On the eve: A novel

On the eve: A novel

This exquisite novel, first published in 1859, like so many great works of art, holds depths of meaning which at first sight lie veiled under the simplicity and harmony of the technique. To the English reader On the Eve is a charmingly drawn picture of a quiet Russian household, with a delicate analysis of a young girls soul; but to Russians it is also a deep and penetrating diagnosis of the destinies of the Russia of the fifties. Elena, the Russian girl, is the central figure of the novel. In comparing her with Turgenevs other women, the reader will remark that he is allowed to come into closer spiritual contact with her than even with Lisa. The successful portraits of women drawn by men in fiction are generally figures for the imagination to play on; however much that is told to one about them, the secret springs of their character are left a little obscure, but when Elena stands before us we know all the innermost secrets of her character. Her strength of will, her serious, courageous, proud soul, her capacity for passion, all the play of her delicate idealistic nature troubled by the contradictions, aspirations, and unhappiness that the dawn of love brings to her, all this is conveyed to us by the simplest and the most consummate art. The diary (chapter xvi.) that Elena keeps is in itself a masterly revelation of a young girls heart; it has never been equalled by any other novelist. How exquisitely Turgenev reveals his characters may be seen by an examination of the parts Shubin the artist, and Bersenyev the student, play towards Elena. Both young men are in love with her, and the description of their after relations as friends, and the feelings of Elena towards them, and her own self-communings are interwoven with unfaltering skill. All the most complex and baffling shades of the mental life, which in the hands of many latter-day novelists build up characters far too thin and too unconvincing, in the hands of Turgenev are used with deftness and certainty to bring to light that great kingdom which is always lying hidden beneath the surface, beneath the common-place of daily life. In the difficult art of literary perspective, in the effective grouping of contrasts in character and the criss-cross of the influence of the different individuals, lies the secret of Turgenevs supremacy. As an example the reader may note how he is made to judge Elena through six pairs of eyes. Her fathers contempt for his daughter, her mothers affectionate bewilderment, Shubins petulant criticism, Bersenyevs half hearted enthralment, Insarovs recognition, and Zoyas indifference, being the facets for converging light on Elenas sincerity and depth of soul. Again one may note Turgenevs method for rehabilitating Shubin in our eyes; Shubin is simply made to criticise Stahov; the thing is done in a few seemingly careless lines, but these lines lay bare Shubins strength and weakness, the fluidity of his nature. The reader who does not see the art which underlies almost every line of On the Eve is merely paying the highest tribute to that art; as often the clear waters of a pool conceal its surprising depth. Taking Shubins character as an example of creative skill, we cannot call to mind any instance in the range of European fiction where the typical artist mind, on its lighter sides, has been analysed with such delicacy and truth as here by Turgenev. Hawthorne and others have treated it, but the colour seems to fade from their artist characters when a comparison is made between them and Shubin. And yet Turgenevs is but a sketch of an artist, compared with, let us say, the admirable figure of Roderick Hudson. The irresponsibility, alertness, the whimsicality and mobility of Shubin combine to charm and irritate the reader in the exact proportion that such a character affects him in actual life; there is not the least touch of exaggeration, and all the values are kept to a marvel. Looking at the minor characters, perhaps one may say that the husband, Stahov, will be the most suggestive, and not the least familiar character, to English households. His essentially masculine meanness, his self-complacency, his unconscious indifference to the opinion of others, his absurdity as un pre de famille is balanced by the foolish affection and jealousy which his wife, Anna Vassilyevna, cannot help feeling towards him. The perfect balance and duality of Turgenevs outlook is here shown by the equal cleverness with which he seizes on and quietly derides the typical masculine and typical feminine attitude in such a married life as the two Stahovs. Turning to the figure of the Bulgarian hero, it is interesting to find from the Souvenirs sur Tourgunev (published in 1887) that Turgenevs only distinct failure of importance in character drawing, Insarov, was not taken from life, but was the legacy of a friend Karateieff, who implored Turgenev to work out an unfinished conception. Insarov is a figure of wood. He is so cleverly constructed, and the central idea behind him is so strong, that his wooden joints move naturally, and the spectator has only the instinct, not the certainty, of being cheated. The idea he incarnates, that of a man whose soul is aflame with patriotism, is finely suggested, but an idea, even a great one, does not make an individuality. And in fact Insarov is not a man, he is an automaton. To compare Shubins utterances with his is to perceive that there is no spontaneity, no inevitability in Insarov. He is a patriotic clock wound up to go for the occasion, and in truth he is very useful. Only on his deathbed, when the unexpected happens, and the machinery runs down, do we feel moved. Then, he appears more striking dead than alivea rather damning testimony to the power Turgenev credits him with. This artistic failure of Turgenevs is, as he no doubt recognised, curiously lessened by the fact that young girls of Elenas lofty idealistic type are particularly impressed by certain stiff types of men of action and great will-power, whose capacity for moving straight towards a certain goal by no means implies corresponding brain-power. The insight of a Shubin and the moral worth of a Bersenyev are not so valuable to the Elenas of this world, whose ardent desire to be made good use of, and to seek some great end, is best developed by strength of aim in the men they love. ......Buy Now (To Read More)

Product details

Ebook Number: 6902
Author: Turgenev, Ivan Sergeevich
Release Date: Nov 1, 2004
Format: eBook
Language: English

Contributors

Translator: Garnett, Constance, 1861-1946