Perhaps it is opportune to recall the swan songs of Turgeniev. Turgeniev, too, had high ideals which he probably thought he had received direct from God. We may with assurance put into the mouth of Brand himself the phrase with which his remarkable essay, _Hamlet and Don Quixote,_ concludes: 'Everything passes, good deeds remain.' In these words is the whole Turgeniev, or better, the whole conscious Turgeniev of that period of his life to which the essay belongs. And not only in that period, but up to the last minutes of his life, the conscious Turgeniev would not recant those words. But in the _Prose Poems_ an utterly different motive is heard. All that he there relates, and all that Ibsen tells in his last drama, is permeated with one infinite, inextinguishable anguish for a life wasted in vain, for a life which had been spent in preaching 'good.' Yet neither youth, nor health, nor the powers that fail are regretted. Perhaps even death has no terrors.... What the old Turgeniev cannot away with are his memories of 'the Russian girl.' He described and sang her as no one in Russian literature before him, but she was to him only an ideal; he, like Rubek, had not touched her. Ibsen had not touched Irene; he went off to Madame Viardo. And this is an awful sin, in no wise to be atoned, a mortal sin, the sin of which the Bible speaks. All things will be forgiven, all things pass, all things will be forgotten: this crime will remain for ever. That is the meaning of Turgeniev's _senilia_; that is the meaning of Ibsen's _senilia._ I have deliberately chosen the word _senilia,_ though I might have said swan songs, though it would even have been more correct to speak of swan songs. 'Swans,' says Plato, 'when they feel the approach of death, sing that day better than ever, rejoicing that they will find God, whom they serve.' Ibsen and Turgeniev served the same God as the swans, according to the Greek belief, the bright God of songs, Apollo. And their last songs, their _senilia,_ were better than all that had gone before. In them is a bottomless depth awful to the eye, but how wonderful! There all things are different from what they are with us on the surface. Should one hearken to the temptation and go to the call of the great old men, or should he tie himself to the mast of conviction, verified by the experience of mankind, and cover his ears as once the crafty Ulysses did to save himself from the Syrens? There is a way of escape: there is a word which will destroy the enchantment. I have already uttered it: _senilia._ Turgeniev wished to call his _Prose Poems_ by this name--manifestations of sickness, of infirmity, of old age. These are terrible; one must run away from these! Schopenhauer, the philosopher and metaphysician, feared to revise the works of his youth in his old age. He felt that he would spoil them by his mere touch. And all men mistrust old age, all share Schopenhauer's apprehensions. But what if