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Updated: June 20, 2025
She appears only two or three times in the entire novel, and remains one of its most vivid personages This is ever the final mystery of Turgenev's art the power of absolutely complete representation in a few hundred words. In economy of material there has never been his equal.
He has more colour, a deeper perspective, a greater variety of lights and shadows a more complete portraiture of the spiritual man. Tolstoi's people stand so living and concrete that one feels one can recognise them in the street. Turgenev's are like people whose intimate confessions and private correspondence, unveiling all the secrets of their spiritual life, have been submitted to one.
Nothing wonderful in that, some sceptic will say, remembering what has been said of her exterior. Something wonderful and rare, let us be permitted to say." It is significant that in not one of Turgenev's seven novels is the villain of the story a man.
Baring, who is at the same time animated by a strange jealousy of Turgenev's fame, and seems to think it necessary to belittle the author of "Fathers and Children" in order to magnify the author of "Crime and Punishment."
Turgenev, like Goethe, was a natural aristocrat in his manner and in his literary taste and had the same dislike for extremists of all kinds. With the exception of Turgenev's quiet but profound pessimism, his temperament was very similar to that of the great German such a man will surely incur the hatred of the true Reformer type.
The "fathers" were of course angry at Turgenev's diagnosis of their weakness; the "sons" went into a veritable froth of rage at what they regarded as a ridiculous burlesque of their ideas. But that is the penalty that a wise man suffers at a time of strife; for if every one saw the truth clearly, we should never fight each other at all.
In Turgenev's "Torrents of Spring," where the reader hears constantly phrases in Italian, French, and German, it will be remembered that the ladies ask Sanin to sing something in his mother tongue. "The ladies praised his voice and the music, but were more struck with the softness and sonorousness of the Russian language."
In reading the few pages in which the lovers meet by night in the garden, one feels almost like an intruder as one feels at the scene of reconciliation between Lear and Cordelia. It is the very essence of intimacy the air is filled with something high and holy. * In the original, "A Nobleman's Nest." Lisa is the greatest of all Turgenev's great heroines.
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.
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 is something of this in Turgenev's description of love. He has many other strings at his harp, but his greatest effect he obtains in touching this one.
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