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her death, but who went past her, and, pitying her, did
not complain that she could not take her with her. She
contradicts the author when he expresses his admiration
of her patience. What is there to admire! What has
she done! No, the maiden who, in a distant country,
with a great sword drove the enemy out into the sea,
and then said, “Burn me now, for it was my promise
that I would die at the stake for my people!” — that
maiden performed a wonderful act. As he went away,
Lukeria begs him to say a word for the peasants there
in the village at her mother’s, so that they might obtain
a little bit of an abatement in the rent. She needs
nothing herself, and has nothing to wish for in her own
behalf.
Still it is not these minor works which have made
Turgenief’s name renowned throughout the world. It
is his greater novels, his few romances, masterpieces,
like “On the Eve” (Helen), “Rudin,” “Spring Floods,”
“Smoke,” “Fathers and Sons,” and “Virgin Soil.” No
more subtile psychology is to be found in European
literature, no more perfect delineation of character, and,
what is almost unseen in the history of modern authorship,
the figures of the men and women are here equally
perfect.
In order fully to understand these best works of
Turgenief, it is necessary to have some knowledge of his
life and character.
Two decisive events occurred in his life. The first is
his imprisonment and subsequent banishment to his
estate in 1842. The second is his acquaintance with
Mme. Pauline Viardot, née Garcia.
In the government circles a suspicious watch was kept
on Turgenief, on account of his attacks on serfdom.
Then, when Gogol died, and Turgenief, in a newspaper
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