Everyman's Library CLASSICS
242 books in this series
The finest editions available of the world's greatest classics from Homer to Achebe, Tolstoy to Ishiguro, Proust to Pullman, printed on a fine acid-free, cream-wove paper that will not discolour with age, with sewn, full cloth bindings and silk ribbon markers, and at remarkably low prices. All books include substantial introductions by major scholars and contemporary writers, and comparative chronologies of literary and historical context.
Nest of the Gentry & Virgin Soil
This volume pairs two novels, one early, one late, by Ivan Turgenev, master chronicler of nineteenth-century Russia.
Nest of the Gentry (1859) was his most popular work in his lifetime, and with good reason. An elegiac story of love and loss, it is both universal and particularly Russian. The hero Fyodor Lavretsky, son of a wealthy landowner and educated in the Western style, falls romantically in love with a woman he meets at the Moscow opera; they settle in Paris. When the marriage fails, he returns to Russia, a rootless cosmopolitan or ‘superfluous man’. Back on his country estate, can he make a new start, reconcile himself to his responsibilities to the land and the people, and achieve an almost spiritual fulfilment in his love for his young cousin Liza?
In Virgin Soil (1877), an older Turgenev boldly tackles the new radical politics of his era. The Tsarist regime is increasingly under challenge. Young people are flocking to the countryside to live side by side with the peasants, both to learn from them and to radicalise them. Poet Alexey Nezhdanov is an unlikely revolutionary, an over-thinking Hamlet figure, and a tragedy waiting to happen. While working as a tutor on a country estate, he is attracted to the self-assured and politically committed Marianna – an ardent idealist determined to sacrifice herself for the revolutionary cause. Turgenev, himself a liberal, deals sympathetically with his characters, respecting the seriousness of purpose of this new generation whose methods he could not endorse. Virgin Soil turned Turgenev into an international figure, and explicator of the perplexing Russian political scene (in its year of publication hundreds of young Populists were brought to trial, many receiving heavy sentences); in Russia it was roundly condemned on all sides.
Turgenev was a supreme artist; in both these novels his profound humanity, his love for nature and for the Russian countryside, shine through the lyrical elegance of his prose.
Nest of the Gentry (1859) was his most popular work in his lifetime, and with good reason. An elegiac story of love and loss, it is both universal and particularly Russian. The hero Fyodor Lavretsky, son of a wealthy landowner and educated in the Western style, falls romantically in love with a woman he meets at the Moscow opera; they settle in Paris. When the marriage fails, he returns to Russia, a rootless cosmopolitan or ‘superfluous man’. Back on his country estate, can he make a new start, reconcile himself to his responsibilities to the land and the people, and achieve an almost spiritual fulfilment in his love for his young cousin Liza?
In Virgin Soil (1877), an older Turgenev boldly tackles the new radical politics of his era. The Tsarist regime is increasingly under challenge. Young people are flocking to the countryside to live side by side with the peasants, both to learn from them and to radicalise them. Poet Alexey Nezhdanov is an unlikely revolutionary, an over-thinking Hamlet figure, and a tragedy waiting to happen. While working as a tutor on a country estate, he is attracted to the self-assured and politically committed Marianna – an ardent idealist determined to sacrifice herself for the revolutionary cause. Turgenev, himself a liberal, deals sympathetically with his characters, respecting the seriousness of purpose of this new generation whose methods he could not endorse. Virgin Soil turned Turgenev into an international figure, and explicator of the perplexing Russian political scene (in its year of publication hundreds of young Populists were brought to trial, many receiving heavy sentences); in Russia it was roundly condemned on all sides.
Turgenev was a supreme artist; in both these novels his profound humanity, his love for nature and for the Russian countryside, shine through the lyrical elegance of his prose.
Dangerous Liaisons
The struggle for power between two magnetic personalities, the Marquise de Merteuil and the Vicomte to Valmont, is charted through a series of brilliant letters whose shimmering surface reveals all the more clearly the cynical amorality of their authors. These former lovers manipulate innocent victims into their elaborate schemes of seduction and revenge – the teenage Cécile, just out of her convent, her sweetheart the Chevalier Danceny, Madame de Tourvel, a virtuous married woman – with appalling success until events and feelings spiral out of control, and the main protagonists turn fatally upon each other.
Over the years Dangerous Liaisons has gathered devotees as disparate as Marie Antoinette, Baudelaire and Virginia Woolf. It has inspired plays, films, ballets, operas and TV series, but it is the original novel that best demonstrates Laclos’ unique combination of comedy and tragedy, sentiment and brutality, farce and horror; and Laclos’ own subtle prose that conveys both psychological insight and an erotic tenderness as essential to the story as the verbal fireworks.
Over the years Dangerous Liaisons has gathered devotees as disparate as Marie Antoinette, Baudelaire and Virginia Woolf. It has inspired plays, films, ballets, operas and TV series, but it is the original novel that best demonstrates Laclos’ unique combination of comedy and tragedy, sentiment and brutality, farce and horror; and Laclos’ own subtle prose that conveys both psychological insight and an erotic tenderness as essential to the story as the verbal fireworks.