and political movements of his time, colours and tones his work with his own personality, as do all the other great creators. Just as the hero, Olenin in _The Cossacks_, Levin in _Anna Karenin_, and Pierre in _War and Peace_, are projections of Tolstoy's individuality, so Lavretski, Litvinov, Sanin, and other characters, are projections of Turgenev's personality. It is the same with Fielding, with Balzac and Maupassant, with Dostoevsky and Gontcharov, whose characters also "are compacted of the result of their observation, with all their own inner feelings, their loves and hates, their anger and disdain." But only in Turgenev's case, it appears, it is a sin that the creations should contain a certain amount of "subjective reality." It must therefore be the case that it is precisely Turgenev's "temperament" which is at fault in the eyes of critics who assert that "his vision was weak and narrow compared with that of Tolstoy, and his understanding was cold and shallow compared with that of Dostoevsky." How curious that the vision which created _Fathers and Children_ and _The Poems in Prose_ should have been relatively weak and narrow! and that the understanding which created _A House of Gentlefolk_ and _A Sportsman's Sketches_ should have been cold and shallow! And yet in the same breath we are instructed that Turgenev "dealt with his generation as a great poet and a great artist." A great poet with a relatively weak and narrow vision, a great artist with a relatively cold and shallow understanding! This is an enigma to us, but not to Turgenev's detractors.