INTRODUCTION

       Table of Contents

      ‘Smoke’ was first published in 1867, several years after Turgenev had fixed his home in Baden, with his friends the Viardots. Baden at this date was a favourite resort for all circles of Russian society, and Turgenev was able to study at his leisure his countrymen as they appeared to foreign critical eyes. The novel is therefore the most cosmopolitan of all Turgenev’s works. On a veiled background of the great world of European society, little groups of representative Russians, members of the aristocratic and the Young Russia parties, are etched with an incisive, unfaltering hand. Smoke, as an historical study, though it yields in importance to Fathers and Children and Virgin Soil, is of great significance to Russians. It might with truth have been named Transition, for the generation it paints was then midway between the early philosophical Nihilism of the sixties and the active political Nihilism of the seventies.

      Markedly transitional, however, as was the Russian mind of the days of Smoke, Turgenev, with the faculty that distinguishes the great artist from the artist of second rank, the faculty of seeking out and stamping the essential under confused and fleeting forms, has once and for ever laid bare the fundamental weakness of the Slav nature, its weakness of will. Smoke is an attack, a deserved attack, not merely on the Young Russia Party, but on all the Parties; not on the old ideas or the new ideas, but on the proneness of the Slav nature to fall a prey to a consuming weakness, a moral stagnation, a feverish ennui, the Slav nature that analyses everything with force and brilliancy, and ends, so often, by doing nothing. Smoke is the attack, bitter yet sympathetic, of a man who, with growing despair, has watched the weakness of his countrymen, while he loves his country all the more for the bitterness their sins have brought upon it. Smoke is the scourging of a babbling generation, by a man who, grown sick to death of the chatter of reformers and reactionists, is visiting the sins of the fathers on the children, with a contempt out of patience for the hereditary vice in the Slav blood. And this time the author cannot be accused of partisanship by any blunderer. ‘A plague o’ both your houses,’ is his message equally to the Bureaucrats and the Revolutionists. And so skilfully does he wield the thong, that every lash falls on the back of both parties. An exquisite piece of political satire is Smoke; for this reason alone it would stand unique among novels.

      The success of Smoke was immediate and great; but the hue-and-cry that assailed it was even greater. The publication of the book marks the final rupture between Turgenev and the party of Young Russia. The younger generation never forgave him for drawing Gubaryov and Bambaev, Voroshilov and Madame Suhantchikov—types, indeed, in which all revolutionary or unorthodox parties are painfully rich. Or, perhaps, Turgenev was forgiven for it when he was in his grave, a spot where forgiveness flowers to a late perfection. And yet the fault was not Turgenev’s. No, his last novel, Virgin Soil, bears splendid witness that it was Young Russia that was one-eyed.

      Let the plain truth here be set down. Smoke is not a complete picture of the Young Russia of the day; it was not yet time for that picture; and that being so, Turgenev did the next best thing in attacking the windbags, the charlatans and their crowd of shallow, chattering followers, as well as the empty formulas of the laissez-faire party. It was inevitable that the attack should bring on him the anger of all young enthusiasts working for ‘the Cause’; it was inevitable that ‘the Cause’ of reform in Russia should be mixed up with the Gubaryovs, just as reforms in France a few years ago were mixed up with Boulanger; and that Turgenev’s waning popularity for the last twenty years of his life should be directly caused by his honesty and