in one sentence by the critics. But it is a work of great power; it sings the requiem of lost youth, a minor melody often played by Turgenev; it gives us a curious picture of an Italian family living in Germany, and it contains the portrait of an absolutely devilish but unforgettable woman. We have a sincere and highly interesting analysis of the Russian, the German, and the Italian temperament; not shown in their respective political prejudices, but in the very heart of their emotional life. Once more the Russian hero is placed between God and Satan; and this time Satan conquers. Love, however, survives the burnt-out fires of passion; but it survives only as a vain regret — it survives as youth survives, only as an unspeakably precious memory. . . . The three most sinister women that Turgenev has ever drawn are Varvara Pavlovna, in A House of Gentlefolk; Irina, in Smoke; and Maria Nikolaevna, in Torrents of Spring. All three are wealthy and love luxury; all three are professional wreckers of the lives of men. The evil that they do rises from absolute selfishness, rather than from deliberate sensuality. Not one of them could have been saved by any environment, or by any husband. Varvara is frivolous, Irina is cold-hearted, and Maria is a super-woman; she makes a bet with her husband that she can seduce any man he brings to the house.
