Works of Ivan Turgenev (Illustrated)

by Ivan Turgenev

  I did not intend to go into these details immediately, for I had only begun to say what an impression of magnificent manhood he made upon me when I first knew him. That impression, indeed, always remained with me, even after it had been brought home to me how much there was in him of the quality of genius. He was a beautiful intellect, of course, but above all he was a delightful, mild, masculine figure. The combination of his deep, soft, lovable spirit, in which one felt all the tender parts of genius, with his immense, fair Russian physique, was one of the most attractive things conceivable. He had a frame which would have made it perfectly lawful, and even becoming, for him to be brutal; but there was not a grain of brutality in his composition. He had always been a passionate sportsman; to wander in the woods or the steppes, with his dog and gun, was the pleasure of his heart. Late in life he continued to shoot, and he had a friend in Cambridgeshire for the sake of whose partridges, which were famous, he used sometimes to cross the Channel. It would have been impossible to imagine a better representation of a Nimrod of the north. He was exceedingly tall, and broad and robust in proportion. His head was one of the finest, and though the line of his features was irregular, there was a great deal of beauty in his face. It was eminently of the Russian type - - almost everything in it was wide. His expression had a singular sweetness, with a touch of Slav languor, and his eye, the kindest of eyes, was deep and melancholy. His hair, abundant and straight, was as white as silver, and his beard, which he wore trimmed rather short, was of the colour of his hair. In all his tall person, which was very striking wherever it appeared, there was an air of neglected strength, as if it had been a part of his modesty never to remind himself that he was strong. He used sometimes to blush like a boy of sixteen. He had very few forms and ceremonies, and almost as little manner as was possible to a man of his natural prestauce. His noble appearance was in itself a manner; but whatever he did he did very simply, and he had not the slightest pretension to not being subject to rectification. I never saw any one receive it with less irritation. Friendly, candid, unaffectedly benignant, the impression that he produced most strongly and most generally was, I think, simply that of goodness.

  When I made his acquaintance he had been living, since his removal from Baden - Baden, which took place in consequence of the Franco - Prussian war, in a large detached house on the hill of Montmartre, with his friends of many years, Madame Pauline Viardot and her husband, as his fellow - tenants. He occupied the upper floor, and I like to recall, for the sake of certain delightful talks, the aspect of his little green sitting - room, which has, in memory, the consecration of irrecoverable hours. It was almost entirely green, and the walls were not covered with paper, but draped in stuff. The portières were green, and there was one of those immense divans, so indispensable to Russians, which had apparently been fashioned for the great person of the master, so that smaller folk had to lie upon it rather than sit. I remember the white light of the Paris street, which came in through windows more or less blinded in their lower part, like those of a studio. It rested, during the first years that I went to see Turgenev, upon several choice pictures of the modern French school, especially upon a very fine specimen of Théodore Rousseau, which he valued exceedingly. He had a great love of painting, and was an excellent critic of a picture. The last time I saw him - - it was at his house in the country - - he showed me half a dozen large copies of Italian works, made by a young Russian in whom he was interested, which he had, with characteristic kindness, taken into his own apartments in order that he might bring them to the knowledge of his friends. He thought them, as copies, remarkable; and they were so, indeed, especially when one perceived that the original work of the artist had little value. Turgenev warmed to the work of praising them, as he was very apt to do; like all men of imagination, he had frequent and zealous admirations. As a matter of course there was almost always some young Russian in whom he was interested, and refugees and pilgrims of both sexes were his natural clients. I have heard it said by persons who had known him long and well that these enthusiasms sometimes led him into error, that he was apt to se monter la tête on behalf of his protégés. He was prone to believe that he had discovered the coming Russian genius; he talked about his discovery for a month, and then suddenly one heard no more of it. I remember his once telling me of a young woman who had come to see him on her return from America, where she had been studying obstetrics at some medical college, and who, without means and without friends, was in want of help and of work. He accidentally learned that she had written something, and asked her to let him see it. She sent it to him, and it proved to be a tale in which certain phases of rural life were described with striking truthfulness. He perceived in the young lady a great natural talent; he sent her story off to Russia to be printed, with the conviction that it would make a great impression, and he expressed the hope of being able to introduce her to French readers. When I mentioned this to an old friend of Turgenev he smiled, and said that we should not hear of her again, that Ivan Sergueitch had already discovered a great many surprising talents, which, as a general thing, had not borne the test. There was apparently some truth in this, and Turgenev’s liability to be deceived was too generous a weakness for me to hesitate to allude to it, even after I have insisted on the usual certainty of his taste. He was deeply interested in his young Russians; they were what interested him most in the world. They were almost always unhappy, in want and in rebellion against an order of things which he himself detested. The study of the Russian character absorbed and fascinated him, as all readers of his stories know. Rich, unformed, undeveloped, with all sorts of adumbrations, of qualities in a state of fusion, it stretched itself out as a mysterious expanse in which it was impossible as yet to perceive the relation between gifts and weaknesses. Of its weaknesses he was keenly conscious, and I once heard him express himself with an energy that did him honour and a frankness that even surprised me (considering that it was of his countrymen that he spoke), in regard to a weakness which he deemed the greatest of all - - a weakness for which a man whose love of veracity was his strongest feeling would have least toleration. His young compatriots, seeking their fortune in foreign lands, touched his imagination and his pity, and it is easy to conceive that under the circumstances the impression they often made upon him may have had great intensity. The Parisian background, with its brilliant sameness, its absence of surprises (for those who have known it long), threw them into relief and made him see them as he saw the figures in his tales, in relations, in situations which brought them out. There passed before him in the course of time many wonderful Russian types. He told me once of his having been visited by a religious sect. The sect consisted of but two persons, one of whom was the object of worship and the other the worshipper. The divinity apparently was travelling about Europe in company with his prophet. They were intensely serious, but it was very handy, as the term is, for each. The god had always his altar, and the altar had (unlike some altars) always its god.

  In his little green salon nothing was out of place; there were none of the odds and ends of the usual man of letters, which indeed Turgenev was not; and the case was the same in his library at Bougival, of which I shall presently speak. Few books even were visible; it was as if everything had been put away. The traces of work had been carefully removed. An air of great comfort, an immeasurable divan and several valuable pictures - - that was the effect of the place. I know not exactly at what hours Turgenev did his work; I think he had no regular times and seasons, being in this respect as different as possible from Anthony Trollope, whose autobiography, with its candid revelation of intellectual economies, is so curious. It is my impression that in Paris Turgenev wrote little; his times of production being rather those weeks of the summer that he spent at Bougival, and the period of that visit to Russia which he supposed himself to make every year. I say “supposed himself,” because it was impossible to see much of him without discovering that he was a man of delays. As on the part of some other Russians whom I h
ave known, there was something Asiatic in his faculty of procrastination. But even if one suffered from it a little, one thought of it with kindness, as a part of his general mildness and want of rigidity. He went to Russia, at any rate, at intervals not infrequent, and he spoke of these visits as his best time for production. He had an estate far in the interior, and here, amid the stillness of the country and the scenes and figures which give such a charm to the “Sketches of a Sportsman,” he drove his pen without interruption.

  It is not out of place to allude to the fact that he possessed considerable fortune; this is too important in the life of a man of letters. It had been of great value to Turgenev, and I think that much of the fine quality of his work is owing to it. He could write according to his taste and his mood; he was never pressed nor checked (putting the Russian censorship aside) by considerations foreign to his plan, and never was in danger of becoming a hack. Indeed, taking into consideration the absence of a pecuniary spur and that complicated indolence from which he was not exempt, his industry is surprising, for his tales are a long list. In Paris, at all events, he was always open to proposals for the midday breakfast. He liked to breakfast au cabaret, and freely consented to an appointment. It is not unkind to add that, at first, he never kept it. I may mention without reserve this idiosyncrasy of Turgenev’s, because in the first place it was so inveterate as to be very amusing - - it amused not only his friends but himself; and in the second, he was as sure to come in the end as he was sure not to come in the beginning. After the appointment had been made or the invitation accepted, when the occasion was at hand, there arrived a note or a telegram in which Ivan Sergueitch excused himself, and begged that the meeting might be deferred to another date, which he usually himself proposed. For this second date still another was sometimes substituted; but if I remember no appointment that he exactly kept, I remember none that he completely missed. His friends waited for him frequently, but they never lost him. He was very fond of that wonderful Parisian déjeûner - - fond of it I mean as a feast of reason. He was extremely temperate, and often ate no breakfast at all; but he found it a good hour for talk, and little, on general grounds, as one might be prepared to agree with him, if he was at the table one was speedily convinced. I call it wonderful, the déjeûner of Paris, on account of the assurance with which it plants itself in the very middle of the morning. It divides the day between rising and dinner so unequally, and opposes such barriers of repletion to any prospect of ulterior labours, that the unacclimated stranger wonders when the fertile French people do their work. Not the least wonderful part of it is that the stranger himself likes it, at last, and manages to piece together his day with the shattered fragments that survive. It was not, at any rate, when one had the good fortune to breakfast at twelve o’clock with Turgenev that one was struck with its being an inconvenient hour. Any hour was convenient for meeting a human being who conformed so completely to one’s idea of the best that human nature is capable of. There are places in Paris which I can think of only in relation to some occasion on which he was present, and when I pass them the particular things I heard him say there come back to me. There is a café in the Avenue de l’Opéra - - a new, sumptuous establishment, with very deep settees, on the right as you leave the Boulevard - - where I once had a talk with him, over an order singularly moderate, which was prolonged far into the afternoon, and in the course of which he was extraordinarily suggestive and interesting, so that my memory now reverts affectionately to all the circumstances. It evokes the grey damp of a Parisian December, which made the dark interior of the café look more and more rich and hospitable, while the light faded, the lamps were lit, the habitués came in to drink absinthe and play their afternoon game of dominoes, and we still lingered over our morning meal. Turgenev talked almost exclusively about Russia, the nihilists, the remarkable figures that came to light among them, the curious visits he received, the dark prospects of his native land. When he was in the vein, no man could speak more to the imagination of his auditor. For myself, at least, at such times, there was something extraordinarily vivifying and stimulating in his talk, and I always left him in a state of “intimate” excitement, with a feeling that all sorts of valuable things had been suggested to me; the condition in which a man swings his cane as he walks, leaps lightly over gutters, and then stops, for no reason at all, to look, with an air of being struck, into a shop window where he sees nothing. I remember another symposium, at a restaurant on one of the corners of the little place in front of the Opéra Comique, where we were four, including Ivan Sergueitch, and the two other guests were also Russian, one of them uniting to the charm of this nationality the merit of a sex that makes the combination irresistible. The establishment had been a discovery of Turgenev’s - - a discovery, at least as far as our particular needs were concerned - - and I remember that we hardly congratulated him on it. The dinner, in a low entresol, was not what it had been intended to be, but the talk was better even than our expectations. It was not about nihilism but about some more agreeable features of life, and I have no recollection of Turgenev in a mood more spontaneous and charming. One of our friends had, when he spoke French, a peculiar way of sounding the word adorable, which was frequently on his lips, and I remember well his expressive prolongation of the a when, in speaking of the occasion afterwards, he applied this term to Ivan Sergueitch. I scarcely know, however, why I should drop into the detail of such reminiscences, and my excuse is but the desire that we all have, when a human relationship is closed, to save a little of it from the past - - to make a mark which may stand for some of the happy moments of it.

  Nothing that Turgenev had to say could be more interesting than his talk about his own work, his manner of writing. What I have heard him tell of these things was worthy of the beautiful results he produced; of the deep purpose, pervading them all, to show us life itself. The germ of a story, with him, was never an affair of plot - - that was the last thing he thought of: it was the representation of certain persons. The first form in which a tale appeared to him was as the figure of an individual, or a combination of individuals, whom he wished to see in action, being sure that such people must do something very special and interesting. They stood before him definite, vivid, and he wished to know, and to show, as much as possible of their nature. The first thing was to make clear to himself what he did know, to begin with; and to this end, he wrote out a sort of biography of each of his characters, and everything that they had done and that had happened to them up to the opening of the story. He had their dossier, as the French say, and as the police has that of every conspicuous criminal. With this material in his hand he was able to proceed; the story all lay in the question, What shall I make them do? He always made them do things that showed them completely; but, as he said, the defect of his manner and the reproach that was made him was his want of “architecture” - - in other words, of composition. The great thing, of course, is to have architecture as well as precious material, as Walter Scott had them, as Balzac had them. If one reads Turgenev’s stories with the knowledge that they were composed - - or rather that they came into being - - in this way, one can trace the process in every line. Story, in the conventional sense of the word - - a fable constructed, like Wordsworth’s phantom, “to startle and waylay” - - there is as little as possible. The thing consists of the motions of a group of selected creatures, which are not the result of a preconceived action, but a consequence of the qualities of the actors. Works of art are produced from every possible point of view, and stories, and very good ones, will continue to be written in which the evolution is that of a dance - - a series of steps, the more complicated and lively the better, of course, determined from without and forming a figure. This figure will always, probably, find favour with many readers, because it reminds them enough, without reminding them too much, of life. On this opposition many young talents in France are ready to rend each other, for there is a numerous school on either side. We have not yet in England and America arrived at the point
of treating such questions with passion, for we have not yet arrived at the point of feeling them intensely, or indeed, for that matter, of understanding them very well. It is not open to us as yet to discuss whether a novel had better be an excision from life or a structure built up of picture - cards, for we have not made up our mind as to whether life in general may be described. There is evidence of a good deal of shyness on this point - - a tendency rather to put up fences than to jump over them. Among us, therefore, even a certain ridicule attaches to the consideration of such alternatives. But individuals may feel their way, and perhaps even pass unchallenged, if they remark that for them the manner in which Turgenev worked will always seem the most fruitful. It has the immense recommendation that, in relation to any human occurrence it begins, as it were, further back. It lies in its power to tell us the most about men and women. Of course it will but slenderly satisfy those numerous readers among whom the answer to this would be, “Hang it, we don’t care a straw about men and women: we want a good story!”