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"Old Portraits" is a collection of short stories by Ivan Sergeevich Turgenev, exploring themes of nostalgia, memory, and the passage of time. Through a series of rich character studies and evocative settings, Turgenev reflects on the lives and relationships of individuals, often highlighting the impact of the past on the present. The narratives delve into the emotional landscapes of the characters, revealing deep insights into human nature and the fleeting nature of beauty and youth. Turgenev's lyrical prose captures the essence of Russian society in the 19th century, making this work a poignant meditation on life, love, and loss.

Year:
1881
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Submitted by davidb on January 29, 2025


								
tongue!" "But why is he two-faced?" "Because, my young sir, he has one face outside; there it is for you, ninny, and judge it.... But the other, the real one, he hides. And I am the only one who knows that face, and for that I love him.... Because 't is a good face. Thou, for example, gazest and beholdest nothing ... but even without words, I see when he is condemning me for anything; for he is strict! And always with reason. Which thing thou canst not understand, young sir; but just believe me, an old man!" The true history of the two-faced Janus--whence he had come, how he had got into Alexyéi Sergyéitch's house--no one knew. On the other hand, the story of Prince L. was well known to all. As a young man of twenty, he had come from a wealthy and distinguished family to Petersburg, to serve in a regiment of the Guards; the Empress Katherine noticed him at the first Court reception, and halting in front of him and pointing to him with her fan, she said, in a loud voice, addressing one of her favourites: "Look, Adám Vasílievitch, see what a beauty! A regular doll!" The blood flew to the poor young fellow's head. On reaching home he ordered his calash to be harnessed up, and donning his ribbon of the Order of Saint Anna, he started out to drive all over the town, as though he had actually fallen into luck.--"Crush every one who does not get out of the way!" he shouted to his coachman.--All this was immediately brought to the Empress's knowledge; an order was issued that he was to be adjudged insane and given in charge of his two brothers; and the latter, without the least delay, carried him off to the country and chained him up in a stone bag.--As they were desirous to make use of his property, they did not release the unfortunate man even when he recovered his senses and came to himself, but continued to keep him incarcerated until he really did lose his mind.--But their wickedness profited them nothing. Prince L. outlived his brothers, and after long sufferings, found himself under the guardianship of Alexyéi Sergyéitch, who was a connection of his. He was a fat, perfectly bald man, with a long, thin nose and blue goggle-eyes. He had got entirely out of the way of speaking--he merely mumbled something unintelligible; but he sang the ancient Russian ballads admirably, having retained, to extreme old age, his silvery freshness of voice, and in his singing he enunciated every word clearly and distinctly. Something in the nature of fury came over him at times, and then he became terrifying. He would stand in one corner, with his face to the wall, and all perspiring and crimson,--crimson all over his bald head to the nape of his neck. Emitting a malicious laugh, and stamping his feet, he would issue orders that some one was to be castigated,--probably his brothers.--"Thrash!"-- he yelled hoarsely, choking and coughing with laughter,--"scourge, spare not, thrash, thrash, thrash the monsters my malefactors! That's right! That's right!" Just before he died he greatly amazed and frightened Alexyéi Sergyéitch. He entered the latter's room all pale and quiet, and inclining his body in obeisance to the girdle, he first returned thanks for the asylum and oversight, and then requested that a priest might be sent for; for Death had come to him--he had beheld her--and he must pardon all men and whiten himself. "How was it that thou didst see her?" muttered the astounded Alexyéi Sergyéitch, who now heard a coherent speech from him for the first time.--"What is she like? Has she a scythe?" "No," replied Prince L.--"She's a plain old woman in a loose gown--only she has but one eye in her forehead, and that eye has no lid." And on the following day Prince L. actually expired, after having fulfilled all his religious obligations and taken leave of every one intelligently and with emotion. "That's the way I shall die also," Alexyéi Sergyéitch was wont to remark. And, in fact, something similar happened with him--of which, later on. But now let us return to our former subject. Alexyéi Sergyéitch did not consort with the neighbours, as I have already said; and they did not like him any too well, calling him eccentric, arrogant, a mocker, and even a Martinist who did not recognise the authorities, without themselves understanding, of course, the meaning of the last word. To a certain extent the neighbours were right. Alexyéi Sergyéitch had resided for nearly seventy years in succession in his Sukhodól, having almost no dealings whatever with the superior authorities, with the military officials, or the courts. "The court is for the bandit, the military officer for the soldier," he was wont to say; "but I, God be thanked, am neither a bandit nor a soldier." Alexyéi Sergyéitch really was somewhat eccentric, but the soul within him was not of the petty sort. I will narrate a few things about him. I never found out authoritatively what were his political views, if, indeed, one can apply to him such a very new-fangled expression; but he was, in his way, rather an aristocrat than a nobly-born master of serfs. More than once he complained because God had not given him a son and heir "for the honour of the race, for the continuation of the family." On the wall of his study hung the genealogical tree of the Telyégins, with very profuse branches, and multitudinous circles in the shape of apples, enclosed in a gilt frame. "We Telyégins,"[32] he said, "are a very ancient stock, existing from remote antiquity; there have been a great many of us Telyégins, but we have not run after foreigners, we have not bowed our backs, we have not wearied ourselves by standing on the porches of the mighty, we have not nourished ourselves on the courts, we have not earned wages, we have not pined for Moscow, we have not intrigued in Peter;[33] we have sat still, each on his place, his own master on his own land ... thrifty, domesticated birds, my dear sir!--Although I myself have served in the Guards, yet it was not for long, I thank you!" Alexyéi Sergyéitch preferred the olden days.--"Things were freer then, more seemly, I assure you on my honour! But ever since the year one thousand and eight hundred" (why precisely from that year he did not explain), "this warring and this soldiering have come into fashion, my dear fellow. These military gentlemen have mounted upon their heads some sort of plumes made of cocks' tails, and made themselves like cocks; they have drawn their necks up tightly, very tightly ... they speak in hoarse tones, their eyes are popping out of their heads--and how can they help being hoarse? The other day some police corporal or other came to see me.--'I have come to you, Your Well-Born,' quoth he.... (A pretty way he had chosen to surprise me! ... for I know myself that I am
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Ivan Sergeevich Turgenev

Ivan Sergeevich Turgenev (1818–1883) was a prominent Russian novelist, playwright, and poet, best known for his profound exploration of social and philosophical themes in 19th-century Russia. His notable works include the novel "Fathers and Sons," which delves into the generational conflict between the liberal intelligentsia and the nihilistic youth of his time. Turgenev's writing is characterized by its elegant prose, deep psychological insight, and compassion for the human condition. He was a key figure in the literary landscape of his era, praised for his ability to depict the complexities of Russian society and its evolving dynamics. His influence extended beyond literature, impacting both Russian cultural identity and the broader European literary canon. more…

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