dress, whilst simplicity and sincerity are the fundamental traits of
all that is Russian in character, manner, art, literature. But it may
be truly said that every educated Russian of our time has a bit of
Dmitri Rudin in him.

This figure is undoubtedly one of the finest in Turgenev's gallery,
and it is at the same time one of the most brilliant examples of his
artistic method.

Turgenev does not give us at one stroke sculptured figures made from
one block, such as rise before us from Tolstoi's pages. His art is
rather that of a painter or musical composer than of a sculptor. He
has more colour, a deeper perspective, a greater variety of lights and
shadows--a more complete portraiture of the spiritual man. Tolstoi's
people stand so living and concrete that one feels one can recognise
them in the street. Turgenev's are like people whose intimate
confessions and private correspondence, unveiling all the secrets of
their spiritual life, have been submitted to one.

Every scene, almost every line, opens up new deep horizons, throwing
upon his people some new unexpected light.

The extremely complex and difficult character of the hero of this
story, shows at its highest this subtle psychological many-sidedness.
Dmitri Rudin is built up of contradictions, yet not for a moment does
he cease to be perfectly real, living, and concrete.

Hardly less remarkable is the character of the heroine, Natalya, the
quiet, sober, matter-of-fact girl, who at the bottom is an
enthusiastic and heroic nature. She is but a child fresh to all