belong 'to the undeveloped.' Litvinov himself may be dismissed in a sentence. He is Turgenev's favourite type of man, a character much akin to his own nature, gentle, deep, and sympathetic. Turgenev often drew such a character; Lavretsky, for example, in A House of Gentlefolk, is a first cousin to Litvinov, an older and a sadder man.
But Irina — Irina is unique; for Turgenev has in her perfected her type till she reaches a destroying witchery of fascination and subtlety. Irina will stand for ever in the long gallery of great creations, smiling with that enigmatical smile which took from Litvinov in a glance half his life, and his love for Tatyana. The special triumph of her creation is that she combines that exact balance between good and evil which makes good women seem insipid beside her and bad women unnatural. And, by nature irresistible, she is made doubly so to the imagination by the situation which she recreates between Litvinov and herself. She ardently desires to become nobler, to possess all that the ideal of love means for the heart of woman; but she has only the power given to her of enervating the man she loves. Can