INTRODUCTION

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I

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      Turgenev is an author who no longer belongs to Russia only. During the last fifteen years of his life he won for himself the reading public, first in France, then in Germany and America, and finally in England.

      In his funeral oration the spokesman of the most artistic and critical of European nations, Ernest Renan, hailed him as one of the greatest writers of our times: ‘The Master, whose exquisite works have charmed our century, stands more than any other man as the incarnation of a whole race,’ because ‘a whole world lived in him and spoke through his mouth.’ Not the Russian world only, we may add, but the whole Slavonic world, to which it was ‘an honour to have been expressed by so great a Master.’

      This recognition was, however, of slow growth. It had nothing in it of the sudden wave of curiosity and gushing enthusiasm which in a few years lifted Count Tolstoi to world-wide fame. Neither in the personality of Turgenev, nor in his talent, was there anything to strike and carry away popular imagination.

      By the fecundity of his creative talent Turgenev stands with the greatest authors of all times. The gallery of living people, men, and especially women, each different and perfectly individualised, yet all the creatures of actual life, whom Turgenev introduces to us; the vast body of psychological truths he discovers, the subtle shades of men’s feelings he reveals to us, is such as only the greatest among the great have succeeded in leaving as their artistic inheritance to their country and to the world.

      As regards his method of dealing with his material and shaping it into mould, he stands even higher than as a pure creator. Tolstoi is more plastical, and certainly as deep and original and rich in creative power as Turgenev, and Dostoevsky is more intense, fervid, and dramatic. But as an artist, as master of the combination of details into a harmonious whole, as an architect of imaginative work, he surpasses all the prose writers of his country, and has but few equals among the great novelists of other lands. Twenty-five years ago, on reading the translation of one of his short stories (Assya), George Sand, who was then at the apogee of her fame, wrote to him: ‘Master, all of us have to go to study at your school.’ This was, indeed, a generous compliment, coming from the representative of French literature which is so eminently artistic. But it was not flattery. As an artist, Turgenev in reality stands with the classics who may be studied and admired for their perfect form long after the interest of their subject has disappeared. But it seems that in his very devotion to art and beauty he has purposely restricted the range of his creations.

      To one familiar with all Turgenev’s works it is evident that he possessed the keys of all human emotions, all human feelings, the highest and the lowest, the noble as well as the base. From the height of his superiority he saw all, understood all: Nature and men had no secrets hidden from his calm, penetrating eyes. In his latter days, sketches such as Clara Militch, The Song of Triumphant Love, The Dream, and the incomparable Phantoms, he showed that he could equal Edgar Poe, Hofmann, and Dostoevsky in the mastery of the fantastical, the horrible, the mysterious, and the incomprehensible, which live somewhere in human nerves, though not to be defined by reason.

      But there was in him such a love of light, sunshine, and living human poetry, such an organic aversion for all that is ugly, or coarse and discordant, that he made himself almost exclusively the poet of the gentler side of human nature. On the fringe of his pictures or in their background, just for the sake of contrast, he will show us the vices, the cruelties, even the mire of life. But he cannot stay in these gloomy regions, and he hastens back to the realms of the sun and flowers, or to the poetical moonlight of melancholy, which he loves best because in it he can find expression for his own great sorrowing heart.

      Even jealousy, which is the black shadow of the most poetical of human feelings, is avoided by the gentle artist. He hardly ever describes it, only alluding to it cursorily. But there is no novelist who gives so much room to the pure, crystalline, eternally youthful feeling of love. We may say that the description of love is Turgenev’s speciality. What Francesco Petrarca did for one kind of love—the romantic, artificial, hot-house love of the times of chivalry—Turgenev did for the natural, spontaneous, modern love in all its variety of forms, kinds, and manifestations: the slow and gradual as well as the sudden and instantaneous; the spiritual, the admiring and inspiring, as well as the life-poisoning, terrible kind of love, which infects a man as a prolonged disease. There is something prodigious in Turgenev’s insight into, and his inexhaustible richness, truthfulness, and freshness in the rendering of those emotions which have been the theme of all poets and novelists for two thousand years.

      In the well-known memoirs of Caroline Bauer one comes across a curious legend about Paganini. She tells that the great enchanter owed his unique command over the emotions of his audiences to a peculiar use of one single string, G, which he made sing and whisper, cry and thunder, at the touch of his marvellous bow.

      There