The Jew and Other Stories   By: Ivan S. Turgenev (1818-1883)

THE JEW AND OTHER STORIES

BY IVAN TURGENEV

Translated from the Russian By CONSTANCE GARNETT

TO THE MEMORY OF STEPNIAK WHOSE LOVE OF TURGENEV SUGGESTED THIS TRANSLATION

INTRODUCTION

In studying the Russian novel it is amusing to note the childish attitude of certain English men of letters to the novel in general, their depreciation of its influence and of the public's 'inordinate' love of fiction. Many men of letters to day look on the novel as a mere story book, as a series of light coloured, amusing pictures for their 'idle hours,' and on memoirs, biographies, histories, criticism, and poetry as the age's serious contribution to literature. Whereas the reverse is the case. The most serious and significant of all literary forms the modern world has evolved is the novel; and brought to its highest development, the novel shares with poetry to day the honour of being the supreme instrument of the great artist's literary skill.

To survey the field of the novel as a mere pleasure garden marked out for the crowd's diversion a field of recreation adorned here and there by the masterpieces of a few great men argues in the modern critic either an academical attitude to literature and life, or a one eyed obtuseness, or merely the usual insensitive taste. The drama in all but two countries has been willy nilly abandoned by artists as a coarse playground for the great public's romps and frolics, but the novel can be preserved exactly so long as the critics understand that to exercise a delicate art is the one serious duty of the artistic life. It is no more an argument against the vital significance of the novel that tens of thousands of people that everybody, in fact should to day essay that form of art, than it is an argument against poetry that for all the centuries droves and flocks of versifiers and scribblers and rhymesters have succeeded in making the name of poet a little foolish in worldly eyes. The true function of poetry! That can only be vindicated in common opinion by the severity and enthusiasm of critics in stripping bare the false, and in hailing as the true all that is animated by the living breath of beauty. The true function of the novel! That can only be supported by those who understand that the adequate representation and criticism of human life would be impossible for modern men were the novel to go the way of the drama, and be abandoned to the mass of vulgar standards. That the novel is the most insidious means of mirroring human society Cervantes in his great classic revealed to seventeenth century Europe. Richardson and Fielding and Sterne in their turn, as great realists and impressionists, proved to the eighteenth century that the novel is as flexible as life itself. And from their days to the days of Henry James the form of the novel has been adapted by European genius to the exact needs, outlook, and attitude to life of each successive generation. To the French, especially to Flaubert and Maupassant, must be given the credit of so perfecting the novel's technique that it has become the great means of cosmopolitan culture. It was, however, reserved for the youngest of European literatures, for the Russian school, to raise the novel to being the absolute and triumphant expression by the national genius of the national soul.