RUDIN
nise them in the street. Turgenev’s are like people whose intimate confessions and private correspondence, unveiling all the secrets of their spiritual life, have been submitted to one.
Every scene, almost every line, opens up new deep horizons, throwing upon his people some new unexpected light.
The extremely complex and difficult character of the hero of this story, shows at its highest this subtle psychological many-sidedness. Dmitri Rudin is built up of contradictions, yet not for a moment does he cease to be perfectly real, living, and concrete.
Hardly less remarkable is the character of the heroine, Natalya, the quiet, sober, matter-of-fact girl, who at the bottom is an enthusiastic and heroic nature. She is but a child fresh to all impressions of life, and as yet undeveloped. To have used the searching, analytical method in painting her would have spoiled this beautiful creation. Turgenev describes her synthetically by a few masterly lines, which show us, however, the secrets of her spirit; revealing what she is and also what
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