The fact is that as an artist he was appreciated to his full value first by foreigners. The Russians have begun to understand him, and to assign to him his right place in this respect only now, after his death, whilst in his lifetime his artistic5 genius was comparatively little cared for, save by a handful of his personal friends.
This supreme6 art told upon the Russian public unconsciously, as it was bound to tell upon a nation so richly endowed with natural artistic instinct. Turgenev was always the most widely read of Russian authors, not excepting Tolstoi, who came to the front only after his death. But full recognition he had not, because he happened to produce his works in a troubled epoch7 of political and social strife8, when the best men were absorbed in other interests and pursuits, and could not and would not appreciate and enjoy pure art. This was the painful, almost tragic9, position of an artist, who lived in a most inartistic epoch, and whose highest aspirations10 and noblest efforts wounded and irritated those among his countrymen whom he was most devoted11 to, and whom he desired most ardently13 to serve.
This strife embittered14 Turgenev’s life.
At one crucial epoch of his literary career the conflict became so vehement15, and the outcry against him, set in motion by his very artistic truthfulness16 and objectiveness, became so loud and unanimous, that he contemplated17 giving up literature altogether. He could not possibly have held to this resolution. But it is surely an open question whether, sensitive and modest as he was, and prone18 to despondency and diffidence, he would have done so much for the literature of his country without the enthusiastic encouragement of various great foreign novelists, who were his friends and admirers: George Sand, Gustave Flaubert, in France; Auerbach, in Germany; W. D. Howells, in America; George Eliot, in England.
We will tell the story of his troubled life piece by piece as far as space will allow, as his works appear in succession. Here we will only give a few biographical traits which bear particularly upon the novel before us, and account for his peculiar hold over the minds of his countrymen.
Turgenev, who was born in 1818, belonged to a set of Russians very small in his time, who had received a thoroughly19 European education in no way inferior to that of the best favoured young German or Englishman. It happened, moreover, that his paternal20 uncle, Nicholas Turgenev, the famous ‘Decembrist,’ after the failure of that first attempt (December 14, 1825) to gain by force of arms a constitutional government for Russia, succeeded in escaping the vengeance21 of the Tsar Nicholas I., and settled in France, where he published in French the first vindication22 of Russian revolution.
Whilst studying philosophy in the Berlin University, Turgenev paid short visits to his uncle, who initiated23 him in the ideas of liberty, from which he never swerved24 throughout his long life.
In the sixties, when Alexander Hertzen, one of the most gifted writers of our land, a sparkling, witty25, pathetic, and powerful journalist and brilliant essayist, started in London his Kolokol, a revolutionary, or rather radical26 paper, which had a great influence in Russia, Turgenev became one of his most active contributors and advisers27 — almost a member of the editorial staff.
This fact has been revealed a few years ago by the publication, which we owe to Professor Dragomanov, of the private correspondence between Turgenev and Hertzen. This most interesting little volume throws quite a new light upon Turgenev, showing that our great novelist was at the same time one of the strongest — perhaps the strongest — and most clear-sighted political thinkers of his time. However surprising such a versatility28 may appear, it is proved to demonstration29 by a comparison of his views, his attitude, and his forecasts, some of which have been verified only lately, with those of the acknowledged leaders and spokesmen of the various political parties of his day, including Alexander Hertzen himself. Turgenev’s are always the soundest, the most correct and far-sighted judgments30, as latter-day history has proved.
A man with so ardent12 a love of liberty, and such radical views, could not possibly banish31 them from his literary works, no matter how great his devotion to pure art. He would have been a poor artist had he inflicted32 upon himself such a mutilation, because freedom from all restraints, the frank, sincere expression of the artist’s individuality, is the life and soul of all true art.
Turgenev gave to his country the whole of himself, the best of his mind and of his creative fancy. He appeared at the same time as a teacher, a prophet of new ideas, and as a poet and artist. But his own countrymen hailed him in the first capacity, remaining for a long time obtuse33 to the latter and greater.
Thus, during one of the most important and interesting periods of our national history, Turgenev was the standard-bearer and inspirer of the Liberal, the thinking Russia. Although the two men stand at diametrically opposite poles, Turgenev’s position can be compared to that of Count Tolstoi nowadays, with a difference, this time in favour of the author of Dmitri Rudin. With Turgenev the thinker and the artist are not at war, spoiling and sometimes contradicting each other’s efforts. They go hand in hand, because he never preaches any doctrine34 whatever, but gives us, with an unimpeachable35, artistic objectiveness, the living men and women in whom certain ideas, doctrines36, and aspirations were embodied37. And he never evolves these ideas and doctrines from his inner consciousness, but takes them from real life, catching38 with his unfailing artistic instinct an incipient39 movement just at the moment when it was to become a historic feature of the time. Thus his novels are a sort of artistic epitome40 of the intellectual history of modern Russia, and also a powerful instrument of her intellectual progress.
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1 aspirants | |
n.有志向或渴望获得…的人( aspirant的名词复数 )v.渴望的,有抱负的,追求名誉或地位的( aspirant的第三人称单数 );有志向或渴望获得…的人 | |
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2 consolation | |
n.安慰,慰问 | |
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3 applied | |
adj.应用的;v.应用,适用 | |
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4 peculiar | |
adj.古怪的,异常的;特殊的,特有的 | |
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5 artistic | |
adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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6 supreme | |
adj.极度的,最重要的;至高的,最高的 | |
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7 epoch | |
n.(新)时代;历元 | |
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8 strife | |
n.争吵,冲突,倾轧,竞争 | |
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9 tragic | |
adj.悲剧的,悲剧性的,悲惨的 | |
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10 aspirations | |
强烈的愿望( aspiration的名词复数 ); 志向; 发送气音; 发 h 音 | |
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11 devoted | |
adj.忠诚的,忠实的,热心的,献身于...的 | |
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12 ardent | |
adj.热情的,热烈的,强烈的,烈性的 | |
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13 ardently | |
adv.热心地,热烈地 | |
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14 embittered | |
v.使怨恨,激怒( embitter的过去式和过去分词 ) | |
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15 vehement | |
adj.感情强烈的;热烈的;(人)有强烈感情的 | |
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16 truthfulness | |
n. 符合实际 | |
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17 contemplated | |
adj. 预期的 动词contemplate的过去分词形式 | |
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18 prone | |
adj.(to)易于…的,很可能…的;俯卧的 | |
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19 thoroughly | |
adv.完全地,彻底地,十足地 | |
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20 paternal | |
adj.父亲的,像父亲的,父系的,父方的 | |
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21 vengeance | |
n.报复,报仇,复仇 | |
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22 vindication | |
n.洗冤,证实 | |
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23 initiated | |
n. 创始人 adj. 新加入的 vt. 开始,创始,启蒙,介绍加入 | |
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24 swerved | |
v.(使)改变方向,改变目的( swerve的过去式和过去分词 ) | |
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25 witty | |
adj.机智的,风趣的 | |
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26 radical | |
n.激进份子,原子团,根号;adj.根本的,激进的,彻底的 | |
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27 advisers | |
顾问,劝告者( adviser的名词复数 ); (指导大学新生学科问题等的)指导教授 | |
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28 versatility | |
n.多才多艺,多样性,多功能 | |
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29 demonstration | |
n.表明,示范,论证,示威 | |
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30 judgments | |
判断( judgment的名词复数 ); 鉴定; 评价; 审判 | |
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31 banish | |
vt.放逐,驱逐;消除,排除 | |
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32 inflicted | |
把…强加给,使承受,遭受( inflict的过去式和过去分词 ) | |
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33 obtuse | |
adj.钝的;愚钝的 | |
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34 doctrine | |
n.教义;主义;学说 | |
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35 unimpeachable | |
adj.无可指责的;adv.无可怀疑地 | |
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36 doctrines | |
n.教条( doctrine的名词复数 );教义;学说;(政府政策的)正式声明 | |
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37 embodied | |
v.表现( embody的过去式和过去分词 );象征;包括;包含 | |
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38 catching | |
adj.易传染的,有魅力的,迷人的,接住 | |
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39 incipient | |
adj.起初的,发端的,初期的 | |
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40 epitome | |
n.典型,梗概 | |
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