Despite the fact that Turgenev declared "Mumu", a noteworthy presentation of the savagery of serfdom, while confined to St. Petersburg, his work was developing towards such expanded characters contemplated as Yakov Pasynkov (1855) and the unpretentious, if critical, examinations of the opposition of worship found in “Faust” and “A Correspondence” (1856). Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay. Weather and national events were also influencing him. With the annihilation of Russia in the Crimean War (1854-1856), the Turgenev era, "the men of the forties", began to take a place in the past. The two books he distributed during the 1850s - Rudin (1856) and Home of the Gentry (1859) - are saturated with a soul of amusing melancholy for the shortcomings and futilities so evident in this age of 10 years before. books, Rudin, tells of an expressive scholar, Dmitry Rudin, a character proven halfway on Bakunin, whose energy of speech and energetically maintained confidence in the demand for advancement so much influences the younger individuals of a common hall that the woman brave, Natalya, begins to look at him with starry eyes. Be that as it may, when she provokes him to fulfill his words, he disappoints her. The evocation of the universe of the Russian national home and the late spring climate that form the backdrop to the tragicomedy of this relationship is the confirmation of Turgenev's energy in seeing and recording the constancy of the normal scene. The broader ramifications on Russian culture as a whole and on the part of the Russian intellectual elite are visible as shadows at the edges of the photo rather than as nuances or points of interest in the closer view. Turgenev's second novel, Home of the Gentry, is an elegiac investigation of lonely love in which the saint, Lavretsky, is not so much helpless as the victim of his lopsided childhood. The work is distinguished by the delicacy of the romantic talent; however every now and then a gaudy shadow appears. More important regarding the creator's thought is the detailed story of the saint's life. In the recommendation, the impact of the West prevented Turgenev's elders from taking a step forward, finally forcing them to recognize that they would have to leave Russia's fate to those younger and more radical than themselves. Turgenev's objectivity as a documenter of the Russian intellectual elite is evident in these early books. However indifferent he may have been to some of the thought patterns of the younger, more radical age that developed after the Crimean War, he sought to represent the positive desires of these young men and women with conscientious sincerity. Their attitude towards him, especially that of such prominent figures as the radical commentators Nikolay Chernyshevsky and Nikolay Dobrolyubov, was for the most part cold when not actually antagonistic. His fairly liberal nature was tested by the strength of these younger counterparts. He moved away from accentuating the fragility of his legends, which had been attacked as a sort by Chernyshevsky, by using the short story "Asya" (1858) as a reason for escape. Turgenev focused instead on their energetic fervor and their sense of reason. These characteristics had clear progressive ramifications that were not shared by Turgenev, whose radicalism could recognize constant change but limited much else radical, particularly the possibility of a guerrilla proletariat. The novel On the Eve (1860) handles the issue by engaging with the younger intellectual elite. on the eve of the Crimean War and.