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INTRODUCTION men were due to their having no organic ties with their own country, no roots in the Russian soil. They hardly knew the Russian people, who appeared to them as nothing more than an historic abstraction. They were really cosmopolitan, as a poor makeshift for something better, and Turgenev, in making his hero die on a French barricade, was true to life as well as to art.

The inward growth of the country has remedied this defect in the course of the three generations which have followed. But has the remedy been complete? No; far from it, unfortunately. There are still thousands of barriers preventing the Russians from doing something useful for their countrymen and mixing freely with them. The spiritual energies of the most ardent are still compelled—partially at least—to run into the artificial channels described in Turgenev’s novel.

Hence the perpetuation of Rudin’s type, which acquires more than an historical interest.

In discussing the character of Hlestakov, the hero of his great comedy, Gogol declared xxiii