which was carried away by realism and negation,--this is what made up the essence of the movement of the epoch in the sixties. Turgenev with the instinct of genius saw through this fundamental movement in life and imaged it in living bright pictures with all its positive and negative, pathetic and humorous sides. "In his novel Turgenev did not at all side with the 'fathers' as the unsympathetic progressive critics of that time insisted, he did not wish to in the least extol them above the 'children' in order to degrade the latter. Just so he had no intention of showing up in the character of the representative of the 'children' some kind of model of a 'thinking realist' to whom the young generation should have bowed and imitated, as the progressive critics who received the work sympathetically imagined. Such a one-sided view was foreign to the author; he sketched both the 'fathers' and the 'children' as far as possible impartially and analytically. He spared neither the 'fathers' nor the 'children' and pronounced a cold and severe judgment both on the ones and the others. He positively sings a requiem to the 'fathers' in the person of the Kirsanovs, and especially Paul Kirsanov, having shown up their aristocratic idealism, their sentimental aestheticism, almost in a comical light, ay almost in caricature, as he himself has justly pointed out. In the prominent representative of the 'children,' Bazarov, he recognized a certain moral force, the energy of character, which favourably contrasts this strong type of realist with the puny, characterless, weak-willed type of the former generation; but having recognised the positive side of the young type, he could not but show up their shortcomings to life and before the people, and thus take their laurels from them. And he did so. And now when time has sufficiently exposed the shortcomings of the type of the generation of that time, we see how right the author was, how deep and far he saw into life, how clearly he perceived the beginning and the end of its development. Turgenev in "Fathers and Children" gave us a sample of a real universal novel, notwithstanding the fact that its plot centres on the usual intimate relations of the principal characters. And with what wonderful skill the author solves this puzzling problem--to place in narrow, limited frames the broadest and newest themes (CONTENT). Hardly one of the novelists of our age, beginning with Dickens and ending with George Sand and Spielhagen, has succeeded in doing it so compactly and tersely, with such an absence of the DIDATIC element which is almost always present in the works of the above-mentioned authors, the now kings of western literatures, with such a full insight into the very heart of the life movement which is reflected in the novel. I repeat again, "Fathers and Children" is thought of highly by European critics, but years will pass and it will be thought of even more highly. It will be placed in