The cosmopolitanism of the Russian novelist partly accounts for the international effect and influence of his novels. His knowledge of foreign languages makes his books appeal to foreign readers. When he introduces German, French, English, and Italian characters into his books, he not only understands these people, he can think in their languages, and thus reproduce faithfully their characteristics not merely by observation but by sympathetic intuition. Furthermore, the very fact that Tolstoi, for example, writes in an inaccessible language, makes foreign translations of his works absolutely necessary. As at the day of Pentecost, every man hears him speak in his own tongue. Now if an Englishman writes a successful book, thousands of Russians, Germans, and others will read it in English; the necessity of translation is not nearly so great. It is interesting to compare the world-wide appeal made by the novels of Turgenev, Dostoevski, and Tolstoi with that made by Thackeray and George Eliot, not to mention Mr. Hardy or the late Mr. Meredith. The combination of the great age of Russia with its recent intellectual birth produces a maturity of character, with a wonderful freshness of consciousness. It is as though a strong, sensible man of forty should suddenly develop a genius in art; his attitude would be quite different from that of a growing boy, no matter how precocious he might be. So, while the Russian character is marked by an extreme sensitiveness to mental impressions, it is without the rawness and immaturity of the American. The typical American has some strong qualities that seem in the typical Russian conspicuously absent; but his very practical energy, his pride and self-satisfaction, stand in the way of his receptive power. Now a conspicuous trait of the Russian is his humility; and his humility enables him to see clearly what is going on, where an American would instantly interfere, and attempt to change the course of events.* For, however inspiring a full-blooded American may be, the most distinguishing feature of his character is surely not Humility. And it is worth while to remember that whereas since 1850, at least a dozen great realistic novels have been written in Russian, not a single completely great realistic novel has ever been written in the Western Hemisphere. *It is possible that both the humility and the melancholy of the Russian character are partly caused by the climate, and the vast steppes and forests, which seem to indicate the insignificance of man. This extreme sensitiveness to impression is what has led the Russian literary genius into Realism; and it is what has produced the greatest Realists that the history of the novel has seen. The Russian mind is like a sensitive plate; it reproduces faithfully. It has no more partiality, no more prejudice than a camera film; it reflects everything that reaches its surface. A Russian novelist, with a pen in his hand, is the most truthful being on earth.