glory is greatly enhanced if they are of a recent date. Actual bandits always cast into the shade those of the melodrama, and the one who has been more recently hung infallibly effaces the fame of his predecessors. Nowadays neither Mombars nor Taras Bulba can excite so much interest as Mussoni, who last month sustained a regular siege in a wolf's den against five hundred men, who had to attack him by sapping and mining.
Gogol has made brilliantly coloured pictures of his Zaporogues, which please by their very grotesqueness; but sometimes it is too evident that he has not drawn them from nature. Moreover, these character-pictures are framed in such a trivial and romantic setting that one regrets to see them so ill-placed. The most prosaic story would have suited them better than these melodramatic scenes in which are accumulated tragic incidents of famine, torture, etc. In short, one feels that the author is not at ease on the ground which he has chosen; his gait is awkward, and the invariable irony of his style makes the perusal of these melancholy incidents more painful. This style which, in my opinion, is quite out of place in some parts of "Taras Bulba," is much more appropriate in the "Viy," or "King of the Gnomes," a tale of witchcraft, which amuses and alarms at the same time. The grotesque easily blends with the marvellous.
