been used too long; although Guizot, one of the best judges of this sort of composition, said that in his opinion "Taras Bulba" was the only modern epic poem worthy of the name.
Even the descriptions of scenery in "Taras" do not seem to us wholly natural. We must compare them with those of Turgenef to realize how comparatively inferior they are. Both were students and lovers of nature: but the one artist placed his model before his easel in whatever attitude he chose; while to the other she was a despotic mistress, whose every fancy he humbly obeyed. This can be readily understood by a comparison of some of their works. Although I am not fond of epics, I have called particular attention to "Taras Bulba," knowing what pride the Russians take in the work.
III.
In 1835, Nikolai Vasilievitch (Gogol) gave up his position in the University, and left the public service for good. "Now I am again a free Cossack!" he wrote at this time, which was the time of his greatest literary activity.
His novels now show him groping after realism, rather than indulging his fancy. Among the unequal productions of the transition period, "Le Manteau " is the most notable one. A late Russian politician and author once said to me: "Nous sommes tous sortis du manteau de Gogol."
