Transcriber's Note: Every effort has been made to replicate this text as faithfully as possible. Some changes have been made. They are listed at the end of the text. Italic text has been marked with _underscores_. IVÁN TURGÉNIEFF VOLUME XI THE DIARY OF A SUPERFLUOUS MAN AND OTHER STORIES [Illustration: _I cried out with rapture, and immediately turned to Liza._ _From a drawing by FLETCHER C. RANSOM._] THE NOVELS AND STORIES OF IVÁN TURGÉNIEFF THE DIARY OF A SUPERFLUOUS MAN AND OTHER STORIES TRANSLATED FROM THE RUSSIAN BY ISABEL F. HAPGOOD [Illustration] NEW YORK CHARLES SCRIBNER'S SONS 1904 Copyright, 1904, by CHARLES SCRIBNER'S SONS [Illustration: THE SCRIBNER PRESS] PREFACE "In 'The Diary of a Superfluous Man,'" says one well-known Russian critic, "we have to deal with the end of the pathological process upon the body of Russian society. In Turgénieff's productions which followed it we have to deal with a crisis in Russian life, with the growth of a new order of things. Apart from the fundamental profundity of its tendency, the 'Diary' is extremely noteworthy for its artistic workmanship. In spite of a certain monotony of tone in its exposition, it produces a very strong impression by its abundance of poetical beauties, which are perfectly suited to the melancholy mood of the whole story... In creating his 'Superfluous Man' the author, evidently, aimed at making as powerful an impression as possible, and therefore employed the most brilliant pigments in depicting Tchulkatúrin. He attained his object. Russian society started back in horror at this portrait of itself, which was somewhat distorted yet a good likeness, and in its strong excitement vigorously repelled all community with the sickly figure of Tchulkatúrin. This horror showed that the time was ripe in Russian society for a different order of things, that it was tired of inertness and was seeking a wider field of activity in which it might freely develop its real forces."