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Updated: June 20, 2025
This figure is undoubtedly one of the finest in Turgenev's gallery, and it is at the same time one of the most brilliant examples of his artistic method. Turgenev does not give us at one stroke sculptured figures made from one block, such as rise before us from Tolstoi's pages. His art is rather that of a painter or musical composer than of a sculptor.
Turgenev's Bazarov and Artsybashev's Sanin indicate the ardent revolt against the national masculine temperament; like true Slavs, they go clear to the other extreme, and bring resolution to a reductio ad absurdum; for your true Russian knows no middle course, being entirely without the healthy moderation of the Anglo-Saxon. The great Turgenev realised his own likeness to Rudin. Mrs.
Whether Turgenev's art, which has captured it with such mastery and such gentleness, is for "all time" it is hard to say. Since, as you say yourself, he brings all his problems and characters to the test of love, we may hope that it will endure at least till the infinite emotions of love are replaced by the exact simplicity of perfected Eugenics.
"To-morrow I shall think otherwise and yet this is part of the truth that I have told you.... And your Englishman? I like him ... I like him. That girl will treat him badly, of course. How can she do otherwise? He sees her like Turgenev's Liza. Well, she is not that. No girl in Russia to-day is like Turgenev's Liza. And it's a good thing."
It was just this uproar which seemed to arouse Golushkin to enthusiasm; the real gist of the matter seemed to consist in this, for him."* *All citations from Turgenev's novels are from Constance Garnett's translations.
Turgenev's novel is not a creation purely objective; in it the personality of the author steps out too clearly, his sympathies, his inspiration, even his personal bitterness and irritation.
Browning said, are always most present with the distant, so Turgenev's pictures of Russian character and life are nearer to the truth than if he had penned them in the hurly-burly of political excitement.
The next novel, "Smoke," despite its extraordinary brilliancy, is in many ways unworthy of Turgenev's genius. It was written at Baden, while he was living with the Viardots, and I suspect that the influence of Madame Viardot is stronger in this work than in anything else Turgenev produced.
The woman Marianna is a sister of Elena, whom we learned to know in "On the Eve;" she has the purity, not of an angel, but of a noble woman. She has that quiet, steadfast resolution so characteristic of Russian heroines. As for Mariusha, she is a specimen of Turgenev's extraordinary power of characterisation.
It certainly is a case of 'being guilty without guilt. I don't claim to be a mushroom, but it seems I've got to go into the basket. The last thing I've ever set out to be is a hero. I never could endure Turgenev's novels; and now, all of a sudden, as though to spite me, I've heroism forced upon me.
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