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other an ideal youth. Such pictures I leave for others
to draw; I strove for something greater.... I close
with the remark: If the reader does not find Bazárof
dear to him in spite of all his coarseness, heartlessness,
merciless dryness and sharpness, — then the fault is
mine and I have missed my mark. But sweet with
syrup — to speak after the manner of Bazárof — that I
would not have, although I had immediately won the
youth over to my side thereby.”
And twelve years later, after a fresh attack, he turns
back again to his tenderness for Bazárof. He writes:
“What! you also contend that I caricatured youth in
Bazárof. You repeat this — pardon the freedom of the
expression — insane complaint. Bazárof, my favorite
child, for whose sake I broke with Katkóf, and on whom
I lavished all the colors I could command! Bazárof,
this intelligent man, this hero, a caricature!” ...[1]
By the novel “Smoke,” Turgenief fell out with
another not less influential group in Russia than that
which had been so much offended by “Fathers and
Sons.” It was almost a blow aimed at the Slavophiles,
and imbittered them in every case against him. Katkóf
and Dostoyevski were from this time his bitter enemies
and persecutors. In this book certain twaddling and
conceited Russian quasi-reformers are thrown aside with
a cutting scorn, which recalls to a denizen of the North
Henrick Ibsen’s manner of treating certain reformers
among his countrymen.
But in “Virgin Soil” (1877), Turgenief’s last great
work and the most versatile he wrote, he has brought
his criticism of society to an end with a thorough
unpartisan justice, by exposing to sun and air ranks, families,
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