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Turgenev lays the action exclusively with one class of Russian people. There is nothing of the enormous canvas of Count Tolstoi, in which the whole of Russia seems to pass in review before the readers. In Turgenev’s novels we see only educated Russia, or rather the more advanced thinking part of it, which he knew best, because he was a part of it himself.

      We are far from regretting this specialisation. Quality can sometimes hold its own against quantity. Although small numerically, the section of Russian society which Turgenev represents is enormously interesting, because it is the brain of the nation, the living ferment which alone can leaven the huge unformed masses. It is upon them that depend the destinies of their country. Besides, the artistic value of his works could only be enhanced by his concentrating his genius upon a field so familiar to him, and engrossing so completely his mind and his sympathies. What he loses in dimensions he gains in correctness, depth, wonderful subtlety and effectiveness of every minute detail, and the surpassing beauty of the whole. The jewels of art he left us are like those which nations store in the sanctuaries of their museums and galleries to be admired, the longer they are studied. But we must look to Tolstoi for the huge and towering monuments, hewn in massive granite, to be put upon some cross way of nations as an object of wonder and admiration for all who come from the four winds of heaven.

      Turgenev did not write for the masses but for the elite among men. The fact that .he has won such a fame among foreigners, and that the number of his readers is widening every year, proves that great art is international, and also, I may say, that artistic taste and understanding is growing everywhere. II

      It is written that no man is a prophet in his own country, and from time immemorial all the unsuccessful aspirants to the profession have found their consolation in this proverbial truth. But for aught we know this hard limitation has never been applied to artists. Indeed it seems absurd on the face of it that the artist’s countrymen, for whom and about whom he writes, should be less fit to recognise him than strangers. Yet in certain special and peculiar conditions, the most unlikely things will sometimes occur, as is proved in the case of Turgenev.

      The fact is that as an artist he was appreciated to his full value first by foreigners. The Russians have begun to understand him, and to assign to him his right place in this respect only now, after his death, whilst in his lifetime his artistic genius was comparatively little cared for, save by a handful of his personal friends.

      This supreme art told upon the Russian public unconsciously, as it was bound to tell upon a nation so richly endowed with natural artistic instinct. Turgenev was always the most widely read of Russian authors, not excepting Tolstoi, who came to the front only after his death. But full recognition he had not, because he happened to produce his works in a troubled epoch of political and social strife, when the best men were absorbed in other interests and pursuits, and could not and would not appreciate and enjoy pure art. This was the painful, almost tragic, position of an artist, who lived in a most inartistic epoch, and whose highest aspirations and noblest efforts wounded and irritated those among his countrymen whom he was most devoted to, and whom he desired most ardently to serve.

      This strife embittered Turgenev’s life.

      At one crucial epoch of his literary career the conflict became so vehement, and the outcry against him, set in motion by his very artistic truthfulness and objectiveness, became so loud and unanimous, that he contemplated giving up literature altogether. He could not possibly have held to this resolution. But it is surely an open question whether, sensitive and modest as he was, and prone to despondency and diffidence, he would have done so much for the literature of his country without the enthusiastic encouragement of various great foreign novelists, who were his friends and admirers: George Sand, Gustave Flaubert, in France; Auerbach, in Germany; W. D. Howells, in America; George Eliot, in England.

      We will tell the story of his troubled life piece by piece as far as space will allow, as his works appear in succession. Here we will only give a few biographical traits which bear particularly upon the novel before us, and account for his peculiar hold over the minds of his countrymen.

      Turgenev, who was born in 1818, belonged to a set of Russians very small in his time, who had received a thoroughly European education in no way inferior to that of the best favoured young German or Englishman. It happened, moreover, that his paternal uncle, Nicholas Turgenev, the famous ‘Decembrist,’ after the failure of that first attempt (December 14, 1825) to gain by force of arms a constitutional government for Russia, succeeded in escaping the vengeance of the Tsar Nicholas I., and settled in France, where he published in French the first vindication of Russian revolution.

      Whilst studying philosophy in the Berlin University, Turgenev paid short visits to his uncle, who initiated him in the ideas of liberty, from which he never swerved throughout his long life.

      In the sixties, when Alexander Hertzen, one of the most gifted writers of our land, a sparkling, witty, pathetic, and powerful journalist and brilliant essayist, started in London his Kolokol, a revolutionary, or rather radical paper, which had a great influence in Russia, Turgenev became one of his most active contributors and advisers,—almost a member of the editorial staff.

      This fact has been revealed a few years ago by the publication, which we owe to Professor Dragomanov, of the private correspondence between Turgenev and Hertzen. This most interesting little volume throws quite a new light upon Turgenev, showing that our great novelist was at the same time one of the strongest—perhaps the strongest—and most clear-sighted political thinkers of his time. However surprising such a versatility may appear, it is proved to demonstration by a comparison of his views, his attitude, and his forecasts, some of which have been verified only lately, with those of the acknowledged leaders and spokesmen of the various political parties of his day, including Alexander Hertzen himself. Turgenev’s are always the soundest, the most correct and far-sighted judgments, as latter-day history has proved.

      A man with so ardent a love of liberty, and such radical views, could not possibly banish them from his literary works, no matter how great his devotion to pure art. He would have been a poor artist had he inflicted upon himself such a mutilation, because freedom from all restraints, the frank, sincere expression of the artist’s individuality, is the life and soul of all true art.

      Turgenev gave to his country the whole of himself, the best of his mind and of his creative fancy. He appeared at the same time as a teacher, a prophet of new ideas, and as a poet and artist. But his own countrymen hailed him in the first capacity, remaining for a long time obtuse to the latter and greater.

      Thus, during one of the most important and interesting periods of our national history, Turgenev was the standard-bearer and inspirer of the Liberal, the thinking Russia. Although the two men stand at diametrically opposite poles, Turgenev’s position can be compared to that of Count Tolstoi nowadays, with a difference, this time in favour of the author of Dmitri Rudin. With Turgenev the thinker and the artist are not at war, spoiling and sometimes contradicting each other’s efforts. They go hand in hand, because he never preaches any doctrine whatever, but gives us, with an unimpeachable, artistic objectiveness, the living men and women in whom certain ideas, doctrines, and aspirations were embodied. And he never evolves these ideas and doctrines from his inner consciousness, but takes them from real life, catching with his unfailing artistic instinct an incipient movement just at the moment when it was to become a historic feature of the time. Thus his novels are a sort of artistic epitome of the intellectual history of modern Russia, and also a powerful instrument of her intellectual progress. III

      Rudin is the first of Turgenev’s social novels, and is a sort of artistic introduction to those that follow, because it refers to the epoch anterior to that when the present social and political movements began. This epoch is being fast forgotten, and without his novel it would be difficult for us to fully realise it, but it is well worth studying, because we find in it the germ of future growths.

      It was a gloomy time. The ferocious despotism of Nicholas I.—overweighing the country like the stone lid of a coffin, crushed every word, every thought, which did not fit with its narrow conceptions. But this was not the worst. The worst was that progressive Russia was represented by a mere handful of men, who were so immensely in advance of their surroundings, that in their own country they felt more isolated, helpless, and out of touch with the realities

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