man like Lavretsky will love what is lovely, and a satiated rake will
always eagerly long to defile what is beyond his reach.

It is contemptuously said by many critics--why is it that so many
critics lose sensitiveness to beauty, and are afraid of their own
feelings?--it is said that Lisa, like Rudin, is an obsolete type, the
type of Russian girl of 1850, and that she is now interesting only as
a fashion that has passed away, and because of the enthusiasm she once
awakened. We are informed, with a shade of cynicism, that all the
Russian girls then tried to look like Lisa, and to imitate her manner.
Is her character really out of style and out of date? If this were
true, it would be unfortunate; for the kind of girl that Lisa
represents will become obsolete only when purity, modesty, and
gentleness in women become unattractive. We have not yet progressed
quite so far as that. Instead of saying that Lisa is a type of the
Russian girl of 1850, I should say that she is a type of the
Ewig-weibliche.

At the conclusion of the great garden-scene, Turgenev, by what seems
the pure inspiration of genius, has expressed the ecstasy of love in
old Lemm's wonderful music It is as though the passion of the lovers
had mounted to that pitch where language would be utterly inadequate;
indeed, one feels in reading that scene that the next page must be an
anti-climax. It would have been if the author had not carried us still
higher, by means of an emotional expression far nobler than words. The
dead silence of the sleeping little town is broken by "strains of
divine, triumphant music. . . . The music resounded in still greater
magnificence; a mighty flood of melody--and all his bliss seemed
speaking and singing in its strains. . . The sweet, passionate melody
went to his heart from the first note; it was glowing and languishing