“First Love” does not contain any social types, does not deal with any social problems. It consists wholly, so to speak, of poetry. The young Princess is one of the author’s most poetical17 creations. Her character is depicted with marvellous grace and elegance18 in the little scenes which exert so great an influence over her sixteen-year-old admirer. In this young man’s father Turgénieff sketched19 his own father, who did not love his wife, and whose domestic relations were identical with those here described. His wife was considerably20 younger than he, and he had {vii}married her for her money, One curious detail concerns the Pole, Malévsky. This “dubious Count, swindler, and, in general, dirty little gentleman,” as one critic expresses it, “drawn21 with great artistic vivacity22, and with unconcealed scorn, is a very typical figure; and such repulsive23 Poles were formerly24 encountered in great numbers in Holy Russia,—and are still to be met with. In this character are concentrated the unpleasant characteristics of the Polish national character: spiritual deceitfulness, double-facedness, insignificance25, courtliness, and a tendency to revolting intrigue26.”
In “A Correspondence” we again encounter one of Turgénieff’s favourite types, the superfluous27 man. But the author has taken a stride in advance with Alexyéi Petróvitch. In this case the superfluous man does not blame either the insipidity28 of life, or society, or people alone,—he blames himself. In Márya Alexándrovna’s friend and correspondent we behold29 a good and worthy30 man, cultured in both mind and heart,—but, like many others among Turgénieff’s heroes, suffering, so to speak, from a malady31 of the will. One critic declares that this story is almost identical, on its exterior32, with “Rúdin.” One of the Russian representatives of “the loftiest aspirations” enters into correspondence with a young girl who, as people were fond of expressing it at that period, belonged among the “choice natures.” Disillusioned33 with life, she is ready to{viii} submit to the conditions which encompass34 her. Under the influence of an ill-defined impulse of affection and sympathy toward this young girl, the hero begins to inflate35 her sense of being an elect person, and to stir up her energy to contend with the humdrum36 circle in which she dwells. Just at the moment when he has awakened37 her courage and her hope that he will join her in this conflict, he stumbles and falls himself, in the most pusillanimous38 manner. His will is ailing39.
Another point worth noting is that in the heroine’s third letter the note of the so-called “woman’s question” is sounded with remarkable feeling and force.
The explanation vouchsafed40 by one critic for the prevalence of weak men in Turgénieff’s romances, in connection with “A Correspondence,” is that the author did not depict12 strong natures simply because he did not find suitable material for that purpose in the circle which surrounded him. He was determined41 to draw the best men of his time as he found them—that is to say, men addicted42 to self-conviction, fiery43 in language, but weak in resolution.
“The Region of Dead Calm” was written while Turgénieff was forbidden to leave his estate at Spásskoe-Lutovínovo, after his release from the imprisonment44 wherewith he was punished for having published in Moscow a eulogy45 of Gógol which the St. Petersburg censor46 had{ix} prohibited. His idea that all men are divided into two categories which, respectively, possess more or less of the characteristics of Hamlet and of Don Quixote, is illustrated47 again in this story by Véretyeff, who ruins his talents and his life with liquor.
On the other hand, as one critic says, “positively, in the whole of Russian literature, we do not meet elsewhere such a grand, massive, severe, and somewhat coarse woman as Márya Pávlovna.” Másha is the first woman in Russian literature to look upon man as a worker, and to treat him with intelligent exaction48. Another strange characteristic in a young lady of the remote country districts is Másha’s dislike for “sweet” poetry. Her suicide is not a proof that her character was weak. And of the two weak men in the story, Astákhoff is the weaker, the more colourless, in every way—as to character, not as to the author’s portraiture49.
The pictures of country life among the landed gentry50 are drawn with great charm and delicate humour.
That Turgénieff was affected51, and very sensibly so, by the lack of comprehension evinced by both critics and readers toward his great work “Fathers and Children,” is evident, in part, from the characteristic lyrical fragment, “It is Enough.” It is filled with mournful pessimism52 of a romantic sort, which strongly recalls the pes{x}simism of Leopardi. A certain element of comedy is imparted to this sentimental53 outpouring by the fact that the author fancied (and, probably, with entire sincerity) that he bore a strong resemblance in his convictions to Bazároff, his creation. Dostoiévsky depicted this comic element very caustically54, in the most malicious55 of parodies56 on Turgénieff in general and on “It is Enough” and “Phantoms” in particular. This parody57 is contained in his romance “Devils,” and constitutes one of the most venomous pages in that decidedly venomous romance. The following is an excerpt58: “In the meantime, the mist swirled59 and swirled, and swirled round and round until it bore more resemblance to a million pillows than to mist. And suddenly everything vanishes, and a great Genius crosses the Volga in winter, during a thaw60. Two and a half pages about this transit61. But, notwithstanding, he tumbles into a hole in the ice. The Genius goes to the bottom. Do you think he drowns? Not a bit of it! All this is for the sake, after he is completely foundered62 and is beginning to choke, of making a block of ice, a tiny block, about the size of a pea, but clear and transparent63, float past him ‘like a frozen tear’; and on that block of ice Germany, or, to put it more accurately64, the sky of Germany, is reflected; and by the rainbow play of that reflection it reminds him of the tear which—dost thou remember?—trickled from thine eyes{xi} when we sat under the emerald tree, and thou didst joyfully65 exclaim: ‘There is no crime!’—‘Yes!’ said I through my tears; ‘but if that is so, then assuredly there are no righteous men either.’ We fell to sobbing66 and parted forever.”
“The Dog” was first published in the feuilleton of the Petersburg News, No. 85, 1865. It is generally admitted to be one of Turgénieff’s weak and unsuccessful works. But one critic describes how enthralling67 it was when the author narrated68 it (in advance of publication) to a group of friends in Moscow, and what a deep impression it made upon them. “When I read it afterward69 in print,” he says, “it seemed to me a pale copy of Turgénieff’s verbal narration70. One was impressed with the idea that, when he sat down to write it, he was overcome with apprehension71 lest his readers and critics should suppose that he believed in this mysterious adventure. But conviction on the part of the author—in appearance at least—is precisely72 what is required in such cases. He told the tale with enthusiasm, and even turned pale, and his face assumed a cast of fear at the dramatic points.” The critic adds that he could not get to sleep for hours afterward.
I. F. H.
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1 purely | |
adv.纯粹地,完全地 | |
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2 fidelity | |
n.忠诚,忠实;精确 | |
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3 testimony | |
n.证词;见证,证明 | |
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4 credible | |
adj.可信任的,可靠的 | |
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5 decided | |
adj.决定了的,坚决的;明显的,明确的 | |
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6 apparently | |
adv.显然地;表面上,似乎 | |
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7 renowned | |
adj.著名的,有名望的,声誉鹊起的 | |
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8 modesty | |
n.谦逊,虚心,端庄,稳重,羞怯,朴素 | |
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9 artistic | |
adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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10 forth | |
adv.向前;向外,往外 | |
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11 thoroughly | |
adv.完全地,彻底地,十足地 | |
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12 depict | |
vt.描画,描绘;描写,描述 | |
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13 depicted | |
描绘,描画( depict的过去式和过去分词 ); 描述 | |
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14 remarkable | |
adj.显著的,异常的,非凡的,值得注意的 | |
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15 relaxation | |
n.松弛,放松;休息;消遣;娱乐 | |
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16 dealing | |
n.经商方法,待人态度 | |
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17 poetical | |
adj.似诗人的;诗一般的;韵文的;富有诗意的 | |
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18 elegance | |
n.优雅;优美,雅致;精致,巧妙 | |
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19 sketched | |
v.草拟(sketch的过去式与过去分词形式) | |
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20 considerably | |
adv.极大地;相当大地;在很大程度上 | |
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21 drawn | |
v.拖,拉,拔出;adj.憔悴的,紧张的 | |
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22 vivacity | |
n.快活,活泼,精神充沛 | |
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23 repulsive | |
adj.排斥的,使人反感的 | |
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24 formerly | |
adv.从前,以前 | |
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25 insignificance | |
n.不重要;无价值;无意义 | |
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26 intrigue | |
vt.激起兴趣,迷住;vi.耍阴谋;n.阴谋,密谋 | |
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27 superfluous | |
adj.过多的,过剩的,多余的 | |
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28 insipidity | |
n.枯燥无味,清淡,无精神;无生气状 | |
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29 behold | |
v.看,注视,看到 | |
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30 worthy | |
adj.(of)值得的,配得上的;有价值的 | |
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31 malady | |
n.病,疾病(通常做比喻) | |
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32 exterior | |
adj.外部的,外在的;表面的 | |
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33 disillusioned | |
a.不再抱幻想的,大失所望的,幻想破灭的 | |
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34 encompass | |
vt.围绕,包围;包含,包括;完成 | |
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35 inflate | |
vt.使膨胀,使骄傲,抬高(物价) | |
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36 humdrum | |
adj.单调的,乏味的 | |
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37 awakened | |
v.(使)醒( awaken的过去式和过去分词 );(使)觉醒;弄醒;(使)意识到 | |
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38 pusillanimous | |
adj.懦弱的,胆怯的 | |
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39 ailing | |
v.生病 | |
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40 vouchsafed | |
v.给予,赐予( vouchsafe的过去式和过去分词 );允诺 | |
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41 determined | |
adj.坚定的;有决心的 | |
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42 addicted | |
adj.沉溺于....的,对...上瘾的 | |
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43 fiery | |
adj.燃烧着的,火红的;暴躁的;激烈的 | |
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44 imprisonment | |
n.关押,监禁,坐牢 | |
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45 eulogy | |
n.颂词;颂扬 | |
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46 censor | |
n./vt.审查,审查员;删改 | |
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47 illustrated | |
adj. 有插图的,列举的 动词illustrate的过去式和过去分词 | |
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48 exaction | |
n.强求,强征;杂税 | |
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49 portraiture | |
n.肖像画法 | |
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50 gentry | |
n.绅士阶级,上层阶级 | |
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51 affected | |
adj.不自然的,假装的 | |
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52 pessimism | |
n.悲观者,悲观主义者,厌世者 | |
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53 sentimental | |
adj.多愁善感的,感伤的 | |
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54 caustically | |
adv.刻薄地;挖苦地;尖刻地;讥刺地 | |
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55 malicious | |
adj.有恶意的,心怀恶意的 | |
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56 parodies | |
n.拙劣的模仿( parody的名词复数 );恶搞;滑稽的模仿诗文;表面上模仿得笨拙但充满了机智用来嘲弄别人作品的作品v.滑稽地模仿,拙劣地模仿( parody的第三人称单数 ) | |
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57 parody | |
n.打油诗文,诙谐的改编诗文,拙劣的模仿;v.拙劣模仿,作模仿诗文 | |
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58 excerpt | |
n.摘录,选录,节录 | |
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59 swirled | |
v.旋转,打旋( swirl的过去式和过去分词 ) | |
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60 thaw | |
v.(使)融化,(使)变得友善;n.融化,缓和 | |
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61 transit | |
n.经过,运输;vt.穿越,旋转;vi.越过 | |
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62 foundered | |
v.创始人( founder的过去式和过去分词 ) | |
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63 transparent | |
adj.明显的,无疑的;透明的 | |
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64 accurately | |
adv.准确地,精确地 | |
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65 joyfully | |
adv. 喜悦地, 高兴地 | |
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66 sobbing | |
<主方>Ⅰ adj.湿透的 | |
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67 enthralling | |
迷人的 | |
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68 narrated | |
v.故事( narrate的过去式和过去分词 ) | |
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69 afterward | |
adv.后来;以后 | |
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70 narration | |
n.讲述,叙述;故事;记叙体 | |
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71 apprehension | |
n.理解,领悟;逮捕,拘捕;忧虑 | |
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72 precisely | |
adv.恰好,正好,精确地,细致地 | |
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