A quarter of an hour before sunset in springtime you go out into the woods with your gun, but without your dog. You seek out a spot for yourself on the outskirts of the forest, take a look round, examine your caps, and glance at your companion. A quarter of an hour passes; the sun has set, but it is still light in the forest; the sky is clear and transparent; the birds are chattering and twittering; the young grass shines with the brilliance of emerald.... You wait. Gradually the recesses of the forest grow dark; the blood-red glow of the evening sky creeps slowly on to the roots and the trunks of the trees, and keeps rising higher and higher, passes from the lower, still almost leafless branches, to the motionless, slumbering tree-tops.... And now even the topmost branches are darkened; the purple sky fades to dark-blue. The forest fragrance grows stronger; there is a scent of warmth and damp earth; the fluttering breeze dies away at your side. The birds go to sleep--not all at once--but after their kinds; first the finches are hushed, a few minutes later the warblers, and after them the yellow buntings. In the forest it grows darker and darker. The trees melt together into great masses of blackness; in the dark-blue sky the first stars come timidly out. All the birds are asleep. Only the red starts and the nuthatches are still chirping drowsily.... And now they too are still. The last echoing call of the peewit rings over our heads; the oriole’s melancholy cry sounds somewhere in the distance; then the nightingale’s first note. Your heart is weary with suspense, when suddenly--but only sportsmen can understand me--suddenly in the deep hush there is a peculiar croaking and whirring sound, the measured sweep of swift wings is heard, and the snipe, gracefully bending its long beak, sails smoothly down behind a dark bush to meet your shot. It is illuminating to observe Turgenev’s well-nigh invariable method of story-telling. First he will draw in a setting with much attention to detail and introducing characters who add nothing to the story proper but do add immeasurably to the atmosphere--and atmosphere is miraculously handled by this master. Then he will begin to show phases of the leading character. And when at last we have formed a perfect picture of the person in his surroundings, a dramatic, a pathetic, a deep-revealing flash comes forth in the form of an anecdote or an incident--and the story is done. Character pictures, mostly _in statu quo_--these are the master’s offerings. Plot, in the modern sense, is almost unknown to Turgenev--as character-drawing, alas, is almost a lost art to the short-story writer of today! But it must be said that only an artist of the first order could carry his method to success.