And now to see what the novel before us meant to the contemporary Russian mind, we must turn to the infinitely suggestive background. Turgenev's genius was of the same force in politics as in art; it was that of seeing aright. He saw his country as it was, with clearer eyes than any man before or since. As a critic of his generation little escaped Turgenev's eye, as a politician he foretold nearly all that actually came to pass in his life, and as a consummate artist, led first and foremost by his love for his art, his novels are undying historical pictures. It is not that there is anything allegorical in his novels--allegory is at the farthest pole from his method; it is that whenever he created an important figure in fiction that figure is necessarily a revelation of the secrets of the fatherland, the soil, the race. Turgenev, in short, was a psychologist not merely of men, but of nations; and so the chief figure of _On the Eve_, Elena, foreshadows and stands for the rise of Young Russia in the 'sixties. Elena is Young Russia, and to whom does she turn in her prayer for strength? Not to Bersenyev, the philosopher, the dreamer; not to Shubin, the man carried outside himself by every passing distraction; but to the strong man, Insarov. And here the irony of Insarov being made a foreigner, a Bulgarian, is significant of Turgenev's distrust of his country's weakness. The hidden meaning of the novel is a cry to the coming men to unite their strength against the foe without and the foe within the gates; it is not only an appeal to them to hasten the death of the old régime of Nicholas I., but an appeal to them to conquer their sluggishness, their weakness and their apathy. It is a cry for Men. Turgenev sought in vain in life for a type of man to satisfy Russia, and ended by taking no living model for his hero, but the hearsay Insarov, a foreigner. Russia has not yet produced men of this type. But the artist does not despair of the future. Here we come upon one of the most striking figures of Turgenev--that of Uvar Ivanovitch. He symbolizes the ever-predominant type of Russian, the sleepy, the slothful Slav of yesterday. He is the Slav whose inherent force Europe is as ignorant of as he is himself. Though he speaks only twenty sentences in the book he is a creation of Tolstoian force. His very words are dark and of practically no significance. There lies the irony of the social picture. On the eve of what? one asks. Time has given contradictory answers to the men of all parties. The Elenas of to-day need not turn their eyes abroad to find their counterpart in spirit; so far at least the pessimists are refuted; but the note of death that Turgenev strikes in his marvellous chapter on Venice has still for Young Russia an ominous echo--so many generations have arisen eager, only to be flung aside helpless, that one asks, what of the generation that fronts Autocracy to-day?[17] [17] Written in 1895.