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 the temperament of the advocate; but his innate truthfulness, his wonderful art, and his very calmness made the picture of woe all the more clear. There is no doubt that the book became, without its author's intention, a social document; there is no doubt that Turgenev, a sympathetic and highly civilised man, hated slavery, and that his picture of it helped in an indirect way to bring about the emancipation of the serfs. But its chief value is artistic rather than sociological. It is interesting that Uncle Tom's Cabin and A Sportsman's Sketches should have appeared at about the same time, and that emancipation in each country should have followed at about the same interval; but the parallel is chronological rather than logical.

The year of the publication of Turgenev's book (1852) saw the death of Gogol: and the new author quite naturally wrote a public letter of eulogy. In no other country would such a thing have excited anything but favourable comment; in Russia it raised a storm; the government—always jealous of anything that makes for Russia's real greatness—became suspicious, and Turgenev was banished to his estates. Like one of his own dogs, he was told to "go home." Home he went, and continued to write books. Freedom was granted