Perhaps if the membership were exclusively composed of women, positive results would show. For, in Russian novels, the irresolution of the men is equalled only by the driving force of the women. The Russian feminine type, as depicted in fiction, is the incarnation of singleness of purpose, and a capacity to bring things to pass, whether for good or for evil. The heroine of "Rudin," of "Smoke," of "On the Eve," the sinister Maria of "Torrents of Spring," the immortal Lisa of "A House of Gentlefolk," the girl in Dostoevski's "Poor Folk;" Dunia and Sonia, in "Crime and Punishment"--many others might be called to mind. The good Russian women seem immensely superior to the men in their instant perception and recognition of moral values, which gives them a chart and compass in life. Possibly, too, the women are stiffened in will by a natural reaction in finding their husbands and brothers so stuffed with inconclusive theories. One is appalled at the prodigious amount of nonsense that Russian wives and daughters are forced to hear from their talkative and ineffective heads of houses. It must be worse than the metaphysical discussion between Adam and the angel, while Eve waited on table, and supplied the windy debaters with something really useful. To one who is well acquainted with American university undergraduates, the intellectual maturity of the Russian or Polish student and his eagerness for the discussion of abstract problems in sociology and metaphysics are very impressive. The amount of space given in Russian novels to philosophical introspection and debate is a truthful portrayal of the subtle Russian mind. Russians love to talk; they are strenuous in conversation, and forget their meals and their sleep. I have known some Russians who will sit up all night, engaged in the discussion of a purely abstract topic, totally oblivious to the passage of time. In "A House of Gentlefolk," at four o'clock in the morning, Mihalevich is still talking about the social duties of Russian landowners, and he roars out, "We are sleeping, and the time is slipping away; we are sleeping!" Lavretsky replies, "Permit me to observe, that we are not sleeping at present, but rather preventing others from sleeping. We are straining our throats like the cocks--listen! there is one crowing for the third time." To which Mihalevich smilingly rejoins, "Good-bye till to-morrow." Then follows, "But the friends talked for more than an hour longer." In Chirikov's powerful drama, "The Jews," the scene of animated discussion that takes place on the stage is a perfect picture of what is happening in hundreds of Russian towns every night. An admirable description of a typical Russian conversation is given by Turgenev, in "Virgin Soil":--