Moshkin [not answering him; to Priazhkina]: And you embrace me. [He embraces her.] Don’t grieve any more. We’ll all be happy now. You’ll see, how we will live! Filipp! When are you going home, to the country?
Shpundik: In about two weeks. Why?
Moshkin: Well, about that time, we’ll . . . No, no. I’m not going to say anything, for fear I’ll spoil it.
Priazhkina: But what has happened, my dear?
Moshkin: Don’t quiz me, don’t quiz me. You’d both better embrace me again. [He embraces them.] Like this! And Masha is going to be happy. ... I swear to God, she’ll be happy. Be my witnesses, that she’ll be happy, that shell be happy!
CURTAIN
The Criticism
AN ESSAY ON TURGENEV (1903) By Henry James
WHEN the mortal remains of Ivan Turgenev were about to be transported from Paris for interment in his own country, a short commemorative service was held at the Gare du Nord. Ernest Renan and Edmond About, standing beside the train in which his coffin had been placed, bade farewell in the name of the French people to the illustrious stranger who for so many years had been their honoured and grateful guest. M. Renan made a beautiful speech, and M. About a very clever one, and each of them characterised, with ingenuity, the genius and the moral nature of the most touching of writers, the most lovable of men. “Turgenev,” said M. Renan, “received by the mysterious decree which marks out human vocations the gift which is noble beyond all others: he was born essentially impersonal.” The passage is so eloquent that one must repeat the whole of it. “His conscience was not that of an individual to whom nature had been more or less generous: it was in some sort the conscience of a people. Before he was born he had lived for thousands of years; infinite successions of reveries had amassed themselves in the depths of his heart. No man has been as much as he the incarnation of a whole race: generations of ancestors, lost in the sleep of centuries, speechless, came through him to life and utterance.”
I quote these lines for the pleasure of quoting them; for while I see what M. Renan means by calling Turgenev impersonal, it has been my wish to devote to his delightful memory a few pages written under the impression of contact and intercourse. He seems to us impersonal, because it is from his writings almost alone that we of English, French, and German speech have derived our notions - - even yet, I fear, rather meagre and erroneous - - of the Russian people. His genius for us is the Slav genius; his voice the voice of those vaguely - imagined multitudes whom we think of more and more to - day as waiting their turn, in the arena of civilisation, in the grey expanses of the North. There is much in his writings to encourage this view, and it is certain that he interpreted with wonderful vividness the temperament of his fellow - countrymen. Cosmopolite that he had become by the force of circumstances, his roots had never been loosened in his native soil. The ignorance with regard to Russia and the Russians which he found in abundance in the rest of Europe - - and not least in the country he inhabited for ten years before his death - - had indeed the effect, to a certain degree, to throw him back upon the deep feelings which so many of his companions were unable to share with him, the memories of his early years, the sense of wide Russian horizons, the joy and pride of his mother - tongue. In the collection of short pieces, so deeply interesting, written during the last few years of his life, and translated into German under the name of “Senilia,” I find a passage - - it is the last in the little book - - which illustrates perfectly this reactionary impulse: “In days of doubt, in days of anxious thought on the destiny of my native land, thou alone art my support and my staff, O great powerful Russian tongue, truthful and free! If it were not for thee how should man not despair at the sight of what is going on at home? But it is inconceivable that such a language has not been given to a great people.” This Muscovite, home - loving note pervades his productions, though it is between the lines, as it were, that we must listen for it. None the less does it remain true that he was not a simple conduit or mouthpiece; the inspiration was his own as well as the voice. He was an individual, in other words, of the most unmistakable kind, and those who had the happiness to know him have no difficulty to - day in thinking of him as an eminent, responsible figure. This pleasure, for the writer of these lines, was as great as the pleasure of reading the admirable tales into which he put such a world of life and feeling: it was perhaps even greater, for it was not only with the pen that nature had given Turgenev the power to express himself. He was the richest, the most delightful, of talkers, and his face, his person, his temper, the thoroughness with which he had been equipped for human intercourse, make in the memory of his friends an image which is completed, but not thrown into the shade, by his literary distinction. The whole image is tinted with sadness: partly because the element of melancholy in his nature was deep and constant - - readers of his novels have no need to be told of that; and partly because, during the last years of his life, he had been condemned to suffer atrociously. Intolerable pain had been his portion for too many months before he died; his end was not a soft decline, but a deepening distress. But of brightness, of the faculty of enjoyment, he had also the large allowance usually made to first - rate men, and he was a singularly complete human being. The author of these pages had greatly admired his writings before having the fortune to make his acquaintance, and this privilege, when it presented itself, was highly illuminating. The man and the writer together occupied from that moment a very high place in his affection. Some time before knowing him I committed to print certain reflections which his tales had led me to make; and I may perhaps, therefore, without impropriety give them a supplement which shall have a more vivifying reference. It is almost irresistible to attempt to say, from one’s own point of view, what manner of man he was.
It was in consequence of the article I just mentioned that I found reason to meet him, in Paris, where he was then living, in 1875. I shall never forget the impression he made upon me at that first interview. I found him adorable; I could scarcely believe that he would prove - - that any man could prove - - on nearer acquaintance so delightful as that. Nearer acquaintance only confirmed my hope, and he remained the most approachable, the most practicable, the least unsafe man of genius it has been my fortune to meet. He was so simple, so natural, so modest, so destitute of personal pretension and of what is called the consciousness of powers, that one almost doubted at moments whether he were a man of genius after all. Everything good and fruitful lay near to him; he was interested in everything; and he was absolutely without that eagerness of self - reference which sometimes accompanies great, and even small, reputations. He had not a particle of vanity; nothing whatever of the air of having a part to play or a reputation to keep up. His humour exercised itself as freely upon himself as upon other subjects, and he told stories at his own expense with a sweetness of hilarity which made his peculiarities really sacred in the eyes of a friend. I remember vividly the smile and tone of voice with which he once repeated to me a figurative epithet which Gustave Flaubert (of whom he was extremely fond) had applied to him - - an epithet intended to characterise a certain expansive softness, a comprehensive indecision, which pervaded his nature, just as it pervades so many of the characters he has painted. He enjoyed Flaubert’s use of this term, good - naturedly opprobrious, more even than Flaubert himself, and recognised perfectly the element of truth in it. He was natural to an extraordinary degree; I do not think I have ever seen his match in this respect, certainly not among people who bear, as he did, at the same time, the stamp of the highest cultivation. Like all men of a large pattern, he was composed of many different pieces; and what was always striking in him was the mixture of simplicity with the fruit of the most various observation. In the little article in which I had attempted to express my admiration for his works, I had been moved to say of him that he had the aristocratic temperament: a remark which in the light of further knowledge seemed to me singularly inane. He was not subject to any definition of that sort, and to say that he was democratic would be
(though his political ideal was a democracy) to give an equally superficial account of him. He felt and under stood the opposite sides of life; he was imaginative, speculative, anything but literal. He had not in his mind a grain of prejudice as large as the point of a needle, and people (there are many) who think this a defect would have missed it immensely in Ivan Sergueitch. (I give his name, without attempting the Russian orthography, as it was uttered by his friends when they addressed him in French.) Our Anglo - Saxon, Protestant, moralistic, conventional standards were far away from him, and he judged things with a freedom and spontaneity in which I found a perpetual refreshment. His sense of beauty, his love of truth and right, were the foundation of his nature; but half the charm of conversation with him was that one breathed an air in which cant phrases and arbitrary measurements simply sounded ridiculous.
I may add that it was not because I had written a laudatory article about his books that he gave me a friendly welcome; for in the first place my article could have very little importance for him, and in the second it had never been either his habit or his hope to bask in the light of criticism. Supremely modest as he was, I think he attached no great weight to what might happen to be said about him; for he felt that he was destined to encounter a very small amount of intelligent appreciation, especially in foreign countries. I never heard him even allude to any judgment which might have been passed upon his productions in England. In France he knew that he was read very moderately; the “demand” for his volumes was small, and he had no illusions whatever on the subject of his popularity. He had heard with pleasure that many intelligent persons in the United States were impatient for everything that might come from his pen; but I think he was never convinced, as one or two of the more zealous of these persons had endeavoured to convince him, that he could boast of a “public” in America. He gave me the impression of thinking of criticism as most serious workers think of it - - that it is the amusement, the exercise, the subsistence of the critic (and, so far as this goes, of immense use); but that though it may often concern other readers, it does not much concern the artist himself. In comparison with all those things which the production of a considered work forces the artist little by little to say to himself, the remarks of the critic are vague and of the moment; and yet, owing to the large publicity of the proceeding, they have a power to irritate or discourage which is quite out of proportion to their use to the person criticised. It was not, moreover (if this explanation be not more gross than the spectre it is meant to conjure away), on account of any esteem which he accorded to my own productions (I used regularly to send them to him) that I found him so agreeable, for to the best of my belief he was unable to read them. As regards one of the first that I had offered him he wrote me a little note to tell me that a distinguished friend, who was his constant companion, had read three or four chapters aloud to him the evening before and that one of them was written de main de maître! This gave me great pleasure, but it was my first and last pleasure of the kind. I continued, as I say, to send him my fictions, because they were the only thing I had to give; but he never alluded to the rest of the work in question, which he evidently did not finish, and never gave any sign of having read its successors. Presently I quite ceased to expect this, and saw why it was (it interested me much) that my writings could not appeal to him. He cared, more than anything else, for the air of reality, and my reality was not to the purpose. I do not think my stories struck him as quite meat for men. The manner was more apparent than the matter; they were too tarabiscoté, as I once heard him say of the style of a book - - had on the surface too many little flowers and knots of ribbon. He had read a great deal of English, and knew the language remarkably well - - too well, I used often to think, for he liked to speak it with those to whom it was native, and, successful as the effort always was, it deprived him of the facility and raciness with which he expressed himself in French.
I have said that he had no prejudices, but perhaps after all he had one. I think he imagined it to be impossible to a person of English speech to converse in French with complete correctness. He knew Shakespeare thoroughly, and at one time had wandered far and wide in English literature. His opportunities for speaking English were not at all frequent, so that when the necessity (or at least the occasion) presented itself, he remembered the phrases he had encountered in books. This often gave a charming quaintness and an unexpected literary turn to what he said. “In Russia, in spring, if you enter a beechen grove” - - those words come back to me from the last time I saw him. He continued to read English books and was not incapable of attacking the usual Tauchnitz novel. The English writer (of our day) of whom I remember to have heard him speak with most admiration was Dickens, of whose faults he was conscious, but whose power of presenting to the eye a vivid, salient figure he rated very high. In the young French school he was much interested; I mean, in the new votaries of realism, the grandsons of Balzac. He was a good friend of most of them, and with Gustave Flaubert, the most singular and most original of the group, he was altogether intimate. He had his reservations and discriminations, and he had, above all, the great back - garden of his Slav imagination and his Germanic culture, into which the door constantly stood open, and the grandsons of Balzac were not, I think, particularly free to accompany him. But he had much sympathy with their experiment, their general movement, and it was on the side of the careful study of life as the best line of the novelist that, as may easily be supposed, he ranged himself. For some of the manifestations of the opposite tradition he had a great contempt. This was a kind of emotion he rarely expressed, save in regard to certain public wrongs and iniquities; bitterness and denunciation seldom passed his mild lips. But I remember well the little flush of conviction, the seriousness, with which he once said, in allusion to a novel which had just been running through the Revue des Deux Mondes, “If I had written anything so bad as that I should blush for it all my life.”
His was not, I should say, predominantly, or even in a high degree, the artistic nature, though it was deeply, if I may make the distinction, the poetic. But during the last twelve years of his life he lived much with artists and men of letters, and he was eminently capable of kindling in the glow of discussion. He cared for questions of form, though not in the degree in which Flaubert and Edmond de Goncourt cared for them, and he had very lively sympathies. He had a great regard for Madame George Sand, the head and front of the old romantic tradition; but this was on general grounds, quite independent of her novels, which he never read, and which she never expected him, or apparently any one else, to read. He thought her character remarkably noble and sincere. He had, as I have said, a great affection for Gustave Flaubert, who returned it; and he was much interested in Flaubert’s extraordinary attempts at bravery of form and of matter, knowing perfectly well when they failed. During those months which it was Flaubert’s habit to spend in Paris, Turgenev went almost regularly to see him on Sunday afternoon, and was so good as to introduce me to the author of “Madame Bovary,” in whom I saw many reasons for Turgenev’s regard. It was on these Sundays, in Flaubert’s little salon, which, at the top of a house at the end of the Faubourg Saint - Honoré, looked rather bare and provisional, that, in the company of the other familiars of the spot, more than one of whom [Maxime Du Camp, Alphonse Daudet, Emile Zola] have commemorated these occasions, Turgenev’s beautiful faculty of talk showed at its best. He was easy, natural, abundant, more than I c an describe, and everything that he said was touched with the exquisite quality of his imagination. What was discussed in that little smoke - clouded room was chiefly questions of taste, questions of art and form; and the speakers, for the most part, were in æsthetic matters radicals of the deepest dye. It would have been late in the day to propose among them any discussion of the relation of art to morality, any question as to the degree in which a novel might or might not concern itself with the teaching of a lesson. They had settled these preliminaries long ago, and it would have been primitive and incongruous to recur to them. Th
e conviction that held them together was the conviction that art and morality are two perfectly different things, and that the former has no more to do with the latter than it has with astronomy or embryology. The only duty of a novel was to be well written; that merit included every other of which it was capable. This state of mind was never more apparent than one afternoon when ces messieurs delivered themselves on the subject of an incident which had just befallen one of them. “L’Assommoir” of Emile Zola had been discontinued in the journal through which it was running as a serial, in consequence of repeated protests from the subscribers. The subscriber, as a type of human imbecility, received a wonderful dressing, and the Philistine in general was roughly handled. There were gulfs of difference between Turgenev and Zola, but Turgenev, who, as I say, understood everything, understood Zola too, and rendered perfect justice to the high solidity of much of his work. His attitude, at such times, was admirable and I could imagine nothing more genial or more fitted to give an idea of light, easy, human intelligence. No one could desire more than he that art should be art; always, ever, incorruptibly, art. To him this proposition would have seemed as little in need of proof, or susceptible of refutation, as the axiom that law should always be law or medicine always medicine. As much as any one he was prepared to take note of the fact that the demand for abdications and concessions never comes from artists themselves, but always from purchasers, editors, subscribers. I am pretty sure that his word about all this would have been that he could not quite see what was meant by the talk about novels being moral or the reverse; that a novel could no more propose to itself to be moral than a painting or a symphony, and that it was arbitrary to lay down a distinction between the numerous forms of art. He was the last man to be blind to their unity. I suspect that he would have said, in short, that distinctions were demanded in the interest of the moralists, and that the demand was indelicate, owing to their want of jurisdiction. Yet at the same time that I make this suggestion as to his state of mind, I remember how little he struck me as bound by mere neatness of formula, how little there was in him of the partisan or the pleader. What he thought of the relation of art to life his stories, after all, show better than anything else. The immense variety of life was ever present to his mind, and he would never have argued the question I have just hinted at in the interest of particular liberties - - the liberties that were apparently the dearest to his French confrères. It was this air that he carried about with him of feeling all the variety of life, of knowing strange and far - off things, of having an horizon in which the Parisian horizon - - so familiar, so wanting in mystery, so perpetually exploité - - easily lost itself, that distinguished him from these companions. He was not all there, as the phrase is; he had something behind, in reserve. It was Russia, of course, in a large measure; and, especially before the spectacle of what is going on there to - day, that was a large quantity. But so far as he was on the spot, he was an element of pure sociability.
Works of Ivan Turgenev (Illustrated) Page 376