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The other names in such a list would perhaps be those of Ruskin, Swinburne, Björnson, Ibsen, and Carducci. Other names might possibly be substituted, with good reason, for one or two of these; but, however such a list were constituted, it would illustrate in a striking manner the shifting of the centre of intellectual gravity from the South to the North, from the Latin races to those of Teutonic and Slavonic origin. When Hugo and Renan were living, to name no others, the balance was more evenly held; but now the great Italian poet alone stands in anything like the first rank, having for his peer no other Italian, no Spaniard, and even no Frenchman. . (Poem.) Edith M. W. R.K. An Affront to American Poets. Joseph P. Perkins. GENERAL MILES IN EUROPE. E. G. J. 121 123 124 124 . 126 Returning, after this brief digression, to our main subject, we feel bound to emphasize the opinion, often expressed in these pages, that Russian literature is adorned by one artistic personality even more important than that of Count Tolstoy. In the work of Tourguénieff the art of fiction seems to have made its longest reach towards absolute supremacy of achievement. There is something almost despairing in the perfection, the finality, the triumph of the man who created "Spring Floods" and "On the Eve." From the structural point of view, the best work of Count Tolstoy, rich as it is in experience, in sympathy, in psychological truth and noble idealism, seems rude in comparison with those masterpieces. The generous dying message of the elder novelist, enjoining the "great writer of our Russian land” to return to his literary labors, must not blind us to the fact that an even greater writer sent the message as he neared the close of his own career. As all the world knows, the plea was unheeded by its recipient; for the same year (1877) had marked the completion of both Tourguénieff's Virgin Soil" and Count Tolstoy's "Anna Karénina," — that is, of the last significant 66 |