Count Tolstoi’s method is much larger, and his field of vision more extended.  He reminds us sometimes of Paul Veronese, and, like that great painter, can crowd, without over-crowding, the giant canvas on which he works.  We may not at first gain from his works that artistic unity of impression which is Tourgenieff’s chief charm, but once that we have mastered the details the whole seems to have the grandeur and the simplicity of an epic.  Dostoieffski differs widely from both his rivals.  He is not so fine an artist as Tourgenieff, for he deals more with the facts than with the effects of life; nor has he Tolstoi’s largeness of vision and epic dignity; but he has qualities that are distinctively and absolutely his own, such as a fierce intensity of passion and concentration of impulse, a power of dealing with the deepest mysteries of psychology and the most hidden springs of life, and a realism that is pitiless in its fidelity, and terrible because it is true.  Some time ago we had occasion to draw attention to his marvellous novel Crime and Punishment, where in the haunt of impurity and vice a harlot and an assassin meet together to read the story of Dives and Lazarus, and the outcast girl leads the sinner to make atonement for his sin; nor is the book entitled Injury and Insult at all inferior to that great masterpiece.  Mean and ordinary though the surroundings of the story may seem, the heroine Natasha is like one of the noble victims of Greek tragedy; she is Antigone with the passion of Phaedra, and it is impossible to approach her without a feeling of awe.  Greek also is the gloom of Nemesis that hangs over each character, only it is a Nemesis that does not stand outside of life, but is part of our own nature and of the same material as life itself.  Aleosha, the beautiful young lad whom Natasha follows to her doom, is a second Tito Melema, and has all Tito’s charm and grace and fascination.  Yet he is different.  He would never have denied Baldassare in the Square at Florence, nor lied to Romola about Tessa.  He has a magnificent, momentary sincerity, a boyish unconsciousness of all that life signifies, an ardent enthusiasm for all that life cannot give.  There is nothing calculating about him.  He never thinks evil, he only does it.  From a psychological point of view he is one of the most interesting characters of modem fiction, as from an artistic he is one of the most attractive.  As we grow to know him he stirs strange questions for us, and makes us feel that it is not the wicked only who do wrong, nor the bad alone who work evil.

And by what a subtle objective method does Dostoieffski show us his characters!  He never tickets them with a list nor labels them with a description.  We grow to know them very gradually, as we know people whom we meet in society, at first by little tricks of manner, personal appearance, fancies in dress, and the like; and afterwards by their deeds and words; and even then they constantly elude us, for though Dostoieffski may lay bare for us the secrets of their nature, yet he never explains his personages away; they are always surprising us by something that they say or do, and keep to the end the eternal mystery of life.