of the sixties s and the active political Nihilism of the seventies.
Markedly transitional, however, as was the Russian mind of the days of Smoke, Turgenev, with the faculty that distinguishes the great artist from the artist of second rank, the faculty of seeking out and stamping the essential under confused and fleeting forms, has once and for ever laid bare the fundamental weakness of the Slav nature, its weakness of will. Smoke is an attack, a deserved attack, not merely on the Young Russia Party, but on all the Parties; not on the old ideas or the new ideas, but on the proneness of the Slav nature to fall a prey to a consuming weakness, a moral stagnation, a feverish ennui, the Slav nature that analyses everything with force and brilliancy, and ends, so often, by doing nothing. Smoke is the attack, bitter yet sympathetic, of a man who, with growing despair, has watched the weakness of his countrymen, while he loves his country all the more for the bitterness their sins have brought upon it. Smoke is the scourging of a babbling generation, by a man who, grown sick to death of the chatter of reformers and reactionists, is visiting the sins of the fathers on the children,