apart from the regular stream, unique and unapproachable, not so much one of the great Russian novels as a soul-thrilling poem, commemorating the immortal Cossack heart.
Gogol followed up the "Evenings on a Farm near the Dikanka" with two other volumes of stories and sketches, of which the immortal "Taras Bulba" was included in one. These other tales show an astonishing advance in power of conception and mastery of style. I do not share the general enthusiasm for the narrative of the comically grotesque quarrel between the two Ivans: but the three stories, "Old-fashioned Farmers," "The Portrait," and "The Cloak," show to a high degree that mingling of Fantasy with Reality that is so characteristic of this author. The obsolete old pair of lovers in "Old-fashioned Farmers" is one of the most charming and winsome things that Gogol wrote at this period: it came straight from the depths of his immeasurable tenderness. It appealed to that Pity which, as every one has noticed, is a fundamental attribute of the national Russian character. In "The Portrait," which is partly written in the minute manner of Balzac, and partly with the imaginative fantastic horror of Poe and Hoffmann, we have the two sides of Gogol's nature clearly reflected. Into this strange story he has also indicated two of the great guiding principles of his
