delicately accurate but also revealing of gender and class disparities. Princess Zaskeyin may appear capricious and flirtatious at first glance, but her condition is one attached to her deplorable role as a mere object of beauty to be possessed, a trophy to be exhibited to attract suitors and a steady source of income for her impoverished mother. On the other hand, the masculine dominance is but a farce when passion is unleashed and threatens to shatter all superficial decorum, leaving all the characters equally exposed to the turmoil of unrequited or, and forbidden love.Shrouded in melancholic prose that taunts the reader with passages of lush descriptions of inner and outer landscapes, this tale is an affirmation of life as a continuous process that is partially revealed in stages but never fully disclosed. Mind and heart might become one in Turgenev’s crystalline storytelling, where the interior world of the characters flows unhindered to the shores of the reader’s conscience, sending the warning that love is a dangerous weapon that can inflict wounds impossible to heal… but what a catastrophe to never suffer from its vicious bite!

  • Alejandro
    2019-04-08 06:21

    Not my kind of "love" story.UNUSUAL FIRST RUSSIAN LOVEIvan Turgenev was the first Russian writer to become popular and successful in Europe, even way way WAY before of Dostoyevsky and Tolstoy,, thanks to that Turgenev left Russia and he was living several years in different countries of Europe, but still, it’s undeniable that due the impact of his novels and short stories, that European and American readers became interested to read other authors from Russia, getting better the chances to Dostoyevsky, Tolstoy and others.First Love is one of his most known and popular works, along with one of the most autobigraphicals about Turgenev……and with that in mind……Yikes! If Turgenev’s adulthood wasn’t an usual one, his childhood neither was!I guess that due the title of the story and the basic premise, I was expecting a little cute love story between two young persons in the Russia of the 19th Century, but while in the basic thought, that was it……also it wasn’t that……at all…A 16-years-old boy falls in love with a 21-years-old girl, in the Russia of the 19th Century. The boy is from a family with a lot of money, and while the girl is from a family with royalty background, it doesn’t have money. He’s quite infatuated by her, however while she got aware since the very first moment that he was in love of her, she keeps teasing him, sometimes even cruel.However, this isn’t a regular love story, even I questioned myself if it is a love story at all, at least between the two main characters.There are developments, unexpected twists in this tale that I just couldn't cope about it, they're not just right, in the first twist, and when you think that the worse is over, you meet with yet another twist that it's just too sad.I can’t detailed more, because I fear to spoil the key angles of the story, that I found awful but still if someone else want to try the book (it’s quite quick to read), well, I won’t be the one to spoil the relevant moments of this hard to digest tale, but I can't deny that it's a bold tale, well written.Dosvedanya, folks!

  • Florencia
    2019-04-10 04:11

    ‘That’s love,’ I said to myself again, as I sat at night before my writing-table, on which books and papers had begun to make their appearance; ‘that’s passion! . . . To think of not revolting, of bearing a blow from any one whatever . . . even the dearest hand! But it seems one can, if one loves . . . While I . . . I imagined . . . ’ (Garnett's translation.)‘That’s what love is’, I told myself again, sitting at night in front of my desk on which books and notebooks had begun to appear. ‘That’s real passion! Not to object, to bear a blow of any kind, even from someone you love very much – is that possible? It’s possible, it seems, if you’re in love… But I’d – I’d imagine...’ (Freeborn's translation.) Good grief.I judged a book by its title; it saddens me to say that my intuition didn't fail me this time. Fortunately, I read Asya before this novella – so it’s easier to talk about this one first since there was almost no connection. Otherwise, I would have had second thoughts and probably avoided Turgenev’s prose until November. Oh, his prose! His absolutely exquisite prose with which he explored the complexity of love, the whirl of emotions, the innocence of youth. His poetic language gave me the strength to keep reading this story. I have to be honest: if it weren’t for the last chapter, I would've given this book a 2-star rating. Maybe my nature was too determined to reject so much mushiness this time, but still, there are many things and concepts to which I couldn’t relate. My idea of love doesn't include losing individuality, giving up the right to have personal space nor the blind devotion that makes one lose all perspective. In that sense, I think it's only natural that I can't identify with these stories, since even when I was a teenager, I wasn't prone to such violent outbursts of affection. I end up bored, let alone if I don't find the writing engaging or remotely enjoyable.On the other hand, I couldn’t sympathize with almost any character – perhaps the servants who had to put up with their caprices. I mean, could the female protagonist be any more insufferable? Could the men be any more pathetic? Could this depiction of love be any more different from what I have in mind? Could you stop talking like Chandler?A story in which an intelligent man (whose amount of wealth we don’t know) falls in love with an intelligent woman (whose degree of beauty is not mentioned) just doesn’t entice anyone, huh? Yeah, I know, that was a stupid thing to write. It’s late, I think I had too much coffee and fell into a state of rapturous delirium.Most of my friends on here loved this novella, but I'm done for now (I may relapse, who knows) with the juvenile and pointless phase of feeling bad because I didn't like so much what my friends loved - hello, personality. That being said, my curiosity went as far as using the filter to take a look at the number of people who didn't enjoyed this book so much.I could have been among those 475 and their two "it was ok" stars. The last chapter made me open another door and join another group. However, I read the "2-star group" reviews. I was a little relieved. And then slightly frightened.There’s an episode in which a poem written in 1825 by Alexander Pushkin is mentioned. I looked for it and wanted to share it. The intensity of passion and oblivion in small doses. Beneath the blue sky of her native landShe languished, faded…Faded finally, and above me surelyThe young shade already hovered;But there is an unapproachable line between us.In vain I tried to awaken emotion:From indifferent lips I heard the news of death,And received it with indifference.So this is whom my fiery soul lovedWith such painful intensity,With such tender, agonizing heartache,With such madness and such torment!Where now the tortures, where the love? Alas!For the poor, gullible shade,For the sweet memory of irretrievable daysIn my soul I find neither tears no reproaches.Jan 24, 18* Note: I read Constance Garnett and Richard Freeborn’s translations. I prefer the latter.** Also on my blog.

  • Algernon
    2019-04-10 04:28

    Oh, sweet emotions, gentle harmony, goodness and peace of the softened heart, melting bliss of the first raptures of love, where are they, where are they? Vladimir Petrovich, "a man of forty, with black hair turning gray." sits on an evening, after a good meal, with a couple of old friends, sipping the port and drawing on a good cigar. They challenge each other to tell the stories of their first time falling in love. It's a common framing device now, this looking back at the folly of youth with the wisdom of an older age. I don't know which novelist started the trend, but I was thrilled to get confirmation that one of the masters of the after dinner conversation, Joseph Conrad, paid tribute and acknowledged the influence of the great Russian contemporary of Dostoyevsky and Tolstoy. This novella is my first attempt to read Turgheniev, and suddenly I wonder what took me so long, why did I think that he was somehow inferior to these two giants? He speaks truer to my heart than the volcanic, mystical Fyodor and is more delicate in his dissection of the soul than the monumental Lev. Returning to the quiet evening of recollections, two out of the three friends turn out to have little to tell, a sad state of affairs that could probably be replicated today in a similar proportion. One is a tad cynical and wonders what is this feeling that poets brag about, the other tells of an arranged marriage and a slow growth of friendship and respect. Only Vladimir Petrovich has a whopper of a tale to tell: I was sixteen then. It happened in the summer of 1833. And just like this, I am taken back to my own summer of 198_, marvelling at the accuracy of the descriptions of moods and impulses that have little changed from one generation to another, from one corner of the world to its antipodes. This is Vladmir Petrovich in the last summer of his childhood, this is me before I learned to keep it all bottled up inside and be wary of who I am giving my heart away to: I knew a geat deal of poetry by heart; my blood was in a ferment and my heart ached - so sweetly and absurdly; I was all hope and anticipation, was a little frightened of something, and full of wonder at everything, and was on the tiptoe of expectation; my imagination played continually, fluttering rapidly about the same fancies, like martins about a bell-tower at dawn; I dreamed, was sad, even wept; but through tears and through the sadness, inspired by a musical verse, or the beauty of evening, shot up like grass in spring the delicious sense of youth and effervescent life.Vacationing with his affluent parents in a dasha out in the country, young Vladimir is supposed to learn for his admission to university, but the call of the fields, of the forests and of the peaceful waters of the Don is too strong. One fine morning, his promenade is interrupted by the sound of laughter from a neighboring and slightly rundown mansion. Suddenly I heard a voice; I looked across the fence, and was thunderstruck ... There she stands, with the sun in her hair and laughter in her eyes, tall and gracious like a queen, ordering about a group of admirers. Her name is Zinaida, and she is one of the most unforgettable heroines in Russian literature. Poor Vladimir doesn't stand a chance. A lucky turn helps him to get an introduction to the household, but he is, like many youngsters who live more in books than in the real world, tongue tied: Though, indeed, at the moment, I was scarcely capable of noticing anything; I moved as in a dream and felt all through my being a sort of intense blissfulness that verged on imbecility. Zinaida is a little older, in her early twenties, and apparently a coquette who likes to surround herself with admirers, toying with them like a cat with mice. In the evening they gather around her like moths to a flame: Count Malevsky, the poet Meidanov, the doctor Lushin, the dragoon Byelovzorov, old Vonifaty the merchant, Nirmatsky the banker. They play society games, riddles and challenges, discuss literature and politics. Zinaida drags the young boy into their unconventional and turbulent circle, a revolutionary change from the strictures of his own household. It's no wonder he looks at her like to a godess and that these moments will be engraved on his heart for ever: I was as happy as a fish in water, and I could have stayed in that room forever. Have never left that place. A little context is welcome now, as the discussions in the impoverished saloon of Zinaida turns to the preferences of her audience for the Romanticism of the early 19 century, and mentions are made of Pushkin, Goethe, Schiller, Hugo or Byron. The merits of each are analyzed, and a more naturalist approach is suggested as a better alternative to the exaggerated emotions of the Romantic school. A little further research confirms Turgheniev stance and references in the admiration Gustave Flaubert, Henry James and the already mentioned Joseph Conrad held for the Russian writer.In the meanwhile though, young Vladimir finds out about the reverse of the medal, as his sudden passion for Zinaida is tempered by feelings of inadequacy and by the early onset of jealousy: I felt at that time, I recollect, something like what a man must feel on entering the service: I had ceased now to be simply a young boy; I was in love. I have said that my passion dated from that day; I might have added that my sufferings, too, dated from the same day. It is in the nature of a romantic young boy to torment himself with a too vivid imagination: My fancy set to work. I began picturing to myself how I would save her from the hands of enemies; how, covered with blood I would tear her by force from prison, and expire at her feet. ... but what about Zinaida? what about the slightly older woman? Why is she encouraging Vladimir, and stringing him along with her bevy of admirers? She does seem an epitome of frivolity and irresponsibility, shallow and vain and so proud of her ability to twist the men's will around her little finger. Her portrait is where the artist truly shines and the revelation of her inner nature is both subtle and dramatic. She is not immune herself to the arrows of Cupid, and because this is still a novel of a more moralistic and male dominated epoch, Zinaida will be the one who will suffer the most for the folly of love: "You needn't think I care for him," she said to me another time. "No; I can't care for people I have to look down upon. I must have some one who can master me ... But, merciful heavens, I hope I may never come across anyone like that! I don't want to be caught in anyone's claws, not for anything." It's a wonder how well Turgeniev captures the torment of youth, how truly his words ring and how much of what Vladimir goes through echoes the memories of my own summers, now filtered through the burden of the years, yet still as clear and poignant as if they happened only yesterday. I did get curious about the inspiration for the novella, and I found out that in the words of the author this is the most autobiographical of all his works. There's even a name for the real life Zinaida, and a history very close to the events of the fictional Vladimir (view spoiler)[ she falls in love with his own libertine father(hide spoiler)].Regardless of the real life inspiration or of some critics who considered the subject trivial, I am grateful for the visit down memory lane that the story inspired, and will echo the words of Turgeniev in saying that I am glad that summer happened, even if it ended in tears. The tinkle of the bells of the Don monastery floated across to me from time to time, peaceful and dreary; while I sat, gazed, listened, and was filled full of a nameless sensation in which all was contained: sadness and joy and the foretaste of the future, and the desire and dread of life. But at that time I understood nothing of it, and could have given a name to nothing of all that was passing at random within me, or should have called it all by one name - the name of Zinaida. - - -... All was at an end. All the fair blossoms of my heart were roughly plucked at once, and lay about me, flung on the ground, and trampled underfoot. - - -And I went away. I cannot describe the emotion with which I went away. I should not wish it ever to come again; but I should think myself unfortunate had I never experienced such an emotion. Note: my edition is part of a collection named "The Art of the Novella." I would recommend two other similar stories dealing with the passion of youth: - Fyodor Dostoevsky - "White Nights" - Joseph Conrad - "Youth"["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>

  • [P]
    2019-04-01 08:06

    Recently I have found myself drawn to novels about looking back to the past, about nostalgia and youth. I guess it is a sign that I am getting older or perhaps it is a consequence of the tough time I have been having in my personal life, where, without going into too many details, death has been on the agenda quite a lot. I find myself currently feeling highly emotional, over sensitive, and sentimental. Just yesterday, in fact, I was flicking through Alain-Fournier’s beautiful French novel Le Grand Meaulnes, and almost burst into tears [which is certainly very unusual for me] when I came across this passage:“Weeks went by, then months. I am speaking of a far-away time – a vanished happiness. It fell to me to befriend, to console with whatever words I could find, one who had been the fairy, the princess, the mysterious love-dream of our adolescence.”The 'fairy,' the 'love-dream of our adolescence,' is Yvonne, a young girl who, in short, comes to signify, both for the central characters and the reader, the magic of youth and the impossibility of recapturing the period of your life when everything was new and an adventure. So, anyway, bearing all that in mind, it seems as though this is both the perfect and the worst time to read Ivan Turgenev’s First Love [Первая любовь, Pervaya ljubov], which deals with very similar ideas and themes.The novella begins with a group of men, ‘not old, but no longer young,’ sharing the stories of their own first loves. However, only one of the party has an interesting tale to tell, which took place one summer when he, Vladimir Petrovich, was sixteen. That it was summer is, I believe, significant, because it is of course generally thought to be a season of sunshine and gaiety and positivity, when everything is alive, when the days are longer, the blood is warm, and anything seems possible. Moreover, the age of sixteen is one of the pivotal years of one’s life. One is [to paraphrase that wise old bird, Britney Spears] not a child, not yet an adult; one is open-minded, willing to experience, but may not [certainly at the time the novel was written, if not these days] have any real life experience of your own. Indeed, Vladimir describes himself as ‘expectant and shy'; and while he wanted to give the impression of maturity admits that he was not yet allowed to wear a frock coat. He also points out that his father was ‘indifferent’ to him and his mother neglectful, which meant that he had the necessary freedom to chase those new experiences, and all the more reason to look for love and attention from someone else.“O youth! youth! you go your way heedless, uncaring – as if you owned all the treasures of the world; even grief elates you, even sorrow sits well upon your brow. You are self-confident and insolent and you say, ‘I alone am alive – behold!’ even while your own days fly past and vanish without trace and without number, and everything within you melts away like wax in the sun .. like snow ..”The object of this love is Zinaida, a 21 one year old, impoverished princess who has just moved to the area with her boorish mother. In Benito Perez Galdos’ towering novel Fortunata and Jacinta, Juanito first meets the woman who comes to be his lover on a stairway, while she eats a raw egg, the juice running down her fingers. This is not only a fabulous way to introduce a character, but is clearly meant to say something important about the character herself, and Turgenev does something similar here. When Vladimir first spots Zinaida she is in her garden surrounded by a group of men, and so one knows instantly that she is popular with the opposite sex. Moreover, she is, in turn, tapping each of her suitors on the forehead with a flower. What this suggests, and what the rest of the text backs up, is that she is a lively, free-spirited, young girl. In fact, it comes as no surprise in this regard that she was, apparently, much admired by Gustave Flaubert.[From the German film Erste Liebe, which is based on Turgenev’s novella]Vladimir later describes the girl’s personality as a mixture of ‘cunning and carelessness, artificiality and simplicity, calmness and vivacity’ and I think this does a fine job of summing her up. She is not wholly one thing or the other; she is mysterious, enigmatic, never transparent, seemingly cruel at times, and yet somehow always charming. For example, she instantly gives the boy a nickname, Voldemar, and deliberately plays on his intensifying feelings, while at the same time showing him tenderness and favouring him over the other men in her life. She is, in short, the kind of girl I have myself lost my fucking mind over more than once. And that is strangely comforting in a way, that, even over one hundred years ago, men were giving their hearts to these beautiful, maddening young women. [First Love was, so it is said, based on Turgenev’s own experiences].“She tore herself away, and went out. And I went away. I cannot describe the emotion with which I went away. I should not wish it ever to come again; but I should think myself unfortunate had I never experienced such an emotion.”Interestingly, the situation in the garden does not only tell us about Zinaida. It also reveals something about the men in her life and hints at the reasons for her betrayal of Vladimir [yeah, she does him wrong]. Her admirers all fawn over her, they are all servile, eager to please. This is made clear by the fact that they allow her to hit them on the head with a flower. Later, one buys her a kitten, when she asks for one, and looks to get her a horse. Vladimir is no different. When Zinaida, not expecting him to comply, asks him to prove his love by jumping off a wall, with a 14 foot drop, he does just that. And yet the girl herself says that she can only love a man who would ‘break her in two’ i.e. who would not be her lapdog. This is one thing that I have never understood about men, or a certain type of man. Take my own brother as an example. He hangs around the women he likes, doing their bidding, buying them presents, in the hope that this will somehow show him to be a lovely, sensitive guy, and yet it never works. He never gets the girl because he comes across as weak and pathetic. And this is exactly what happens in First Love. In this way, you have to credit Turgenev with nailing a still-relevant, seemingly universal aspect of human relationships and psychology.“There is a sweetness in being the sole source, the autocratic and irresponsible cause of the greatest joy and profoundest pain to another, and I was like wax in Zinaïda’s hands; though, indeed, I was not the only one in love with her. All the men who visited the house were crazy over her, and she kept them all in leading-strings at her feet. It amused her to arouse their hopes and then their fears, to turn them round her finger (she used to call it knocking their heads together), while they never dreamed of offering resistance and eagerly submitted to her.”While First Love is increasingly packaged as a single, stand-alone book, and is, more often than not, described as a novella [by me in this review, no less], it is, in fact, not much more than an obese short story. Yet for such a short work, it is admirably sophisticated. For example, in terms of the structure, there is a lot of very satisfying mirroring going on. Both Zinaida and Vladimir are young, both are in a sense abandoned to themselves by their parents, and, more importantly, both experience their first loves during the course of the narrative. I think it is easy to overlook that Zinaida is not only an object of affection, that she too is going through one of the most tumultuous, defining moments of a person’s life, and it is this that gives the text a greater depth and makes her a more rounded and sympathetic character, because, let’s face it, young love is a bitch, and no one ever really handles it very well or emerges from it spotless. Oh, don’t get me wrong, it’s wonderful too; I wholeheartedly recommend it, but, even so, I couldn’t wish it on anyone with an entirely clear conscience.

  • Andrei Tamaş
    2019-03-31 03:25

    Pretextul literar al romanului este deja bine întipărit în conştiinţa colectivă a cititorului: după o petrecere copioasă, la ora 12 noaptea, mai rămân trei "drojdieri" şi propun să-şi istorisească fiecare povestea primei iubiri. Primii doi o relatează succint. Pentru unul prima lui iubire e actuală lui soţie, iar pentru celălalt, fusese doica lui. Această prima scenă -prologul- constituie cadrul viitoarei povestiri. Vladimir Petrovici are o poveste de iubire "mai altfel", dar simte că nu o poate reda oral, căci ar pierde multe detalii, aşa că le propune celorlaltor doi comeseni să o scrie şi să o istorisească ulterior..."Prima iubire" este o prinţesă săracă, în mrejele mizeriei, având cinci pretendenţi, printre care şi personajul-narator, Vladimir Petrovici. Prima parte a romanului prezintă cinci bărbaţi care, deşi aristocraţi şi relativ educaţi, cad în copilăriile pasiunii din pricina unei femei care, deşi fără intenţii rele, îi joacă pe degete cum vrea. Am surprins un pasaj al violentei pasiuni ruseşti, ceea ce aduce a tipologia personajului-reper Dimitri Karamazov:"-... povesteşte-ne cum ţi-ai petrece timpul cu soţia. Ai închide-o în casă, probabil?-Da, aş închide-o.-Şi ai sta cu dânsa?-Da, aş sta negreşit cu dânsa. -Frumos. dar dacă te-ar plictisi şi te-ar înşela?-Aş ucide-o.-Şi dacă ar fugi?-Aş caută-o şi aş omorî-o.-Aşa. Dar inchipuieste-ţi că sunt eu soţia dumnitale...-... m-aş sinucide."De asemenea, am surprins conflictul dintre superficialul manierism nobiliar şi pasiunea devoratoare a fiinţei: "Asta înseamnă iubire, asta înseamnă pasiune! Cum a putut ea să nu se revolte când a fost lovită...fie şi de o mână iubită! Se vede că se poate răbda aşa ceva dacă iubeşti..."Tonul elegiac şi morală romanului se conturează în ultimul capitol: "O, tinereţe, tinereţe! Nu ţii seama de nimic, ca şi cum ai stăpâni toate comorile lumii! Şi în durere te complaci, chiar şi tristeţea îţi şade bine."Finalul dezvăluie adevăratul conflict care a stat la baza operei - ceva mai puţin "comun"...

  • Mohammed-Makram
    2019-04-19 03:08

    قصة مأساوية - وصف تورجنيف لصبي يبلغ من العمر ستة عشر عاما يقع في الحب لأول مرةالصراع الأساسي في الرواية، لم يكن بين المحب ومحبوبته بل بين المحب وأبيهفالولد أحب فتاة تكبره في السن بخمس سنوات بينما هي أحبت أبيه و أحبهامأساة سوداوية في قصة قصيرة عبقرية من كاتب متميز جدا

  • Duane
    2019-04-14 02:59

    I like Turgenev's style. It's softer, more subtle than some of his fellow 19th century Russian writers. He doesn't beat you over the head with a message. This story, as it's title suggests, is about the first love of 16 year old Vladimir, the son of a wealthy Russian family, who falls in love with the 21 year old daughter of their new neighbors. She is a princess, her family with a noble name but without wealth. She leads Vladimir along, and several other young suitors besides, but she's in love with someone else, and that's the twist that makes this story interesting. It's a short novel, well written, and I thoroughly enjoyed it.

  • Edward
    2019-04-09 03:25

    IntroductionFurther ReadingTranslator's Note--First Love

  • K.D. Absolutely
    2019-04-07 07:07

    "I? Believe me, Zinaida Alexandrovna, whatever you did, however you tormented me, I should love and adore you to the end of my days."This novella is about a 16-y/o Russian boy, Vladimir Petrovich of a rich family falling in love for the first time. The object of his affection is a 21-y/o princess, Zinaida Alexandrovna who has just moved to Vladimir's neighborhood. Zinaida's family used to be rich but her father squandered everything because of his vices. Zinaida is beautiful so she has many suitors that she entertains and flirts with all of them. Zinaida thinks that Vladimir is still a boy and so she does not reciprocate his feelings for her.The story is narrated by the 40-y/o graying Vladimir to his two male friends inside the dinner room of one of his friends' house. Turgenev did not explain why the three middle-aged men are telling the stories of their first loves. It is clear that they are not drunk because the old Vladimir even refuses to orally deliver his story. He chooses to write it first and they reconvene after two weeks for him to read what he has wrote to the two eager listeners. I liked the use of the frame story but I thought that middle-aged men who are not drunk would not normally discuss about their past loves. Past sex partners maybe because we normally boast about our sexual escapades but not unrequited sad love stories. Or maybe they are latent homosexuals? There is also no explanation where are their wives and I got the impression that they dine regularly. Dine? Men normally drink and not dine together. Or maybe dine and drink but not dine only unless they talk about business and one of them does not drink for health or religious reason. Oh no, but the homosexual angle is a bit pushing too far. My point is that Turgenev should have explained more the circumstances why the three stooges are talking about their first loves. Or maybe it was Valentine's Day and they'd like to reminisce their first loves? But not when they are not drunk, right? Otherwise, it is too cheesy and mushy for men to talk after dinner.But this book is still okay with me. I liked Turgenev's prose. Very appropriate for Valentine's Day (today, Feb 14, 2013). I also liked the twist in the end. I saw that coming because of the way Zinaida first looked at (view spoiler)[Vladimir's father. (hide spoiler)] but I did not see the possibility that Zinaida is a (view spoiler)[masochist. (hide spoiler)]. That scene really made the ending very interesting for me.It's a good book especially as an introduction to Ivan Turgenev. I have three of his other books: two full-length novels, Spring Torrents and A Lear of the Steppes and one memoir, Fathers and Sons and I look forward to reading them soon.Happy Valentine's Day everyone!

  • Alex
    2019-04-15 03:17

    When you're young you think you're the Romeo of every story, but sometimes it turns out you're barely Paris. Turgenev's novella captures not only the ecstatic shamelessness of first love, but the fogginess of being young in general - that feeling of not understanding the action you're taking part in. 16-year-old Vladimir believes he's competing with other suitors for the affection of his beautiful 21-year-old neighbor Zinaida. Turgenev slowly unveils the real affair. This was my first Turgenev; I thought it was great. And this Melville House series, "The Art of the Novella," is very nicely done.

  • Shivam Chaturvedi
    2019-04-24 09:13

    Que suis-je pour elle?

  • Chrissie
    2019-04-12 06:28

    Oh, I do like how Turgenev writes. He gets to the core of characters. You understand who they are, why each one acts as they do. He also has great ability to draw a place so it comes alive and you see it , feel it and almost smell it. Like a park at night....... and what Vladimir discovered that night!Back track: this is about a sixteen year-old's first love. (Do you recall yours?!) He falls head over heels for a self-centered, manipulative, pretty girl. She knows she is pretty and she has her own agenda. He is not the only one who is charmed by her wiles. In this very short novella you get to know several people and come to understand their choices. Each character has a unique personality. That is what I liked best! Still, I would have given it more stars if it had been longer. I have a definite preference for long books. You will love this if you happen to prefer short books.The audiobook's narration by David Troughton was excellent. You have no trouble with the Russian names. You know who is who, and I didn't even have to make a list to keep track of them.

  • Teresa Proença
    2019-04-13 07:01

    "Que resultou de tudo isso... de tudo o que eu esperava? E agora, quando as sombras da noite começam a fechar-se sobre a minha vida, que me resta que seja mais puro, mais querido, que as recordações dessa breve tempestade, que chegou e partiu tão rapidamente, numa manhã de Primavera?" (Ilustração de Anna e Elena Balbusso)

  • ana
    2019-04-16 06:15

    kebetulan, saat buku ini baru kubaca setengahnya, aku mendengarkan sebuah presentasi mengenai gender di kelas.kelompok ini mempresentasikan buku yang diangkat dari tesis dosen mata kuliah ini juga. Buku ini berisi analisis sebuah drama karya Arifin C. Noer yang berjudul Drama Mega-mega (ugh, ingatanku begitu buruk). Drama tersebut bercerita tentang seorang perempuan bernama Mae yang menjadi ibu bagi gelandangan-gelandangan di sekitarnya. Mae sendiri merupakan janda yang telah menikah dan ditinggalkan sebanyak 3 kali. Ia mandul sehingga tak akan bisa mempunyai anak biologis dari rahimnya sendiri. Mae (dibaca "ma'e" yang dalam bahasa indonesia bermakna "ibu"), ditinggal pergi oleh suami pertama dan keduanya, ditinggal begitu saja, dan oleh suaminya yang ketiga, ia ditinggal mati ketika meletusnya gunung merapi. Pada drama ini, Arifin C. Noer, dengan pandangan subjektifnya sebagai pengarang, memperlihatkan karakter (stereotipe) perempuan yang mempunyai peran sebagai ibu.Namun saya tak akan membicarakan masalah gender di sini. Saya malah tertarik akan masa lalu Ma'e di drama tersebut. Ia menikah 3 kali dan ditinggal 3 kali. Ia mencintai lelaki sebanyak 3 kali dan ia dikhianati 2 kali sedangkan malang di ketiga kalinya. Saya: mungkinkah seseorang menikah tanpa cinta?Teman Saya: Mungkin aja, na. Misalnya anak2 rohis yang langsung nikah itu kan cuma tuker2an biodata aja. paling taaruf berapa lama sih? Gue pernah nanya ya ke anak rohisnya gitu, katanya emang cinta itu ga jadi yang utama, tapi kan yang penting mereka menikah itu untuk ibadah.S: absurd. TS: ya enggak juga. kan ada ungkapan cinta datang karena terbiasa (bersama) ?S: tetep absurd buat gue. kayak beli kucing dalam karung. mungkin orang yang dinikahin itu ternyata tabiatnya aneh, bosenan, dan selalu menyakiti. Dan akhirnya malah meninggalkan pasangan dan muncul lagi korban kayak si Ma'e itu. Atau jangan-jangan cinta punya tanggal kadaluarsa, sehingga ada kalimat "aku udah ga cinta lagi sama kamu" "aku udah bosen sama kamu, kita putus aja ya". Dan pertanyaan terus berlanjut. teman saya itu bercerita, bahwa ia pernah mempunyai teman yang lugu sekali, hingga menyentuh perempuan pun rasanya segan karena takut melukai/dianggap sikap yang tak pantas terhadap seorang perempuan. Namun suatu ketika ia suka terhadap seorang perempuan dan berniatmenembaknya. Teman saya ini memberi nasihat, "jangan. kalau pun nanti akhirnya jadian, paling hanya bertahan dua atau tiga bulan". si lelaki ini tak mendengarkan, maka jadianlah si lelaki dengan perempuan yang ditaksirnya. Terjadilah: ramalan teman saya itu. Mereka putus dan si lelaki bilang, "mencintai dia ketika jadian rasanya tidak semenarik ketika saya belum mendapatkannya". ini sebuah kasus, bukan generalisasi. ada yang mencintai dengan tenang, seperti udara dan langit yang selalu indah, namun tak terhingga luasnya. ada yang ingin dicintai dan mencintai dengan menggebu seperti api yang membakar: berasap (terlihat oleh orang2 sekitar), butuh objek yang bisa dibakar (misalnya uang), dan juga akan tiba waktunya meredup hingga hanya sedikit bara di arang yang tersisa. ada yang kehilangan rasionalitas saat jatuh cinta. ada yang jadi penyair ketika mendamba. ada yang jadi budak dihadapan cinta. maka, teman saya muak. TS: elo kenapa sih na?! lagi jatuh cinta? bosen tau ga!S: Seperti yang dikatakan Kurnia Effendi di bukunya Damhuri Muhammad,Darah Daging Sastra Indonesia, masalah cinta merupakan persoalan yang tidak pernah selesai. Inilah cinta, penderitaannya tiada akhir. tabik untuk Zinaida, Vladimir, dan ayahnya.

  • Mohammad Ali
    2019-04-03 03:15

    برای امثال من این جور داستان های رومانتیک جذابیتی ندارن - به درد همون دوران رومانتیسم می خورن که دخترا از حیث فرهنگی عقب مانده [/نگه داشته شده ] بودن و اسکل بودن یا شرارتشون می شد منشأ لذت شعرا و نویسندگان؛ اونم دائم در بحبوحه ی جشن ها و بزم های اشرافی. "عشق اول" که آبکی ترینشون بود. "آسیا" - تورگنیف - و "دلاور خردسال" - داستایفسکی - باز بهتر بودن. اما باز هم چیزی نبودن که دل منو ببرن یا ذهنمو مشغول کنمهم تورگنیف و هم داستایفسکی در حواشی داستان هاشون از برخی اشارات فراداستانی پرهیز نکردن. در "آسیا" می شه حمله به عدم جدیت و تلاش روس ها - یا به قول خودش اسلاوها - در آفرینش هنری و کندوکاو فکری - و از اون طرف ستایش آلمانی ها به خاطر داشتن جدیت - رو مشاهده کرد. همچنین در این داستان مضامین رومانتیک رو می شه دید: توجه به روستا و روستایی زاده و طبیعت و ... . در "دلاور خردسال" هم داستایفسکی یهو می زنه به خاکی و یه بند در نقد مخالفان رویکردهای رومانتیک حرف می زنه

  • Eadweard
    2019-04-16 02:16

    I felt so much nostalgia while reading this.

  • Negar Khalili
    2019-04-26 02:10

    چطور؟؟ چطور؟؟ واقعا چه طور این نویسندگان روس می تونن چنین شخصیت هایی بپردازن؟؟واقعا توان شخصیت پردازی این ادبیات عجیب و نفس گیره...واقعا عالیه کتابهای ادبیات روس در زمینه شخصیت پردازی عااالی ان

  • Cemre
    2019-04-17 05:02

    En başından zaten olayın nasıl gideceğini az çok tahmin ediyorsunuz; ancak size zevk veren olayın gidişatı değil, anlatımı. Bana yer yer Babalar ve Oğulları anımsattığını da söylemeden geçmeyeyim.

  • Lobstergirl
    2019-04-23 06:15

    First Love begins as a frame story; three middle-aged gentleman sitting around after dinner get the idea to ask each other about their first experience of love. One man's story involves his childhood nanny (nonsexual). The second man is still married to his first love. The third gent, Vladimir Petrovich, agrees to write down his story and read it to them in a fortnight. The novella ends with the end of his story, and the "frame" conceit is not resumed.Vladimir's first love happens when he is 16, in his family's summer house in (or maybe just outside, I couldn't tell) Moscow, in 1833. The family of a bedraggled, slightly impoverished princess moves in next door. Vladimir spots the beautiful 21-year-old daughter Zinaida, and is smitten. Zinaida has a circle of aristocratic suitors, including a poet, a doctor, a hussar, and a count. She plays all of these, and Vladimir, against each other, flirtatiously, seductively. Vladimir's mother finds the family uncouth and Zinaida a bit trampy. Vladimir's father is largely silent and distant, but comes to play a large role in the "affair." The summer ends with Vladimir's innocence shattered. Before the novella ends, we find out the fates of Zinaida and Vladimir's father.V.S. Pritchett has written a superb introduction to this Penguin Classics edition. He begins with an example, drawn from Turgenev's Home of the Gentry, of the "difference between what the Russian and European reader expected from their novelists." The Russian novelist needs to "bare the breast and state one's absolute convictions," and this is especially interesting because Turgenev was "the most European of Russians," a man who read in five languages and translated Shakespeare and Burns. He saw himself as "saturated with femininity," unable to write unless he had or was experiencing a flowering of the soul brought on by love. "When he was a boy [he] disturbed people by his prolonged, solitary staring," something not unusual to the profoundly creative. He fathered children by two serf women, never married, and followed the famous opera singer Pauline Viardot around Europe, inserting himself into her family, who didn't object. Pritchett compares Turgenev's style with Pushkin and Gogol.

  • Melanie
    2019-04-21 02:12

    I think the two things I was reminded from this novella is the reminder that life will not wait for us and that often we hurt the ones we love the most. An impassioned tale of first love and unrequited love in its truest form. What seems obvious to the reader comes as a great shock to the main character as he learns of the identity of the lover of the woman he most desires. I think it is fair to say that even in 1860 Russia a common theme in life is not noticing the faults in those you care for the most.

  • Ahmad Sharabiani
    2019-03-29 04:25

    عشق بزرگترين موهبت زندگی ست، و نخستین عشق چنان مقامی دارد که خاطرۀ لذت بخش آن همواره با انسان باقی میماند. تورگنیف در داستان نخستين عشق، با گوشه چشمی به روانشناسی، ماجرا را بازمیگوید

  • Ben
    2019-03-28 03:21

    In this beautiful short novel, Turgenev creates within the reader the selfsame titular feeling—that diabolical mixture of hope, frustration, anxiety, and inevitable heart break—that visits on many of us in the guise of our first love. Perhaps, there's something to be said of reading this novel in spring (or whatever change in the weather precipitated your own first romantic embranglement). Additionally, my hat is permanently off to Sergey Rachmaninov for providing the perfect soundtrack in his Piano Concerto No. 2; I found Helene Grimaud's interpretation most passionate (call me shallow but the photo of her looking like a coy tart on the album jacket seemed to add something to the recording). I must also gratefully acknowledge Utah Transit Authority for providing the requisite train in which to read Russian pre-revolutionaries because, more than any other exterior factor, it was the trains of the motherland—those arduous trips from St. Petersburg to Moscow and Paris—that catalyzed the advent of all those beautiful and massive novels. First Love (and Turgenev in general) is much shorter in scope than the work of Tolstoy, and yet see also The Kreutzer Sonata by way of locomotives. But, let’s begin our subject at hand: specifically my impoverished understanding of the narrative alchemy in First Love. Beginning in third person with a dinner conversation among three friends about their first amorous adventures, the perspective shifts to first person when one fellow claims he cannot talk about his first love, but must instead write about it, stating: “I’m not good at telling stories. They come out either too bald and dry, or else much too long and quite unreal…” (a perfect utilization of “bald”) The others protest revealing as they do a polarity of simplified perspectives, which arguably represent the two ends of a spectrum of reductionist views on the past. Turgenev’s narrative is quiet clear and concise on these psychological constraints; he embodies each with a character. The one fellow was badly burned by his first love and can never love again; the other married his first love and so has little to say about that. Our narrator takes the fore, hoping to explain to his friends the many small awakenings of love they are glossing over in their idealizations. This method of beginning does more than explain who is telling the story and why. It also serves as a sort of philosophical basis on which the narrative evolves. To quote Sir Victor Pritchett, “Love is not a simple yet tormenting rapture of adolescence; it is revealed as an awe-inspiring complex passion which leaves its trail of jealousies and guilt and a completely changed view of the meaning of life.” And, so our narrator begins his written extemporization of the full breadth of the spectrum between the previous two opposing and sophomoric stances. Skip the next paragraph if you want to avoid spoilers. I cannot discuss the complex psychological development that underpins First Love’s force majeure without delving into plot and character development. Part of the mastery of First Love is that these aspects of the story are one and the same. The narrator’s story begins as a social comedy. The reader is introduced to a slovenly, litigious princess and her capricious, attention-seeking daughter, Zinaida. As the narrator is drawn by both his desire to love Zinaida in his own naïve boyish way and by Zinaida herself in her constant need for attention, the comedy takes on higher and higher stakes that the youth fails to notice: his parent’s are arguing more; some tension and estrangement mounts between himself and Zinaida; and ultimately the mysterious stranger of Zinaida’s passion reveals himself to be none other than the narrator’s father. The story has managed by gradual degrees to become what, in the hands of a lesser writer might, end as a melodrama, but Turgenev takes yet another turn with the story. Using his POV as a man reflecting back on his life, Turgenev is able to quickly relate the full repercussions of these events, revealing the numerous ironies and degradations of love. In the end, the least of the narrator’s travails were those he suffered at the hands of his first love, and yet it is those pangs of love that awakened him to the complexities of the human heart. All the triumphs of Turgenev’s prose are subtle. For instance, he manages to simultaneously preserve something of the narrator’s youthful perspective, though we are told from the outset he is much older. Further, the narrator seems to grow or realize new perspectives on himself and others even as he tells the story: he makes humorous note of his mother’s debate on how best to address herself to the Princess, provides a number of lyrically beautiful descriptions—the first of which is of a lightening storm—that each seem to resonate with a reverence for the mysteries of his own lost youth (“Oh, gentle feelings, soft sounds, the goodness and the gradual stilling of a soul that has been moved; the melting happiness of the first tender, touching joys of love—where are you? Where are you?”), and despite the hurt she has caused him, he manages to immortalize Zinaida in all her relentless “knocking people against each other” without making her seem heartless or calculating. Turgenev uses the pantheon of fellow suitors to voice many of his philosophical points on love, keeping the narrator untarnished in his youthfulness. Perhaps, my most favorite comes as a double entendre from the doctor—a character the youth initially abhors, and yet by the end regards as a close friend—“The atmosphere isn’t healthy for you here. Believe me, you might become infected…” He continues with this pithy observation of both himself and the youth: “Are you well now? Are you in a normal condition? Do you consider that what you feel now is healthy, is good for you?” One of the most scandalous observations Turgenev’s narrator divulges is that, which he very concisely makes upon discovering that his own father is Zinaida’s secret lover: “My wound healed slowly, but towards my father I actually bore no ill feeling. On the contrary, he somehow seemed even to have grown in my eyes.” Something is hidden in this remark: a transition that the reader has been gradually prepared to understand all along. In all her complexities and the inexorable power Zinaida exerts over her suitors she herself is compelled by a force outside of her control. This force seems to be embodied by the narrator’s father, and yet even this pretension is stripped away in the climatic scene in which the son and father go riding together. Turgenev skillfully reveals that even the father’s illusion of control is only a more jealously guarded frailty. And the narrator finds cause to meditate on this core issue of love’s cruel domination over people’s better passions, thus: “And yet how could one fail to feel the most furious resentment, how could one bear to be struck by any hand, however dear—and yet it seems, one can, if one is in love, and I—I imagined…” But, he leaves this fantasy in ellipses as though he has delivered the reader to some common point of wild departure; a launch from which we all embark on our own strange fantasies of love’s undiscovered country. Nevertheless, I fear I can only partially reveal how this grand illusion of the text is accomplished… this masterful literary slight of hand that reveals to the reader themselves in the pain of another. Perhaps, it is best that I can say no more on this here. I sense that saying too much would crush something fragile and purely uncritical. Suffice it to note that Turgenev has managed to truly immortalize himself in this story by distilling a universally human feeling with not only empathy but spectacular expansiveness. Allow in his story room for each reader to experience this feeling in their own unique way.

  • Angelica Juarez Gonzalez
    2019-04-19 04:00

    "¡Oh, juventud! ¡Juventud! Nada te importa, parece que eres la dueña de todos los tesoros del universo, hasta la tristeza te distrae, hasta la pena te embellece; eres presuntuosa y atrevida, tú dices: ¡sólo yo vivo, mírenme! y no te das cuenta de que tus días corren y desaparecen sin dejar huella y sin ser contados, y todo en ti se derrite, como la cera al sol, como la nieve... Y quizá todo el secreto de tu encanto no resida en la facultad que tienes de alcanzarlo todo, sino en la facultad de creer que todo lo puedes; reside en que lanzas al viento las fuerzas que no habrías podido emplear en ninguna otra cosa; reside en que cada uno de nosotros se considera en serio derrochador, se cree en serio que tiene derecho a decir: “¡Oh, qué no haría yo si no perdiera el tiempo en vano!”

  • Mohammad Ali
    2019-04-24 08:03

    این کتابو از کتابخونه دوباره گرفتم ولی به محض خوندن فهمیدم قبلا خوندمش - در مجموعه ای منتشره توسط فرهنگ معاصر با همین مترجم به اسم "عشق اول و دو داستان دیگر" - برای همین فقط مرورش کردم دوباره. تو این بار خوندنش حس کردم داستان آسیا برای من جذابه و جانکاه. خلاصه اینکه تف به این روزگار

  • Soycd
    2019-04-03 06:16

    "Hijo mío -me escribía-, teme el amor de una mujer, teme esa dicha, ese veneno..." A primera vista, el argumento de Primer Amor no parece demasiado original: Vladimir Petrovich, en medio de una reunión con viejos amigos, decide evocar el recuerdo de su trágico primer enamoramiento adolescente, que por supuesto simboliza su transformación de niño ingenuo y despreocupado en adulto. Una historia vista muchas veces. Lo que sigue es realmente maravilloso. Turgenev es un maestro para crear personajes llenos de vida, con miedos, pasiones y contradicciones tan reales que hacen sobresalir a esta novela a pesar de no tener una trama atrayente. La historia central acompaña al joven Vladimir, de 16 años, después de conocer a su nueva vecina, la princesa Zenaida, y quedar instantáneamente fascinado con ella. El fervor de los primeros sentimientos adolescentes se hace presente en su vida, apoderándose de todo su ser con una fuerza antes desconocida para Vladimir. Turgenev logra sumergir al lector de lleno en sus personajes y nos hace empatizar con todos ellos. Vladimir es un joven ingenuo y noble que debe probar los sinsabores de la vida para depurar los sentimientos apasionados de la adolescencia y tener un buen discernimiento en su vida adulta. La miraba y ¡Qué entrañable y querida empezaba a ser para mí! Empecé a tener la sensación de que la conocía hace mucho tiempo y que antes de conocerla no sabía nada y no había vivido. Zenaida es el otro gran personaje de la historia. Es una mujer rebosante de belleza y juventud, que hace y deshace sin mirar atrás ni pedir perdón. A la princesa le gusta tener siempre cerca algún pretendiente para elevar su ego y aunque que en las manos de otro escritor sería una villana perfecta, bajo la pluma de Turgenev ninguno de sus actos es percibido como vulgar o chocante. El autor no apunta el dedo acusatorio en ningún momento y nos hace empatizar con ella. El personaje de Zenaida es una creación maravillosa: es una mujer segura, bella, inteligente, y a pesar de atraer todas la miradas desde que hace su primer aparición, el velo del misterio que la rodea nunca llega a correrse totalmente. Zenaida es uno de los personajes femeninos mejor creados: es multifacética y compleja, carismática y misteriosa. En todo su ser, lleno de vitalidad y belleza, había una mezcla de astucia y despreocupación. de afectación y sencillez, de calma y vivacidad. Sobre todo lo que hacía o decía, sobre cada movimiento suyo lleno de fina y delicada gracia, sobre todo su ser se traslucía una fuerza original y juguetona. La historia tiene tintes melancólicos pero esta muy bien llevada, en ningún momento se hace pesada. Al contrario, hay un tono ligero y optimista predominante. Lo mejor de esta novela es el talento de Turgenev para la creación de sus personajes. Es mi primer contacto con este autor y no podría haberme llevado mejor impresión. Definitivamente voy a seguir leyéndolo. Oh juventud, juventud, nada te importa. Te parece poseer todos los tesoros del universo y hasta la tristeza te divierte, hasta la tristeza te es agradable. Eres engreída y soberbia. Dices: "ved, soy la unica que vivo", y sin embrago tus días pasan también y desaparecen sin dejar rastro apenas.

  • Foad Ansari
    2019-04-19 03:23

    کتابی بود از ایوان تورگینف و سومین کتابی که از این نویسنده میخوانم در این داستان عشق و هیجان و احساسات و جوانی و هوس کاملا تحقیر شده بود عقل و منطق مطالعه و شعور مورد ستایش قرار گرفته بود به نظرم داستان پند آمیزی بود که همیشه میتواند جوانها رو از دام هوس و هیجان و. اتلاف وقت دور کند هر چند متاسفانه در کشوری زندگی میکنیم که شور و عشق و هیجان و هوا و هوس از هر چیزی با ارزش تر و مقبول تر است!!!!!

  • Debbie
    2019-04-27 09:05

    Renamed first CrushAs far as classics go, maybe I am just a little too much of the modern mind to appreciate this book. Having read this book, it's title First Love seems a little to strong for the relationship our main protagonist and narrator, Vladimir Petrovich, recounts in this novella. Love, the multifaceted, driver of the heart is a deep and complex master. It is composed of many aspects. It takes on many forms. But this simply was not it. Maybe in 1860, the year of this novellas first printing the word "Crush" was not a part of the vocabulary. More than likely it was not. But I'm sure there were other more fitting expressions such as passion, infatuation or lust. Or how about simply a young mans dream. If Vladimir fancied himself in love, he had no idea what love is. His crush, Zinaida, she did no more than care and entertained a young mans longings. If this had been Austin and the dreamer a woman instead of a young Russian man of 16, the supposed lover would be ruined and disgraced for assuming and paying court to someone for who there was no real connection and who used the lover very badly for their own distraction. But alas, the double standard. Vladimir is a male, so he continues and no ill future befalls him but of course, in some freak of fate, the female falls to ruin. Am I saying there is an old fashioned sexist point of view? I think I am. This is not at all a book that I will remember fondly. If I remember it all for more than its predictability and repetition. I listened to this as an audiobook and to be honest, I was quite bored. I'm 99.9% sure that I could not have endured this in paper form unless it was an absolute necessity. In my opinion, it was flowery and over descriptive when not necessary. It was extremely predictable. I knew what was happening from the very beginning. Maybe this was due to my 2015 perspective. In current times, one would come immediately to the conclusion that I did. Maybe in 1860..not so much. Maybe it was scandalous then. Where as now it's "Eh, I've heard worse." Is the times? Is it my fault for existing in a time where what may have been shocking then, I am numb to? Or is the book really just as I said, boring. Vladimir has a crush on the girl the older next door Zinaida. (This story has been done to death here in current times.) Girl next door does not share the same feelings because she is being courted by numerous other men her age or older. (She only sees him as a brother because he's too young.) All the suitors vie for Zinaida's hand but she has a secret. (Girl next door is a complete tease and boy next door thinks no one can love her like he can.) Vladimir stalks her to find out her secret. Surprise! It's the secret we already knew. Boy never gets the girl. Weird ending. Reader wonders what did she just read/listen to and why. Vladimir was a silly boy with a crush. Zinaida was a tease who lead everyone on. Pyotr Vasilyevich, Vladimir's father was a dirty cheating dog. The End. Really don't have any stars for this but I review everything.. So I reviewed it. Snooze alert. I kept wishing for something but just as I predicted it was nothing. I was going to quit but I realized it was almost over and kept listening.

  • Zuberino
    2019-03-30 01:25

    এক কথায়, অপূর্ব। নাম-ধাম দেখে ন্যাকা প্রেমের গল্প মনে হতে পারে, পড়া শুরু করে মনে হতে পারে এত প্যানপ্যানানি কেন? কিন্তু একটু ধৈর্য্য ধরলে মেওয়া ফলে। যেই গল্প শুরু হয়েছিল হালকা চটুল মেজাজে - জারের আমলে বনেদী রুশ পরিবারের গ্রীষ্মের ছুটি কাটানোর কাহিনী তো আর নতুন নয়, টিনেজ ক্রাশের ফর্মুলাও সাহিত্যে ঢের পুরাতন - সেই গল্পই ধীরে ধীরে মোড় নেয়, শেষে আশ্চর্যরকম বিয়োগান্তক হয়ে ওঠে। এক ধরনের tragic grandeur আচ্ছন্ন করে রাখে গল্পের সমাপ্তিকে। উনিশ শতকের মধ্যভাগের রুশ মহারথীদের মধ্যে তলস্তয় আর দস্তয়েভস্কির পরেই স্থান দেয়া হয় তুর্গেনেভ-কে। টিপিকাল বড়লোক জমিদার পরিবারে জন্ম - রুশের চেয়ে ফরাসী ভাষারই বেশী চল ছিল এই শ্রেণীর মানুষের ভেতর। সামন্তবাদী সমাজের সবচেয়ে সুবিধাভোগী গোষ্ঠির সদস্য ইভান তুর্গেনেভ, তবুও কোন এক অজানা চেতনা আক্রান্ত করেছিল তরুণ লেখককে। ভূমিদাসত্ব প্রথার স্বরূপ উন্মোচন করে যেই ছোটগল্প সংকলন লিখেছিলেন ("শিকারীর নোটখাতা"), ভি এস প্রিচেট সেই বই সম্পর্কে বলছেন তার ভূমিকায় - "it did more for the emancipation of the serfs than any other piece of Russian protest". সমাজ বা ইতিহাসকে বদলে দেয়া সাহিত্যের নিদর্শন কয়টিই বা আছে আমাদের কাছে? এই বিচারে ১৯শ শতকের ফ্রান্সে এমিল জোলা বা ব্রিটেনে ডিকেন্সের থেকেও বেশি গুরুত্বপূর্ণ রুশ পরিপ্রেক্ষিতে তুর্গেনেভের ভূমিকা। তবুও তার সবচেয়ে বিখ্যাত কাজ "ফাদার্স এন্ড সন্স" কয়েক বছর আগে পড়ে ভাল লাগেনি একদম। আসলে ঠিক বুঝিইনি। যতটা না বিখ্যাত, পড়ে ঠিক ততটাই বিরক্তি লেগেছিল। কিন্তু সেটা কি বইয়ের দোষ, নাকি অনুবাদকের, নাকি পাঠকের - তার সদুত্তর এখন নিশ্চিত করে বলতে পারিনা। কারন ২০১৪ সালে যখন ফাদার্স এন্ড সন্স-এর মঞ্চায়ন দেখলাম, মুগ্ধ হয়েছিলাম সেই সন্ধ্যায়, পুরো হলঘর শুদ্ধ দাঁড়িয়ে হাততালি দিয়েছিলাম নাটকের শেষে। এই নাটক কিনা সেই উপন্যাসেরই মঞ্চরূপ! কেমনে কি?! হয়তো অনুবাদেও কিছু হারিয়ে গিয়ে থাকতে পারে। যেমন "ফার্স্ট লাভ" উপন্যাসিকাটি অনুবাদ করেছেন আর কেউ নয় - বিখ্যাত দার্শনিক আইসায়া বার্লিন স্বয়ং। ১৯শ শতকের আরেক বড়হুজুর আলেক্সান্দার হার্জেন-এর আত্মজীবনীর ভূমিকা হিসেবে বার্লিনের রচনা এর আগে পড়েছিলাম, তার Russian Philosophers গ্রন্থটি এখনো বহুলপঠিত। কিন্তু তিনি যে এত স্বার্থক অনুবাদক হবেন, সেটা কল্পনা করিনি। এই গল্পের উষ্ণতা, কিশোর বক্তার আবেগের আর্দ্র উত্তাপ ছড়িয়ে আছে বার্লিনের গদ্যে সর্বত্র। দুইশো বছর আগে মহান রাশিয়ার সীমাহীন আকাশের নীচে কতিপয় মানব-শিশুর প্রেম-ভালোবাসা-বিচ্ছেদ-বিরহ লিখে গেছেন তুর্গেনেভ, কিন্তু ২১শ শতকের পাঠকের কাছে সেটাকে জীবন্ত করে এনেছেন বার্লিন।ফাদার্স এন্ড সন্স-এর একটা জিনিস এই বইয়েও আছে - তা হলো পিতা-পুত্রের ভালবাসা আর টানাপোড়েনের মিশ্র সম্পর্ক। দুই বইয়েই এই জিনিসটা কমন পড়েছে - হয়তো লেখকের ব্যক্তিজীবনের প্রতিফলন? ভাবছি ভিন্ন কোন অনুবাদকের হাতে "ফাদার্স এন্ড সন্স" আবার ট্রাই করবো কিনা। নাকি "শিকারীর নোটখাতা" তুলে নেবো শেল্ফ থেকে? গেল বছর প্যারিসের অখ্যাত উপশহরে হঠাৎ একদিন তুর্গেনেভ জাদুঘরের দেখা পেয়ে যাওয়ার গল্পটা পরের জন্যে তোলা থাকুক।

  • Rise
    2019-04-08 06:06

    Ivan Turgenev's story was a linear and controlled exploration of being in love at a young age. It offered a portrait of a transition from youth to adulthood: from the confusion and giddy puzzlement that accompanied the raw feelings of youth to a more luminous perception of reality as one gained more experience. The protagonist was a sixteen-year-old student, a young man of middle class background. The object of his affection was a young princess, his senior by a few years, who, with her mother, was his family's new house neighbor. Turgenev created tension in two fronts. First, although members of Russian nobility, the new neighbors were actually on the verge of poverty. Their tenuous hold on their upper class status was endangered by their large debt owed to some influential persons. Second, the beautiful young princess was not entirely a bashful one. She was as carefree as can be and she was surrounded by a lot of suitors who were slaves to her every wish. Into their midst was flung the young protagonist - awkward, dejected, and in love. Soon, the young princess was sending a covert message to the group of young men (our student, a poet, a doctor, a handsome count, and a hussar) around her. She had found someone: a lover who was her match. She, her heart, was already taken. But who among them could it be?The novella was translated by Constance Garnett, she who was often reviled as a poor translator of Dostoevsky and Tolstoy but acknowledged as a peerless stylist when it comes to finding equivalents for Turgenev's natural prose style. Her words in this novella are well chosen and restrained; they possess a certain vitality that pushes the story forward toward its more emotional and more elemental conclusion. In Garnett's translation First Love, first published in 1860, still maintained a fresh coat of varnish for a classic Russian tale. The highlight of the narrative was when the text briefly switched to the poetic mode near the end - with precious words like dost, thou, thee, canst, art, wilt - not really in a sappy way, in order to impart a lasting "lesson" for the young man, a lesson that he will treasure for its insight into the workings of life. A way for his young heart to adapt to the bittersweet experiences that came, will come his way. This poetic interruption was like a Chekhovian nudge, enriching even as it culminated in a hypothetical statement of despair.One of these days I may enter a Russian phase of reading and may finally make acquaintance with Turgenev's celebrated novel Fathers and Sons. Such as it is, this novella is already a good first dip into Turgenev's writings.First posted in my blog.