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 n Turgenef's artistic work, illustrative of the national characteristics, we have witnessed the birth of the Russian romance, and how it has naturally tended toward the psychological classification of a few general types; or, perhaps, more justly, toward the contemplation of them, when we consider with what serenity this artist's moral investigations were conducted. Dostoyevski has shown a spirit quite contrary to this, uncultured and yet subtile, sympathetic, tortured by tragic visions, morbidly preoccupied by exceptional and perverted types. The first of these two writers was constantly coquetting, so to speak, with liberal doctrines: the second was a Slavophile of the most extreme type.

In Tolstoï, other surprises are reserved for us. Younger by ten years than his predecessors, he hardly felt the influences of 1848. Attached to no particular school, totally indifferent to all political parties, despising them in fact, this solitary, meditative nobleman acknowledges no master and no sect; he is himself a spontaneous phenomenon.