for art in general and for literary criticism in particular, to ask himself whether literary criticism was "work" in the sense in which work was demanded by Černyševskii. In Dobroljubov's critical writings we often feel that this question is troubling him, and his answer does not always set doubts at rest. Whereas at first his judgment of Puškin coincided with that of Černyševskii, who, despite his admiration for Puškin considered the latter's work lacking in realist content, Dobroljubov's later opinions concerning the utility of poets, and of Puškin in especial, have a harsher ring. But a closer examination of Dobroljubov's studies leads us to recognize that all he insisted upon was a clear distinction between art and pseudo-art. Only the genuine artist, the truly great artist, has a justified existence, for he alone in his creative work is so permeated with the truth of life that simply by his faithful reproduction of facts and relationships he furnishes for us a solution of the problems we are endeavouring to solve. According to Dobroljubov, persons of mediocre talent must be content with subordinate parts, must serve in the interests of propaganda. It is true that the question arises who is to decide concerning the quality of the talent; who is to decide when an artist is to be classed as mediocre and excluded from the circle of Dobroljubov's recognised great ones, from the company of Dante, Shakespeare, Byron, and Goethe. Of those named, Dobroljubov esteems Shakespeare most highly, considering that his work marks a new phase in human development.
This realistic valuation of art does not differ greatly from the views of the romanticists, who could not stress the greatness of the artist's influence more strongly than did these realists, the reputed enemies of art. In matters of detail, too, we can discover points of contact between the two schools. Dobroljubov, for instance, considers that the natural, that nature, is psychologically manifested in instinct, instinct being to him the all-powerful energy of nature. Similarly, he gives a psychological explanation of the suicide of Katerina in Ostrovskii's The Storm. I do not myself think that instinct as a blindly working force takes us very far in the way of explanation, and this apart from the consideration that the theory is out of harmony with the high valuation of reason and culture which Dobroljubov shares with Černyševskii. Manifestly here Feuerbach's philosophy, and the endeavour
