seen in Lisa and Tanya, but even there the image of each girl is absolutely distinct in the reader's mind. But Gemma falls into no group, nor is there any other woman in Turgenev with whom one instinctively classifies or compares her. Perhaps this is because she is Italian. It is a long time before the reader can make up his mind whether he likes her or not — a rare thing in Turgenev, for most of his good women capture us in five minutes. Indeed, one does not know for some chapters whether Gemma is sincere or not, and one is angry with Sanin for his moth-like flitting about her radiance. She at once puzzles and charms the reader, as she did the young Russian. Her family circle are sketched with extraordinary skill, and her young brother is unique in Turgenev's books. He has, as a rule, not paid much attention to growing boys; but the sympathy and tenderness shown in the depiction of this impulsive, affectionate, chivalrous, clean-hearted boy prove that the novelist's powers of analysis were equal to every phase of human nature. No complete estimate of Turgenev can be made without reading Torrents of Spring; for the Italian menage, the character of Gemma and her young brother, and the absurd duelling punctilio are not to be found elsewhere. And Maria is the very Principle of Evil; one feels that if Satan had spoken to her
