Turgenev's sympathy with women and his unequalled power of drawing them, not merely as they appear to men, but as they appear to each other, has been dwelt on by many writers. And in truth, of the three leading qualities into which his artistic powers may be arbitrarily analysed, the most apparent is precisely that delicate feminine intuition and sensitive emotional consciousness into all the nuances of personal relations that women possess in life and are never able to put into books. This fluid sympathetic perception is instinctive in Turgenev: it is his temperament to be sympathetic or receptive to all types, except, perhaps, to purely masculine men of action, whom he never draws with success. His temperament is bathed in a delicate emotional atmosphere quivering with light, which discloses all the infinite riches of the created world, the relation of each character to its particular universe, and the significance of its human fate. And this state of soul or flow of mood in Turgenev is creative, as when music floats from a distance to the listener, immediately the darkening fields, the rough coarse earth of cheap human life, with all the grind and petty monotony of existence, melt into harmony, and life is seen as a mysterious whole, not merely as a puzzling discrepancy of gaps and contradictions and days of little import. This fluid emotional consciousness of Turgenev is feminine, inasmuch as it is a receptive, sympathising, and harmonising attitude; but just where the woman's faculty of receptiveness ends, where her perception fails to go beyond the facts she is alive to, Turgenev's consciousness flashes out into the great poet's creative world, with its immense breadth of vision, force, and imagination. Thus in laying down A Lear of the Steppes the reader is conscious that he is seeing past the human life of the tragedy on to the limitless seas of existence beyond,--he is looking beyond the heads of the moving human figures out on to the infinite horizon. Just where the woman's interest would stop and rest satisfied with the near personal elements in the drama, Turgenev's constructive poetic force sees the universal, and in turn interprets these figures in relation to the far wider field of the race, the age, and makes them symbolical of the deep forces of all human existence.
And thus Turgenev becomes a creator, originating a world greater than he received. His creation of Bazarov in Fathers and Children from a three hours' accidental meeting with a man while on a journey, is an extraordinary instance of how unerringly his vision created in forethought a world that was to come. He accepted the man, he was penetrated with the new and strange conceptions of life offered, and as a poet he saw in a flash the immense significance to society of this man's appearance in the age. He saw a new and formidable type had arisen in the nation, negating its traditions, its beliefs, its conceptions; and from this solitary meeting with an individual, Turgenev laid bare and predicted the progress of the most formidable social and political movement in modern Russia, predicted it and set it forth in art, a decade before its birth. IV
In truth, Turgenev's art at its highest may well be the despair of artists who have sufficient insight to understand wherein he excels. He is rich in all the gifts, so he penetrates into everything; but it is the perfect harmony existing between his gifts that makes him see everything in proportion. Thus he never caricatures; he is never too forcible, and never too clever. He is a great realist, and his realism carries along with it the natural breath of poetry. His art is highly complex, but its expression is so pellucid, so simple, that we can see only its body, never the mechanism of its body. His thought and his emotion are blended in one; he interprets life, but always preserves the atmosphere, the glamour, the mystery of the living thing in his interpretation. His creative world arises spontaneously from his own depths--the mark of the world's great masters. Never thinking of himself, he inspires his readers with a secret delight for the beauty that he found everywhere in life. And he never shuts his eyes against the true.
EDWARD GARNETT.
October 1898.
A LEAR OF THE STEPPES
WE were a party of six, gathered together one winter evening at the house of an old college friend. The conversation turned on Shakespeare, on his types, and how profoundly and truly they were taken from the very heart of humanity. We admired particularly their truth to life, their actuality. Each of us spoke of the Hamlets, the Othellos, the Falstaffs, even the Richard the Thirds and Macbeths--the two last only potentially, it is true, resembling their prototypes--whom he had happened to come across.
"And I, gentlemen," cried our host, a man well past middle age, "used to know a King Lear!"
"How was that?" we questioned him.
"Oh, would you like me to tell you about him?"
"Please do."
And our friend promptly began his narrative. I
"ALL my childhood," he began, "and early youth, up to the age of fifteen, I spent in the country, on the estate of my mother, a wealthy landowner in X---- province. Almost the most vivid impression, that has remained in my memory of that far-off time, is the figure of our nearest neighbour, Martin Petrovitch Harlov. Indeed it would be difficult for such an impression to be obliterated: I never in my life afterwards met anything in the least like Harlov. Picture to yourselves a man of gigantic stature. On his huge carcase was set, a little askew, and without the least trace of a neck, a prodigious head. A perfect haystack of tangled yellowish-grey hair stood up all over it, growing almost down to the bushy eyebrows. On the broad expanse of his purple face, that looked as though it had been peeled, there protruded a sturdy knobby nose; diminutive little blue eyes stared out haughtily, and a mouth gaped open that was diminutive too, but crooked, chapped, and of the same colour as the rest of the face. The voice that proceeded from this mouth, though hoarse, was exceedingly strong and resonant. . . . Its sound recalled the clank of iron bars, carried in a cart over a badly paved road; and when Harlov spoke, it was as though some one were shouting in a high wind across a wide ravine. It was difficult to tell just what Harlov's face expressed, it was such an expanse. . . . One felt one could hardly take it all in at one glance. But it was not disagreeable--a certain grandeur indeed could be discerned in it, only it was exceedingly astounding and unusual. And what hands he had--positive cushions! What fingers, what feet! I remember I could never gaze without a certain respectful awe at the four-foot span of Martin Petrovitch's back, at his shoulders, like millstones. But what especially struck me was his ears! They were just like great twists of bread, full of bends and curves; his cheeks seemed to support them on both sides. Martin Petrovitch used to wear--winter and summer alike--a Cossack dress of green cloth, girt about with a small Tcherkess strap, and tarred boots. I never saw a cravat on him; and indeed what could he have tied a cravat round? He breathed slowly and heavily, like a bull, but walked without a sound. One might have imagined that having got into a room, he was in constant fear of upsetting and overturning everything, and so moved cautiously from place to place, sideways for the most part, as though slinking by. He was possessed of a strength truly Herculean, and in consequence enjoyed great renown in the neighbourhood. Our common people retain to this day their reverence for Titanic heroes. Legends were invented about him. They used to recount that he had one day met a bear in the forest and had almost vanquished him; that having once caught a thief in his beehouse, he had flung him, horse and cart and all, over the hedge, and so on. Harlov himself never boasted of his strength. 'If my right hand is blessed,' he used to say, 'so it is God's will it should be!' He was proud, only he did not take pride in his strength, but in his rank, his descent, his common sense.