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TURGENEV IN ENGLISH

[Illustration: Ivan Turgenev]

TURGENEV IN ENGLISH

_A Checklist of Works by and about Him_

_Compiled by_

RISSA YACHNIN _and_ DAVID H. STAM

_With an Introductory Essay by_

MARC SLONIM

New York

The New York Public Library

1962

THIS VOLUME HAS BEEN PUBLISHED WITH HELP

FROM THE EMILY ELLSWORTH FORD SKEEL FUND

* * *

Library of Congress Catalog Card Number: 61-11067

Printed at The New York Public Library

form p692 [ii-2-62 1m]

Preface

This checklist was originally intended as a tribute to the memory of

Ivan Sergeyevich Turgenev (1818–1883) on the seventy-fifth anniversary

of his death. The first section takes account of all works by Turgenev

published in English translation, including collected editions,

selections, and individually published works. The collected editions

are arranged chronologically while the selections and individually

published works are arranged alphabetically by English title. A second

section lists stories, prose poems, and other works of Turgenev which

were published in anthologies and periodicals. These are arranged

alphabetically by the titles under which they were published, with

individual stories and prose poems from _A Sportsman’s Notebook_

and _Poems in Prose_ being brought together under those titles.

The checklist concludes with a large section dealing with Turgenev

criticism in English, arranged chronologically.

Encyclopedia entries, brief notes, theatrical notices, adaptations from

Turgenev, and other trivia have as a rule not been included. No special

effort has been made to locate book reviews published after 1904, when

publication of the Hapgood translation of the collected works was

completed. Book reviews published before that time have been included

as separate entries in the chronological listing of Turgenev criticism,

thus giving an approximate idea of the progress of Turgenev studies in

the nineteenth-century Anglo-Saxon world.

Most entries have been personally examined. In addition to checking

entries for Turgenev in the _National Union Catalog_ and in the printed

catalogs of the Library of Congress, the Slavonic Division of The New

York Public Library, and the British Museum, the compilers have also

searched through the collections of Princeton, Harvard, and Columbia

universities.

Much difficulty was encountered in arriving at a satisfactory listing

of the collected editions of Turgenev’s works, especially of the

Garnett and Hapgood translations. These were published piecemeal as

well as complete and the more popular volumes were frequently reissued,

printed from the same plates. We have had to be content with listing

the first publication of each volume in the collected editions, the

dates in which complete sets were reprinted, and then listing whatever

separate reprints we have found to exist. Presumably there are several

more.

Stories published in periodicals often appeared under very

non-Turgenevian titles; as much as possible these have been traced to

the more standard English titles and so noted.

The index includes an alphabetical list of authors and translators,

and an index of titles containing the transliterated Russian titles

and the translated titles of all works listed in this checklist. All

title variations of a translated work are listed in this index under

the Russian title (e. g. for _Liza_ etc see _Dvoryanskoye gnezdo_).

For variant titles of a work for which only one English title is

known, bracketed reference is made after each English title to the

transliterated Russian title.

The compilers are grateful to Marc Slonim for contributing the

introductory essay and to Richard C. Lewanski for his friendly

encouragement. The compilers are also indebted to the work of Royal A.

Gettmann, whose _Turgenev in England and America_ (Univ of Illinois

1941; item 416) critically charted much of the material published

before 1936.

R. Y.

D. S.

Table of Contents

PREFACE 5

TURGENEV REVISITED 9

WORKS BY TURGENEV:

COLLECTED WORKS:

Collected editions 17

Selected Stories and Plays 20

SEPARATELY PUBLISHED WORKS 21

ARTICLES, STORIES, AND POEMS PUBLISHED IN ANTHOLOGIES

AND PERIODICALS 25

WORKS ABOUT TURGENEV 33

TITLE INDEX 43

AUTHOR AND TRANSLATOR INDEX 53

Turgenev Revisited

A hundred years ago, in 1855, the first translations from Turgenev’s

_Sportsman’s Sketches_ appeared in French and British periodicals, and

since that time his works have continued to gain an ever increasing

acclaim in the Western world. Henry James, one of his fervent admirers,

was not exaggerating when he wrote in 1874 that the Russian was “the

first novelist of the day,” and Howells confessed a few years later

that he had formed for Turgenev “one of the profoundest literary

passions” of his life. At the beginning of the present century Arnold

Bennett, asked to name the twelve best novels of world literature,

included six of Turgenev’s in his honor list. Flaubert and Galsworthy,

Conrad and Maupassant paid high tribute to Turgenev and ranked him with

Fielding, Thackeray, and Balzac.

Turgenev was the first Russian writer to conquer large audiences

outside his native land. He actually introduced Russian literature

to Europe and America which, through him, discovered and admired the

originality of Russian genius. The impact of his own work, moreover,

was enhanced by his personal influence. For almost three decades

Turgenev, who spent more time abroad than at home, was recognized as

the ambassador of Russian letters in Europe. Friend of most outstanding

representatives of European art and thought, he was a familiar figure

in Western capitals, and the honorary degree awarded to him by the

University of Oxford was but a small part of the homage paid to him by

his devotees.

Yet despite his unique position and his wide following in almost every

land, Turgenev’s fortunes declined sharply in the twentieth century,

when many reservations were formulated about his work and person. Some

of these qualifications revived old discussions and repeated arguments

known already in Turgenev’s lifetime; some of them, however, were of

more recent origin and expressed doubts peculiar to our century.

It is well known that most of Turgenev’s illustrious French colleagues

as well as Henry James and the Scandinavian-American Boyesen, who

met the Russian personally, always spoke of him as being “completely

Russian.” The brothers Goncourt describe him in their _Journal_ of

1863 as a “white haired giant who looked like the spirit of a mountain

or a forest,” an embodiment of Russian soil; Henry James stressed his

eminently Russian characteristics and his preoccupation with Russian

affairs; and after his death Renan said that “he was the incarnation of

the whole race ... his conscience was in some sort the conscience of a

people.” It is curious that the main reservation of later times dealt

precisely with the problem of Turgenev’s national authenticity. There

is still a widespread opinion that the author of _Fathers and Sons_

became dear to readers outside Russia because of his European formation

and his Western leanings. Alfred Kazin stated not long ago that

Turgenev “seemed of all the great Russians the least characteristic”;

the American critic understands perfectly why Henry James “found it

so easy in 1878 to include an appreciation of Turgenev in _French

Poets and Novelists_.” The familiar thesis is that Europeans and

Americans of the last century loved Turgenev for his moderation, his

conformity to the rules of Victorian art, and his lack of irritating

and disturbing Russian national traits. The supporters of this opinion

point out that Turgenev’s novels and tales are as tame and respectable

as their British counterparts of the same period; his heroines are not

very different from the misses in the English family novels, and his

nests of gentlefolk could be easily located in the countryside on the

other side of the channel or even in Massachusetts or Rhode Island.

Turgenev’s urbane and restrained manners and his polished style, his

gloss and grace, are considered as having been more suitable to and

therefore more naturally appreciated in London and Boston than in

Moscow and St Petersburg (not to speak of Leningrad).

When Tolstoy and Dostoevsky became known and widely read at the end

of the nineteenth century and in the first decades of the twentieth

century, they not only overshadowed Turgenev but were opposed to him as

genuine interpreters of the Russian national scene. Compared to those

two giants who shattered the world by the depth and frenzy of their

moral and religious search, Turgenev lost in stature. Some critics

advanced the theory that he was but an isolated phenomenon in Russian

letters; that in any case he did not represent its main stream. His

art, they argued, was strangely devoid of any serious moral intent,

he never affirmed anything in any area of human endeavour, he never

defended any doctrine and never fought on the side of any group. In

this he differed fundamentally from other Russians. They were believers

or searchers for truth and seekers after God, and he was an agnostic

and a skeptic. He belonged much more to the old world of Western

decadent culture than to the rising lands of the revolutionary East.

And this is why, to quote Mr Kazin again, Turgenev’s “civilized and

European art seems no longer in the foreground of Russian literature

but behind it.” His unhappy noblemen and his delicately portrayed girls

appeared elusive, sentimental, and pallid next to Dostoevsky’s holy

sinners and Tolstoy’s robust, full blooded men and women. While the

rest of Russian literature conveyed the feeling of exuberant vitality

and deep passions, Turgenev’s watercolors exuded melancholy and

passivity, and his protagonists (except for Bazarov) talked and acted

like second rate Werthers or poor versions of Hamlet. Was he not, in

fact, the author of a story entitled _Hamlet of the Shchigrov District_?

One of the few Russians who did not try to preach and to win over

the reader to some credo or idea, Turgenev became suspect even as a

chronicler of his society. Russian critics had always interpreted

Turgenev’s novels as illustrations of the evolutionary process within

the native educated classes between 1850 and 1880. Rudin (1855)

represented the idealist of the forties, Lavretzky (1858) was typical

of the fifties, _On the Eve_ (1860) conveyed the atmosphere of

expectation before the era of great reforms, and Bazarov in _Fathers

and Sons_ (1861) personified the new generation of nihilists. Later

_Smoke_ (1867) and _Virgin Soil_ (1877) reflected the political debate

and the beginnings of the populist movement. Already during Turgenev’s

lifetime his pictures of Russia started numerous discussions, and, as

Edward Garnett said in his essay in 1917, provoked much angry heat and

raised great clouds of acrimonious smoke because the defenders and the

detractors of the writer disagreed about the historical accuracy of

his representation. And fifty years after his death his importance as

a social realist was questioned again. His portrayals of superfluous

men afflicted by idleness or paralysis of the will seemed particularly

inappropriate at a time when the Revolution had unleashed such an

astounding amount of energy in Russia and transformed the whole country

into an immense workshop. Not only was Turgenev lacking in “publicity

value” but when things Russian were popular or when everybody was

trying to solve the riddles of Russia’s present regime, Turgenev could

hardly help. Charles Morgan said in this connection that Turgenev was

too unspectacular, too moderate and patient in spirit. Besides, his

protagonists did not look like ancestors of twentieth-century Russians

(again excepting Bazarov). And this led to an obvious conclusion:

his novels and tales belonged to another age, they were visions of

the past, and theirs was the quaint charm of early daguerreotypes in

period frames. Turgenev was old fashioned, dated, and offered only

an historical interest. Of course, it would be erroneous to identify

any work of fiction with a straight representation of reality, but in

Turgenev’s case it was assumed that, while not making an exception

to the rule, he was especially insensitive to Russia’s historical

development. He could not foresee its future and never went beyond the

limitations of the small social group to which he belonged and which he

depicted with an almost annoying monotony.

Doubts were also cast on Turgenev’s art. In the nineteenth century

even those who wondered about Turgenev’s national authenticity or his

social philosophy and historical accuracy recognized his craft and

mastery. Yet the same George Moore who spoke of Turgenev’s “unfailing

artistry” in the eighties, later reproached him as having “a thinness,

an irritating reserve,” and repeated the quip of a British journalist

who remarked that the Russian was “a very big man playing a very small

instrument.” The same George Moore echoed the discontent of the younger

generation with Turgenev’s lack of psychological depth: “he has often

seemed to us to have left much unsaid, to have, as it were, only drawn

the skin from his subject. Magnificently well is the task performed;

but we should like to have seen the carcass disembowelled and hung up.”

Maurice Baring wrote in the twenties that Turgenev’s works were dated,

that he was inaccurate as a social historian and did not reflect the

true Russia, and that his subject matter was too narrow. Others added

in the thirties that Turgenev, this minor Hamlet who depicted unhappy

love affairs of aristocratic ladies, covered only a small area of

Russian reality. He was not sufficiently dynamic or varied, there was

something effeminate about his manner, and his lyrical qualities were

superficial. In general his art was too contrived and self conscious,

its gentility simply expressing an organic lack of directness and

vitality. A German critic of the thirties found “sweet and pleasant

this art for convalescents which makes one agreeably drowsy.”

While Marxist critics were inclined to see in Turgenev a “literary

ghost from a sunken world of landed gentry” whose pessimism expressed

the doom of his own class, others attacked the very smoothness of

Turgenev’s style. Alexis Remizov, an outstanding emigré novelist who

appreciated Turgenev and refused to “simplify” problems deriving from

his work, identified him nevertheless with the “Karamzine line of

Russian letters”: in the opinion of Remizov and many of his followers,

Karamzine initiated in the eighteenth century that artificial literary

idiom of the upper classes which abandoned the racy genuine language

of the people and imitated the literary models of the West. The

Karamzine-Turgenev-Chekhov trend of elegance, restraint, and linguistic

refinement was opposed by the truly national tradition of pre-Petrine

Russia with its down-to-earth realism, Greek-Orthodox and pagan roots,

and popular vernacular. From that point of view Turgenev again was

declared “unfit for our times, not representative as a Russian writer,”

edulcorated and conventional as an artist.

While all these criticisms were widespread in literary circles of

the thirties, World War II and its aftermath brought about a change

of heart and a revision of current judgments of Turgenev. Apparently

readers both in Russia and the Western countries as well as throughout

Asia (particularly in China and Japan) showed more stability than

the critics: they did not seem to find Turgenev so dated as to drop

him. Turgenev emerged as one of the most popular authors in the Soviet

Union, particularly in the decade following the war with Hitler.

Between 1948 and 1958 the USSR press turned out an average of three

to four million copies of his works yearly, and in America and Europe

there was a definite revival of interest. His novels and short stories

were issued in new translations and found a large following among young

and old.

It is evident that only few went to Turgenev for wisdom on the fate

of communism or to gain some “first hand knowledge of Russia,” a

fashionable slogan of the time. But historians of literature and

students of Turgenev suddenly discovered more profound reasons for

his hundred-year hold over the general public. Charles Morgan, in an

essay in his _Reflections in a Mirror_ (1944), observed that Turgenev

was criticised for his calm and his outward lack of dynamism, but

then appropriately quoted Tolstoy’s letter to Strakhov (Dostoevsky’s

biographer and disciple) after Turgenev’s death: “The longer I live,”

wrote Tolstoy, “the more I like horses that are not restive. You say

that you are reconciled to Turgenev. And I have come to love him very

much, and curiously enough, just because he is not restive but gets

to his destination. Turgenev will outlive Dostoevsky and not for his

artistic qualities but because he is not restive.”

Tolstoy pointed out that Turgenev’s quiet tone was the result of

control and not indifference. The strength of his understatement,

enhanced by the neatness of his composition, was based on his

essential humanity. Therefore it is erroneous to rank Turgenev with

the representatives of the “well-made novel.” Of course, he used the

“dramatic technique,” followed strictly the rule of the withdrawal of

the author from his narrative, and built the latter on the revelation

of characters through their actions and words. But he never tried to

conceal his aversions and sympathies. The spontaneity of his emotional

response and the freedom of his treatment of topics and characters made

his works totally different from conventional Anglo-Saxon standards and

from the French logical formality in constructing the “well-made novel.”

What led to errors of evaluation were his serene diction and his

belief that a good work of art must never lose its equilibrium or

poise, even when dealing with anxiety and madness. He praised highly

the “tranquillity in passion” of the French tragedian Rachel and spoke

of her acting as a model of high esthetic fulfillment. Actually, the

subject matter of Turgenev’s novels and tales is far from idyllic: his

love stories inevitably terminate in doom and frustration, and none

of his novels has a happy ending, death striking most of his heroes.

Throughout his works Turgenev displays an acute sense of the tragic in

life and a constant preoccupation with man’s condition on earth. Yet

this pessimism is far from strident, and the writer’s most poignant

emotions and reflections are always expressed in an even voice, without

outbursts of despair. Turgenev loves order, symmetry, balance, and

radiance, and he presents a harmonized picture of life which makes

his work appear self-contained. There is a world which can rightly be

called “Turgenevian,” and it stands in its own right as a complete and

rounded achievement.

It could be argued that such an esthetic phenomenon is of sufficient

importance to justify Turgenev’s appeal in 1961. But other factors

should be noted to understand the recent revival of interest in his

work. Today we find Turgenev much more “authentically Russian” than

did readers of half a century ago. _Fathers and Sons_ should be

required reading for anyone who wishes to understand the psychology of

the Russian post-revolutionary generation. Bazarov is the forerunner

of all the men of action in Soviet literature, in much the same way

that Elena, Marianna, and Natalia are typical representatives of

Russia’s modern women. It is not difficult to discover that Turgenev’s

characters, despite their old fashioned garb, are more fundamentally

national than many exotic figures of post-Turgenev fiction who were

branded by sensation-craving readers as “true Russians.”

For another thing, Turgenev, with his method of understatement (which

Chekhov followed), is closer to modern literary trends than other

realists of his own age. One can easily foresee that his tales—and

they are probably the best and most enduring part of his work—will

attract the attention and admiration of readers and writers for a

long time, because they form a counterpart to the era of exaggerated

psychologism which is rapidly approaching its decline. Nobody

today will accuse Turgenev of “lack of psychological depth” or of

over-simplicity. In his own unobtrusive manner, Turgenev hinted at all

the complexities of the human soul and alluded to the hidden roots of

human actions. In the dreams in Turgenev’s works is an unsuspected

wealth of psychological insight.

Virginia Woolf, in her last essays, wrote that “his books were

curiously of our own time, undecayed, and complete in themselves....

His novels are so short and yet they hold so much. The emotion is

so intense and yet so calm. The form is in one sense so perfect, in

another so broken. They are about Russia in the fifties and sixties

of the last century, and yet they are about ourselves at the present

moment.” What struck her as his greatest accomplishment was the union

of fact and vision that he aimed at in all his writings. Turgenev

himself formulated his ideal in a letter in which he said that the

artist should not be simply satisfied to catch life in all its

manifestations; he ought to understand them, to comprehend the laws

according to which they evolve—even though those laws are not always

visible.

While Turgenev’s national authenticity has been fully reestablished

in the last decade and his universality and perfection often stressed

by Western and Russian writers, a revision has also taken place with

regard to his “objectivity.” The legend of his “impersonality” has

been easily denounced by the psychological brand of criticism which

found that Turgenev, as an individual, was prey to morbid complexes

and obsessions, and suffered from many inner contradictions and fears.

Already at the end of the nineteenth century George Moore assumed that

“what influenced Turgenev’s life is put forward in his books,” and

went on to argue that Turgenev exposed his own weaknesses and failures

through the medium of his heroes and their unlucky experiences with

life and women. Extremely representative of this trend in contemporary

interpretation is the brilliant essay (1958) by Edmund Wilson which

examines Turgenev’s art in the light of his biography.

Of course the flow of literary fortune is in constant ebb, and the

rejection of yesterday’s formulae by critics and readers of our time

is not final. Yet one has the feeling that we have overcome the biased

and inimical judgments of the beginning of the century and particularly

those of the twenties and thirties. Turgenev is returning to the

Pantheon of world literature, not by sufferance but by merit. His

lasting qualities as a story teller, as a painter of Russian life and

character, and as an incomparable analyst of love seem more evident

to us today than they did to the pre-war generation. He will remain a

beloved writer for years to come—as long as elegiac grief combined

with his exaltation of love and beauty and his vision of art as an

orderly arrangement of emotional values can still quicken the feelings

and the esthetic sense of men and women throughout the world.

M. S.

_Sarah Lawrence College_

Works by Turgenev

COLLECTED WORKS

COLLECTED EDITIONS

[Turgenieff’s Works] New York, Holt etc 1867–85. 1

This series, although published not as a collected edition but

as part of Holt’s Leisure Hour series, often has binder’s title,

“Turgenieff’s Works.”

[1] _Fathers and sons._ Tr E. Schuyler. New York, Leypoldt & Holt

1867. 248 p

Reprinted 1872 by Holt. Also published with Lovell imprint

[c1867]

[2] _Liza, or, A nest of nobles._ Tr W. R. S. Ralston. New York,

Holt 1872. 318 p

Reprinted 1873.

[3] _Smoke._ Tr from the author’s French version by William F. West.

New York, Holt & Williams 1872. 291 p

Also published 1872 with Lovell imprint. Reprinted 1873.

[4] _Dimitri Roudine._ Tr from the French and German versions. New

York, Holt & Williams 1873. 271 p

Reprinted from _Every Saturday_ (see item 133).

[5] _On the eve._ Tr C. E. Turner. New York, Holt-Williams 1873.

272 p

Reprinted 1875.

[6] _Spring floods._ Tr Mrs Sophie Michell Butts. _A Lear of the

steppe._ Tr from the French by William Hand Browne. New York, Holt

1874. 219 p

Also published 1874 with Lovell imprint.

[7] _Virgin soil._ Tr with the author’s sanction by T. S. Perry. New

York, Holt 1877. 315 p

This edition and the French version both appeared before the Russian

edition which was published in 1878.

[8] _Annals of a sportsman._ Tr F. Abbott. New York, Holt 1885.

311 p

Turgenev protested against this translation which he felt to be

inadequate.

[_The works of Ivan Turgénieff_] London, New York, Ward, Lock 1889.

New ed. 5 v. 2

_Contents_:

_Dimitri Roudine_

_Fathers and sons_

_Liza, or A noble nest._ 318 p

_Smoke_

_Virgin soil_

This collection is cited in _The American Catalogue_ 1884–1890, but

the compilers have been unable to locate the set. The scant

publishing evidence available leads us to deduce that Ward, Lock

obtained the rights for these volumes from Holt and issued them both

separately and in this collection, printing from the same plates.

Separate publication was as follows. _Dimitri Roudine_ (1883);

_Fathers and sons_ (1883); _Smoke_ (1883); _Virgin soil_ (1883); and

_Liza_ (1884). (See _The English Catalogue of Books_ IV 1881–1889.)

These were presumably London imprints.

_The novels of Ivan Turgenev._ Tr Constance Garnett. Intro to vol 1–2

by S. Stepniak [pseud]; to vols 3–7, 12, 14–15 by Edward Garnett.

London, Heinemann; New York, Macmillan 1894–99. 15 v. illus 3

v. 1. _Rudín._ 1894. 260 p

v. 2. _A house of gentlefolk._ 1894. 311 p

v. 3. _On the eve._ 1895. 290 p

v. 4. _Fathers and sons._ 1895. 359 p

v. 5. _Smoke._ 1896. 315 p

v. 6–7. _Virgin soil._ 1896. 244, 262 p

v. 8–9. _A sportsman’s sketches._ 1895. 292, 284 p

_Contents_: Vol 8: Hor and Kalinitch.—Yermolai and the miller’s

wife.—Raspberry spring.—The district doctor.—My neighbour

Radilov.—The peasant proprietor Ovsyanikov.—Lgov.—Byezhin

prairie.—Kassyan of Fair Springs.—The agent.—The

counting-house.—Biryuk.—Two country gentlemen.—Lebedyan.

Vol 9: Tatyana Borissovna and her nephew.—Death.—The

singers.—Piotr Petrovitch Karataev.—The tryst.—The Hamlet of the

Shtchigri district.—Tchertop-Hanov and Nedopyuskin.—The end of

Tchertop-Hanov.—A living relic.—The rattling of wheels.—Epilogue:

The forest and the steppe.

v. 10. _Dream tales and prose poems._ 1897. 324 p

Includes Clara Militch, Phantoms, The song of triumphant love, The

dream. Poems in prose: The country, A conversation, The old woman,

The dog, My adversary, The beggar, “Thou shalt hear the fool’s

judgment ...,” A contented man, A rule of life, The end of the

world, Masha, The fool, An eastern legend, Two stanzas, The sparrow,

The skulls, The workman and the man with white hands, The rose, To

the memory of U. P. Vrevsky, The last meeting, A visit,

_Necessitas-vis-libertas!_ Alms, The insect, Cabbage-soul, The realm

of azure, Two rich men, The old man, The reporter, The two brothers,

The egoist, The banquet of the supreme being, The sphinx, The nymphs,

Friend and enemy, Christ, The stone, The doves, To-morrow! To-morrow!

Nature, Hang him! What shall I think? “How fair, how fresh were the

roses...,” On the sea, N. N., Stay! Prayer, The Russian tongue.

v. 11. _The torrents of spring, and other stories._ 1897. 406 p

Includes First love, and Mumu.

v. 12. _A Lear of the Steppes, and other stories._ 1898. 318 p

Includes Faust, and Acia.

v. 13. _The diary of a superfluous man, and other stories._ 1899.

326 p

Includes A tour in the forest, Yakov Pasinkov, Andrei Kolosov, A

correspondence.

v. 14. _A desperate character, and other stories._ 1899. 318 p

Includes A strange story, Punin and Baburin, Old portraits, The

brigadier, Pyetushkov.

v. 15. _The Jew, and other stories._ 1899. 322 p

Includes An unhappy girl, The duellist, Three portraits, Enough.

Reprints:

—— London, Heinemann; New York, Macmillan

1906. 15 v.

—— London, Heinemann; New York, Macmillan

1916. 15 v.

Separate reprintings:

v. 1. _Rudín._ Reprinted 1912, 1917, 1919, 1920, 1921, 1930.

v. 2. _A house of gentlefolk._ Reprinted 1900, 1911, 1913, 1914,

1915, 1917, 1920. Another edition published 1921, 330 p; reprinted

1922, 1930.

v. 3. _On the eve._ Reprinted 1920, 1921, 1928.

v. 4. _Fathers and children._ Reprinted 1899, 1901, 1905, 1912,

1915, 1917, 1920, 1924, 1926 (1928 and 1932 in the series, The

travellers library).

American edition published as _Fathers and sons_.

v. 5. _Smoke._ Reprinted 1901, 1904, 1912, 1915, 1917. New edition

1920, 330 p; reprinted 1921, 1928.

v. 6–7. _Virgin soil._ Reprinted 1901, 1913, 1915, 1917, 1920, 1921.

v. 8–9. _A sportsman’s notebook._ Reprinted 1902, 1913, 1920, 1924.

v. 10. _Dream tales and prose poems._ Reprinted 1904, 1913, 1917,

1920, 1921.

v. 11. _The torrents of spring, and other stories._ Reprinted 1905,

1914, 1917, 1920, 1921.

v. 12. _A Lear of the steppes, and other stories._ Reprinted 1912,

1914, 1917, 1920.

v. 13. _The diary of a superfluous man, and other stories._

Reprinted 1920, 1921.

v. 14. _A desperate character, and other stories._ Reprinted 1911,

1917, 1920. New edition published 1921, 333 p.

v. 15. _The Jew, and other stories._ Reprinted 1913, 1919, 1920.

Another edition published 1921, 337 p.

To this collection Heinemann added volumes 16 and 17 in 1921:

v. 16. _The two friends, and other stories._ 1921. 369 p

Includes Father Alexey’s story, Three meetings, A quiet backwater.

Reprinted 1922.

v. 17. _Knock, knock, knock, and other stories._ 1921. 345 p

Includes The inn, Lieutenant Yergunov’s story, The dog, The watch.

Reprinted 1922.

The complete set of 17 volumes was published by Heinemann and

Macmillan in 1920–21.

_The novels and stories of Iván Turgénieff._ Tr Isabel Hapgood, with

intro by Henry James. New York, Scribner 1903–04. 16 v. illus 4

v. 1–2. _Memoirs of a sportsman._ 1903. 308, 347 p

_Contents_: Vol 1: Khor and Kalinitch.—Ermolai and the miller’s

wife.—The raspberry water.—The district doctor.—My neighbour

Radiloff.—Freeholder Ovsyanikoff.—Lgoff.—Byezhin meadow.—Kasyan

from the Fair-Metcha.—The agent.—The counting-house.—The

wolf.—Two landed proprietors.

Vol 2: Lebedyan.—Tatyana Borisovna and her nephew.—Death.—The

singers.—Piotr Petrovitch Karataeff.—The tryst.—Hamlet of

Shshtchigry county.—Tchertopkhanoff and Nedopiuskin.—The end of

Tchertopkhanoff.—Living holy relics.—The rattling.—Epilogue:

Forest and steppe.

v. 3. _Rudín: a romance. A King Lear of the steppes, and other

stories._ 1903. 377 p

v. 4. _A nobleman’s nest._ 1903. 307 p

v. 5. _On the eve._ 1903. 277 p

v. 6. _Fathers and children._ 1903. 352 p

v. 7. _Smoke._ 1904. 310 p

v. 8–9. _Virgin soil._ 1904. 273, 228 p

v. 10. _The Jew, and other stories._ 1904. 357 p

Includes Andréi Kólosoff, The bully, Pyetushkóff, The two friends.

v. 11. _The diary of a superfluous man, and other stories._ 1904.

344 p

Includes Three portraits, Three meetings, Mumu, The inn.

v. 12. _First love, and other stories._ 1904. 344 p.

Includes A correspondence, The region of dead calm, It is enough,

The dog.

v. 13. _Phantoms, and other stories._ 1904. 321 p

Includes Yakoff Pasynkoff, Faust, An excursion to the forest belt,

Asya.

v. 14. _The brigadier, and other stories._ 1904. 381 p

Includes The story of Lieutenant Ergunoff, A hapless girl, A strange

story, Punin and Baburin.

v. 15. _Spring freshets, and other stories._ 1904. 372 p

Includes Knock, knock, knock; The watch.

v. 16. _A reckless character, and other stories._ 1904. 385 p

Includes The dream, Father Alexyei’s story, Old portraits, The song

of love triumphant, Clara Militch. Poems in prose: The village, A

conversation, The old woman, The dog, The rival, The beggar man,

“Thou shalt hear the judgment of the dullard...,” The contented man,

The rule of life, The end of the world, Masha, The fool, An oriental

legend, Two four-line stanzas, The sparrow, The skulls, The toiler

and the lazy man, The rose, In memory of J. P. Vrévsky, The last

meeting. The visit, Necessitas-vis-libertas, Alms, The insect,

Cabbage-soup, The azure realm, Two rich men, The old man, The

correspondent, Two brothers, The egoist, The supreme being’s feast,

The sphinx, Nymphs, Enemy and friend, Christ, The stone, Doves,

To-morrow! To-morrow! Nature, “Hang him!” What shall I think? “How

fair, how fresh were the roses,” A sea voyage, N. N. Stay! The monk,

We shall still fight on! Prayer, The Russian language.

Reprints:

—— London, Dent 1905. 16 v.

—— New York, Scribner 1906. 16 v.

—— New York, Scribner 1907. 16 v.

—— New York, Scribner 1922. 16 v.

Separate reprintings:

v. 1–2. _Memoirs of a sportsman._ Reprinted 1913, 1915, 1920, 1927.

v. 3. _Rudín ..., and other stories._ Reprinted 1911, 1923.

v. 4. _A nobleman’s nest._ Reprinted 1918, 1923, 1924.

v. 5. _On the eve._ Reprinted 1918, 1923.

v. 6. _Fathers and children._ Reprinted 1911, 1913, 1915, 1921,

1923, 1927, 1932.

v. 7. _Smoke._ Reprinted 1912, 1914, 1919, 1925.

v. 8–9. _Virgin soil._ Reprinted 1912, 1917, 1923, 1930.

v. 10. _The Jew, and other stories._ No reprints located.

v. 11. _The diary of a superfluous man, and other stories._

Reprinted 1915, 1923.

v. 12. _First love, and other stories._ Reprinted 1915, 1916, 1945.

v. 13. _Phantoms, and other stories._ Reprinted 1916, 1926.

v. 14. _The brigadier and other stories._ Reprinted 1916, 1923.

v. 15. _Spring freshets, and other stories._ Reprinted 1916, 1920,

1923, 1926.

v. 16. _A reckless character, and other stories._ Reprinted 1916,

1923.

_The works of Iván Turgénieff._ Tr Isabel Hapgood. Boston, Lauriat

1903–04. 14 v. in 7 5

v. 1. _Memoirs of a sportsman._ 308, 347 p; _A nobleman’s nest._ 307

p (_Memoirs of a sportsman_ has same contents as item 4, vols 1 and

2.)

v. 2. _Virgin soil._ 273, 228 p; [A reckless character, and other

stories, including The dream, Father Alexyei’s story, Old portraits,

The song of triumphant love, Clara Militch, and Poems in prose] 385

p (Poems in prose has same contents as item 4, vol 16.)

v. 3. _Spring freshets, and other stories._ 372 p; _Smoke_. 310 p

Part 1 includes Knock, knock, knock; and The watch.

v. 4. _Rudin. A King Lear of the steppes._ 377 p; Phantoms, Yakoff

Pasynkoff, Faust, An excursion to the forest belt, Asya. 321 p

v. 5. _The brigadier and other stories._ 381 p; _On the eve_. 277 p

Part 1 includes The story of Lieutenant Ergunoff, A hapless girl, A

strange story, Punin and Baburin.

v. 6. _The diary of a superfluous man, and other stories._ 344 p;

_Fathers and children_. 352 p

Part 1 includes Three portraits, Three meetings, Mumu, The inn.

v. 7. _First love and other stories._ 355 p; _The Jew and other

stories_. 357 p

Part 1 includes A correspondence, The region of dead calm, It is

enough, The dog. Part 2 includes Andrei Kolosoff, The bully,

Pyetushkoff, The two friends.

This is substantially the Scribner edition, with only title-pages,

and the order of volumes changed. The same plates were used. Another

edition of 14 volumes in 7, also using the Scribner plates, was

issued at the same time by the Jefferson Press, Boston, as a deluxe

edition.

Other publishers of this same Lauriat set were Brentano, New York,

who also reprinted the 14 v. in 7 in 1915 and 1916; and

Himebaugh-Browne, New York, who apparently issued only a few of the

7 volumes. Scribner’s again issued the 7 volumes in 1915, with the

volume numbers altered. Lauriat reprinted the 7 volumes in 1914.

[_Works_] Tr I. [i. e. Rachelle S.] Townsend. 6

Cited in Hershkowitz bibliography (see item 502) but unlocated. Miss

Townsend translated several Russian novels for the Everyman series,

including _Virgin soil_ (see item 113).

_The best known works of Ivan Turgenev, including

Fathers and sons, Smoke, and five short

stories._ New York, Literary classics 193-? 375 p 7

Includes A desperate character, A strange story, Punin and Baburin,

Old portraits, The brigadier.

_The best known works of Ivan Turgenev; including Fathers and sons;

Smoke; and nine short stories._ New York, Book League of America 1941.

502 p (Blue Ribbon books) 8

This collection adds four stories to those published in item 7. The

four stories are Pyetushkov, The Jew, An unhappy girl, and Three

portraits.

The same collection was also published by Halcyon House (New York

1942) and by Doubleday (Garden City 1950).

_Collected works of Ivan Turgenev, including Fathers and sons; Smoke;

and nine short stories._ New York, Greystone Press 195-? 502 p

(Masterworks library) 9

Includes A desperate character, A strange story, Punin and Baburin,

Old portraits, The brigadier, Pyetushkov, The Jew, An unhappy girl,

and Three portraits. This is same collection as item 8 with altered

title.

_Novels_ [Tr from the Russian by C. Garnett] London, Heinemann; New

York, Macmillan 1951. 7 vols? 10

Contents:

v. 1. Not published.

v. 2. _House of gentlefolk._ 181 p

v. 3. _On the eve._ 168 p

v. 4. _Fathers and children._ 214 p

v. 5. _Smoke._ 186 p

v. 6–7. _Virgin soil._ 2 v. 146, 159

Both MH and NNC have cataloged volumes from this set as parts of a

collected edition. However, they were issued separately and in some

cases without indication of their place in the series.

SELECTED STORIES AND PLAYS

_The Borzoi Turgenev._ Tr H. Stevens. Foreword by Serge Koussevitzky,

intro by Avrahm Yarmolinsky. New York, Knopf 1950. 801 p 11

Includes _Smoke, Fathers and sons_, _First love_, _On the eve_,

_Rudin_, A quiet spot, and The diary of a superfluous man.

Reprinted 1955. Published in 1960 as paperback under title _The

Vintage Turgenev_. New York, Vintage Books 1960. 2 v. 412, 391 p

_Review._ Helen Muchnic, _Russian review_ IX No 4 (Oct 1950)

338–339

_The district doctor, and other stones._ Illus by Marvin Bileck.

Emmaus, Pa, Story Classics 1951. 206 p illus 12

_Contents_: The district doctor.—Yermolai and the miller’s wife.—A

strange story.—Foma, the wolf.—The counting-house.—A living

relic.—A desperate character.—Pyetushkov.—[About the book, by E.

J. Fluck.]

_Fathers and children, and Rudin._ Tr Richard Hare. London, Hutchinson

International Authors 1947. 287 p 13

Reprinted 1949.

_First love; and, Púnin Babúrin._ Tr by permission of the author, with

biographical intro by Sidney Jerrold. London, Allen 1884. 237 p

front 14

_First love._ Tr I. Berlin. _Rudin, a romance._ Tr A. Brown, with intro

by Lord David Cecil. New York, Pantheon Books; London, Hamilton 1950.

249 p 15

_A house of gentlefolk_; and _Fathers and children_. Tr Constance

Garnett. Ed William Allan Neilson, New York, Collier 1917. 406 p

(Harvard classics) 16

_The Jew_, and _Mumu_. New York, Little Leather

Library 1918? 90 p 17

_Literary reminiscences and autobiographical fragments._ Tr with intro

by David Magarshack, and an essay on Turgenev by Edmund Wilson. New

York, Farrar-Straus-Cudahy 1958. 309 p 18

_Contents_: Instead of an introduction.—A literary party at P. A.

Pletnyov’s.—Reminiscences of Belinsky.—Gogol, Zhukovsky, Krylov,

Lermontov, Zagoskin.—A trip to Albano and Frascati.—Apropos of

Fathers and sons.—The man in the grey spectacles.—My mates sent

me!—The execution of Tropmann.—About nightingales.—Pégas.—Pergamos

excavations.—The quail.—A fire at sea.

—— New York, Grove 1959. 309 p

—— London, Faber 1959. 272 p

_Reviews_: Morris Philipson, _Commonweal_ LXVIII (July 25, 1958)

428–430; Ernest J. Simmons, _Saturday Review_ XLI (June 14,

1958) 22–23; Ewart Milne, _New Statesman_ LVII No 1453 (Jan 17,

1959) 74–75

_Moo-Moo; and The district doctor._ Ed A. Raffi. London,

Paul-Trench-Trubner 1917. 104 p 19

—— New York, Dutton 1918.

_Mumu, and The diary of a superfluous man._ Tr Henry Gersoni. New

York, Funk-Wagnalls 1884. 131 p (Standard library) 20

_Mumu; and Kassyan of Fair Springs._ New York, Little Leather Library

191-? 94 p 21

_A nest of gentlefolk, and other stories._ Tr with intro by

Jessie Coulson. London, Oxford Univ Press 1959. 461 p (World’s

classics) 22

Includes A quiet backwater, First love, and A Lear of the steppes.

_The plays of Ivan S. Turgenev._ Tr M. S. Mandell. Intro by William

Lyon Phelps. New York, Macmillan; London, Heinemann 1924. 583 p 23

_Contents_: Carelessness. Broke. Where it is thin, there it breaks.

The family charge. The bachelor. An amicable settlement. A month in

the country. The country woman. A conversation on the highway. An

evening in Sorrento.

Also published in two volumes, continuously paginated.

_Selected tales._ Tr with intro by David Magarshack. Garden City,

N. Y., Doubleday 1960. xvii, 355 p (Anchor) 24

Includes The singers, Bezhin meadow, Mumu, Assya, First Love, Knock

... knock ... knock, Living relics, Clara Milich.

_Three famous plays: A month in the country; A provincial lady; A poor

gentleman._ Tr Constance Garnett with intro by David Garnett. London,

Duckworth; New York, Scribner 1951. 235 p illus 25

—— New York, Hill Wang 1959. 235 p (Mermaid dramabook)

_Three plays._ Tr Constance Garnett. London, Cassell 1934.

323 p 26

_Contents_: A month in the country. A provincial lady. A poor

gentleman.

_Three short novels._ Tr Constance Garnett. With appreciation of

Turgenev by Henry James, Joseph Conrad, and Prosper Merimee. New York,

Lear 1948. 352 p 27

_Contents_: First love. The diary of a superfluous man. Acia.

_Three short novels: Asya, First love, Spring torrents._ Tr I. and T.

Litvinov. Moscow, Foreign Languages Publishing House 1955? 303

p 28

_An unfortunate woman, and Ass´ya._ Tr Henry Gersoni. New York,

Funk-Wagnalls 1886. 190 p (Standard library) 29

SEPARATELY PUBLISHED WORKS

_Annouchka; a tale._ Tr from the French of the author’s own

translation, by Franklin Abbott. Boston, Cupples-Upham 1884. 111

p 30

Although Turgenev did oversee some translations of his work, he

never himself translated any, as the above title-page seems to

indicate.

_The bachelor._ A play in three acts, adapted by Miles Malleson.

London, French 1953. 60 p illus 31

“Bezhin meadows.” From _A sportsman’s sketches_. Tr C. Garnett.

London, Heinemann; New York, Macmillan, n. d. 32

“A daughter of Russia,” Tr George W. Scott. New York, George Munro

1882. 17 p 33

_The Seaside Library_ LX No 1216. “The _Seaside Library_ was issued

daily, and _A Daughter of Russia_ appeared on March 7th. This series

was published in the form of newsheets at 15 cents for an ordinary

and 25 cents for a double number.” _Bookman_ LXXXIII (Dec 1932)

p 201.

_Don Quixote and Hamlet; a critical essay._ Tr T. Rolleston. Dublin,

Sealy-Bryers-Walker 190-? 30 p 34

_Fathers and children._ Tr Richard Hare. Intro by Ernest J. Simmons.

New York, Rinehart 1948. 233 p 35

_Fathers and sons._ New York, Collier 1900? 348 p (The foreign

classical romances) 36

—— Tr Constance Garnett. Intro by Thomas Seltzer. New York,

Boni-Liveright 1917. 243 p 37

—— Intro by Carl Van Doren. New York, Literary Guild of America

192-? 242 p 38

—— Tr C. Hogarth. London, Dent 1921. 276 p (Everyman) 39

Reprinted 1929, 1934, 1938, 1941, 1954. New edition 1955 (item

52).

—— New York, Book League of America 1930. 243 p 40

—— Tr Constance Garnett. New York, Grosset 1931. 242 p 41

—— Intro by Carl Van Doren. New York, Literary Guild of America

1932. 242 p 42

—— Tr Constance Garnett. Intro by Thomas Seltzer. New York, Modern

Library 194-? 243 p 43

—— Tr Constance Garnett, rev and ed by Lucy M. Cores. New York,

Black 1942. 345 p (Classics club ed) 44

—— Tr Constance Garnett, with foreword by Sinclair Lewis, illus with

wood engravings by Fritz Eichenberg. New York, The Press of the

Readers Club 1943. 234 p front, plates 45

—— Tr B. Isaacs. Moscow, Foreign Languages Publishing House 1947.

206 p 46

—— Tr Constance Garnett. Intro by Herbert J. Muller. New York,

Modern Library 1950. 243 p 47

—— Tr George Reavey. London, Hamilton; New York, Pantheon 1950. 247

p 48

—— Illus by Konstantin Rudakov. Moscow, Foreign Languages Publishing

House 1951. 213 p illus 49

—— Tr Constance Garnett, with intro by Delmore Schwartz. New York,

Harper 1951. 242 p 50

—— Tr Constance Garnett, with preface by John T. Winterich and illus

with wood engravings by Fritz Eichenberg. New York, Limited Editions

Club 1951. 215 p illus 51

—— Tr C. Hogarth. Intro by V. S. Pritchett. New York, Dutton 1955.

288 p 52

—— A stressed text with intro and notes by E. R. Sands. London,

Cambridge Univ Press 1955. 208 p 53

—— Tr George Reavey. New York, Noonday Press 1958. 247 p (Noonday

paperbacks) 54

Reprint of 1950 edition.

—— New York, Collier 1958. 348 p 55

—— Tr B. Makanowitzky. With intro by Alexandra Tolstoy. New York,

Bantam Books 1959. 208 p 56

—— Tr Constance Garnett. Illus by Fritz Eichenberg. New York,

Heritage Press 1961. 234 p 57

—— Tr Bernard Guilbert Guerney. With the author’s comments on his

book. New York, Modern Library 1961. 281 p 58

Also published in college edition and in paperback.

_First love._ Moscow, Foreign Languages Publishing House 1953. 130

p 59

—— Tr O. Gorchakov and illus by V. Sveshnikov. Moscow, Foreign

Language Publishing House 1954. 137 p 60

—— Tr Isaiah Berlin, with intro by Lord David Cecil. Illus by Fritz

Wegner. London, Hamilton; Toronto, Collins 1956. 123 p 61

_Hamlet und Don Quixote, a critical essay._ Tr with intro by M. Katz.

n. p., Maisel & co 1910. 60 [4] p 62

Cited in _National Union Catalog_ (OC1), but not examined.

_Hamlet and Don Quixote; an essay._ Tr Robert Nichols. London,

Hendersons 1930. 31 p 63

Note on verso of title-page reads: “Of this edition 1000 copies

have been printed, of which 105 copies are signed by the

author.” NjP has copy signed on title-page!

_A house of gentlefolk._ Tr F. M. Davis. London, Stodder & Houghton

1914? 1916? 64

Not located. See _A nest of hereditary legislators_ (item 77).

_A hunter’s sketches._ Ed O. Gorchakov. Moscow, Foreign Language

Publishing House 1955. 454 p 65

_Contents_: Khor and Kalinich.—Yermolai and the miller’s

wife.—Raspberry spring.—The district doctor.—My neighbor

Radilov.—The freeholder Ovsyanikov.—Lgov.—Bezhin mead.—Kasyan of

fair springs.—The steward.—The counting-house.—Biryuk.—Two

country gentlemen.—Lebedyan.—Tatyana Borisovna and her

nephew.—Death.—The singers.—Pyotr Petrovich Karataev.—The

tryst.—The Hamlet of the Shchigri district.—Chertopkhanov and

Nedopyushkin.—The end of Chertopkhanov.—A living relic. The

rattling of wheels.—The forest and the steppe.

[Letters] _Tourguéneff and his French circle_. Ed by E.

Halperine-Kaminsky, tr from the French by E. Arnold. London, Unwin

1898. 302 p 66

Letters from Turgenev to Flaubert, Zola, and other friends in

France.

_Letters, a selection._ Ed and tr by Edgar H. Lehrman. New York, Knopf

1961. 401 p illus, biblio 67

_Reviews_: David Magarshack, _New York Times Book Review_ (Jan

22, 1961) p 6; Peter Melik, _National Review_ x No 7 (Feb 25,

1961) 119–120.

_Liza._ Tr W. R. S. Ralston. London, Chapman-Hall 1869. 2 v. 68

Tr by Garnett as _A house of gentlefolk_, and by F. M. Davis as _A

nest of hereditary legislators_ (item 77).

—— Tr W. R. S. Ralston. London, Dent; New York, Dutton 1914. 231 p

(Everyman) 69

Reprinted 1923, 1938, 1945.

_A month in the country; a comedy in four acts._ Tr M. Mandell, acting

version by Rouben Mamoulian. New York, Rialto Service Bureau 1930.

various paginations 70

Produced by the Theatre Guild at the Guild Theatre, New York, March

17, 1930.

—— Adapted into English by Emlyn Williams. London, Heinemann 1943.

93 p 71

Text based on literal trans by E. Fenn.

—— Adapted into English by Emlyn Williams with intro by Michael

Belgrave. London, Heinemann 1953. 93 p 72

—— Adapted into English by Emlyn Williams. New York, French 1957.

110 p 73

_Mumu._ Tr Jessie Domb and Zlata Shoenberg. London, Harrap; New York,

Transatlantic Arts 1945. 47, 47 p 74

Russian and English on opposite pages, numbered in duplicate.

—— Tr I. Litvinov. Moscow, Foreign Languages Publishing House 195-?

77 p illus 75

_A nest of the gentry._ Tr Bernard Isaacs. Illus by Konstantin Rudakov.

Moscow, Foreign Languages Publishing House 1947. 178 p illus 76

Reprinted 1951.

_A nest of hereditary legislators._ Tr F. M. Davis. London, Simkin &

Marshall 1914. 396 p 77

_A nobleman’s nest._ Tr Richard Hare. London, Hutchinson International

Authors 1949. 287 p 78

_On the eve._ Tr C. E. Turner. London, Stodder & Houghton 1871. 248

p 79

Reprinted 1915, 1916.

—— Tr Richard Hare. London, Hutchinson International Authors 1947.

174 p 80

—— Tr M. Budberg. New York, Chanticleer Press 1950. 225 p 81

—— Tr M. Budberg. London, Cresset Press 1950. 217 p 82

—— Tr G. Gardiner. Baltimore, Allen Lane 1950. 234 p

(Penguin) 83

—— Tr G. Gardiner. Harmondsworth, Middlesex, Penguin Books 1951. 233

p 84

—— Tr S. Apresyan. Ed George H. Hanna. Moscow, Foreign Languages

Publishing House 1959. 179 p 85

_Pegasus, Biryuk, Forest and steppe._ Ed Nevill Forbes and E. G.

Underwood. London, Oxford Univ Press 1917. 56 p 86

From _A sportsman’s sketches_.

_Poems in prose._ Boston, Cupples-Upham 1883. 120 p port 87

_Contents_: The village.—The old woman.—A dialogue.—The dog.—My

opponent.—An axiom.—Dost thou hearken to the words of the

fool.—The beggar.—A contented man.—The destruction of the

world.—Mascha.—The blockhead.—An oriental legend.—Two

quatrains.—The sparrow.—The laborer and the man with the white

hand.—The skull.—The last meeting.—The rose.—The

visit.—Necessitas-vis-libertas.—The alms.—The insect.—The

cabbage-soup.—The happy land.—Who is the richer?—The old

man.—The newspaper correspondent.—Two brothers.—In memory of I.

P. W.—The egotist.—The supreme being’s banquet.—The nymphs.—The

sphinx.—The friend and the enemy.—Christ.—The stone.—The

doves.—To-morrow, to-morrow!—Nature.—Hang him!—What shall I

think about?—How lovely and fresh those roses were!—A trip by

sea.—N. N.—Stop!—The monk.—Let’s keep a good heart.—Prayer.—The

Russian language.

Also appeared with New York, Putnam’s c1883 imprint.

—— 2d ed. Boston, DeWolfe, Fiske 1883. 120 p 88

Reprinted 1887.

—— A metrical version by J. B. Mather. Adelaide, Advertiser

Newspapers 1934. 98 p 89

_Contents_: In the village.—A dialogue.—The old woman.—The

dog.—My adversary.—The beggar.—The fool’s judgment thou wilt

hear.—A contented man.—A rule of life.—The end of the

world.—Masha.—A blockhead.—An eastern tale.—The two poets.—The

sparrow.—The skulls.—The working man and the man with the white

hands.—The rose.—In memoriam.—The last good-bye.—A

visit.—Necessitas-vis-libertas.—The alms.—The insect.—Cabbage

soup.—The fields of the blest.—Which is the richer?—The old

man.—The reporter.—The two brothers.—The egoist.—Jupiter’s

feast.—The sphinx.—The nymphs.—Friend and foe.—Christ.—The

stone.—The doves.—To-morrow! to-morrow!—Nature.—Hang him.—What

shall I think?—How were the roses so fresh and so fair?—On the

sea.—N. N.—Abide.—The monk.—We are still at war.—Prayer.—The

Russian language.

—— Tr Eugenia Schimanskaya. Drawings by Donia Nachshen. London,

Drummond 1945. 66 p illus 90

_Contents_: The village.—The conversation.—The old woman.—The

dog.—The rival.—The beggar.—“You shall hear the judgment of the

fool.”—The contented man.—Worldly wisdom.—The end of the

world.—Masha.—An eastern tale.—Two quatrains.—The sparrow.—The

skulls.—The worker and the man with white hands.—The rose.—The

memory of U. P. Vrevskaya.—The last meeting.—The

visit.—Necessitas-vis-libertas.—Charity.—The insect.—Cabbage

soup.—The realm of azure.—Two rich men.—The old man.—The

journalist.—Two brothers.—The egotist.—The feast of the supreme

being.—The sphinx.—The nymphs.—Enemy and friend.—Christ.—The

stone.—Two doves.—To-morrow! To-morrow!—Nature.—Hang him.—What

shall I be thinking?—“How lovely, how fresh were the roses

...”—A sea voyage.—N. N.—Stay!—The monk.—We’ll still go on

fighting!—Prayer.—The threshold.—The Russian language.

—— In Russian and English, ed André Mazon. Tr C. Garnett and R.

Rees. Oxford, Blackwell 1951. 219 p (Blackwell’s Russian

texts) 91

_Contents_: The country.—The old woman.—A meeting.—The beggar.—My

adversary.—I feel pity.—A conversation.—The dog.—Friend and

enemy.—Thou shalt hear the fool’s judgment.—A contented man.—A

curse.—The twins.—The blackbird (I, II).—A bird without a

nest.—The cup.—Whose fault?—The fool.—The workman and the man

with white hands.—The banquet of the supreme being.—The

skulls.—An eastern legend.—The end of the world.—Two stanzas.—The

rose.—Masha.—Necessitas, vis, libertas.—The sparrow.—The last

meeting.—A rule of life.—A visit.—The threshold.—The insect.—A

snake.—Cabbage soup.—Author and critic.—On arguing.—The

reporter.—The old man.—Oh, my youth.—To * * *.—Two rich

men.—Two brothers.—To the memory of Yu. P. Vrevskaya.—I walked

amid high mountains.—When I am no more.—Christ.—The hour

glass.—The nymphs.—The egoist.—The sphinx.—Alms.—The

stone.—The doves.—To-morrow! To-morrow!—I rose from my bed at

night.—The realm of azure.—Nature.—Hang him!—How fair, how fresh

were the roses.—What shall I think?—When I am alone.—To N.

N.—On the sea.—The monk.—Stay!—We will still fight on.—The

path to love.—Phrases.—Simplicity.—The Brahmin.—You

wept.—Love.—Prayer.—Truth and justice.—The partridges.—Nessun

maggior dolore.—The Russian tongue.—On the rack.—A rule of

life.—A baby’s cry.—My trees.

“Notes” by Charles Salomon.

_A provincial lady._ A comedy in one act. A new version by Miles

Malleson. London, French 1950. 44 p illus 92

_Punin and Babwin._ Tr George Scott. New York, Munro 1882. 18 p

(Seaside Library) 93

_The ruffian._ Tr from the German. Chicago, Overland Library 1887.

(Collection Schick, no 13) 94

_Russian life in the interior; or The experiences of a sportsman._ Ed

James D. Meiklejohn. Edinburgh, Black 1855. 428 p 95

Translated from M. Charriere’s French version of _A sportsman’s

notebook_, a version against which Turgenev strongly protested.

_Contents_: Khor and Kalinytch.—Ermolai and the miller’s

wife.—Raspberry water.—The country doctor.—My neighbour

Radiloff.—The Odnovoretz.—Lgoff.—Beejina Lough.—The funeral.—The

bourmister.—The counting house.—Foma the bireouk.—The two village

lords.—Lebediana.—The provincial woman, and her nephew the artist.

artist.—How a Russian dies.—The tavern.—Karataeff.—The

assignation.—The higher provincial society.—Native oddities.—The

forest and the steppe.—Epilogue.

_Senilia. Poems in prose, being meditations, sketches...._ English

version with intro and biographical sketch by S. Macmullan. Bristol,

Arrowsmith 1890. 153 p 96

_Smoke, or Life at Baden, a novel._ Tr from the French version.

London, R. Bentley 1868. 2 v. 97

Another bad translation (anonymous) against which Turgenev

protested.

—— Intro by John Reed. New York, Modern Library 1919. 234 p 98

—— London, Heinemann 1930. 315 p (The traveller’s library) 99

—— Tr Natalie Duddington. London, Dent 1949. 242 p; New York, Dutton

1950. 256 p (Everyman) 100

_Song of triumphant love._ Adapted by Marian Ford. New York, Munro

1882. 17 p (Seaside library 72) 101

_A sportsman’s notebook._ Tr Charles and Natasha Hepburn. London,

Cresset Press; New York, Chanticleer Press 1950. 397 p 102

_Contents_: Khor and Kalinich.—Ermolai and the miller’s

wife.—Raspberry water.—The country doctor.—My neighbour

Radilov.—Ovsyanikov the freeholder.—Lgov.—Bezhin meadow.—Kasyan

from Fair Springs.—The bailiff.—The estate office.—The bear.—Two

landowners.—Lebedyan.—Tatyana Borisovna and her

nephew.—Death.—The singers.—Pyotr Petrovich Karataev.—The

rendezvous.—Prince Hamlet of Shchigrovo.—Chertopkhanov and

Nedopyuskin.—The end of Chertopkhanov.—The live relic.—The

knocking.—Forest and steppe.

—— Tr Charles and Natasha Hepburn. New York, Viking Press 1956. 403

p 103

—— Tr Charles and Natasha Hepburn. New York, Viking Press; Toronto,

Macmillan 1957. 397 p (Compass books) 104

Items 103–104 have same contents as 102.

_A sportsman’s sketches._ Tr Constance Garnett. New York, Dutton 1932.

253 p illus. 105

This edition contains fourteen of the twenty-five sketches which

appeared in the two volumes of the collected edition. Not located.

_Spring floods._ Tr E. Richter. London, Lamley 1895. 252 p 106

_Tales from the notebook of a sportsman._ Tr E. Richter. Series 1.

London, Lamley 1895. 247 p 107

_The torrents of spring._ Tr David Magarshack. New York, Farrar,

Straus and Cudahy; London, Hamilton 1959. 188 p 108

—— Tr David Magarshack. Toronto, Collins 1960. 188 p (Deluxe

edition) 109

_The two friends._ Tr Noel Evans. London, Paul-Trench-Trubner 1936.

115 p 110

_The unfortunate one; a novel._ Tr A. R. Thompson. London, Trubner

1888. 134 p 111

_Virgin soil._ Tr A. Dilke. London, Macmillan 1878. 346 p 112

—— Tr Rachelle Townsend. Intro by Ernest Rhys. London, Dent 1911.

317 p (Everyman) 113

Reprinted 1915, 1916, 1920, 1929, 1942, 1948, 1954. New edition

published 1955, 336 p.

—— Tr Constance Garnett. New York, Grove Press 1956. 305 p

(Evergreen) 114

ARTICLES, STORIES, AND POEMS PUBLISHED

IN ANTHOLOGIES AND PERIODICALS

“The adventure of Second Lieutenant Bubnov,” In _And the darkness

falls_ ed by Boris Karloff. Cleveland, World 1946. 58–65 115

“After death,” _Modern age_ ? (New York 1883) 116

“Klara Milich.”

“The antchar,” _Galaxy_ XV Nos 3, 4 (Mar-Apr 1873) 330–350,

461–480 117

“A quiet backwater.”

“Apropos of ‘Fathers and Sons,’” _Partisan review_ XXV No 2 (Spring

1958) 265–273 118