have drawn upon his personal experience and the touching tale "Mumu;" actually is the reproduction of an episode which occurred in his home. His "Notes of a Sportsman" constitutes a noteworthy historical monument of the period, not only as a work of the highest art, but also as a protest against serfdom. In a way these stories form a worthy continuation of Gogol's "Dead Souls." In them, as in all his other stories, at every step the reader encounters not only clear-cut portraits of persons, but those enchanting pictures of nature for which he is famous. The publication of his short sketches from peasant life in book form--"Notes of a Sportsman"--aroused great displeasure in official circles; officialdom looked askance upon Turgeneff because also of his long residence abroad. Consequently, when, in 1852, he published in a Moscow newspaper a eulogistic article on Gogol (when the latter died), which had been prohibited by the censor in St. Petersburg, the authorities seized the opportunity to punish him. He was arrested and condemned to a month in jail, which the daughter of the police-officer who had charge of him, contrived to convert into residence in their quarters, where Turgeneff wrote "Mumu"; and to residence on his estate, which he was not allowed to leave for about two years. In 1855 he went abroad, and thereafter he spent most of his time in Paris, Baden-Baden (later in Bougival), returning from time to time to his Russian estate. During this period his talent attained its zenith, and he wrote all the most noteworthy works which assured him fame: "Rudin," "Faust," "A Nest of Nobles," "On the Eve," and "First Love," which alone would have sufficed to immortalize him. In 1860 he published an article entitled "Hamlet and Don Quixote," which throws a brilliant light upon the characters of all his types, and upon their inward springs of action. And at last, in 1862, came his famous "Fathers and Children." The key to the comprehension of his works is contained in his "Hamlet and Don Quixote." His idea is that in these two types are incarnated all the fundamental, contrasting peculiarities of the human race--both poles of the axis upon which it revolves--and that all people belong, more or less, to one of these two types; that every one of us inclines to be either a Hamlet or a Don Quixote. "It is true," he adds, "that in our day the Hamlets have become far more numerous than the Don Quixotes, but the Don Quixotes have not died out, nevertheless." Such is his hero "Rudin," that central type of the men of the '40's--a man whose whole vocation consists in the dissemination of enlightening ideas, but who, at the same time, exhibits the most complete incapacity in all his attempts to realize those ideas in practice, and scandalous pusillanimity when there is a question of any step which is, in the slightest degree, decisive--a man of the head alone, incapable of doing anything himself, because he has no nature, no blood. Such, again, is