llustrated Album, under the title 'Son Oblomova' (Oblomof's Dream),
the following year.

In 1852 Goncharof received from the Marine Ministry a proposition to
sail around the world as private secretary to Admiral Putyatin. On his
return he contributed to various magazines sketches of his experiences,
and finally published a handsome volume of his travels entitled 'Phregat
Pallada' (The Frigate Pallas). In 1857 he went to Carlsbad and completed
'Oblomof' on which he had been working so many years. It appeared in
Otetchestvenniya Zapiski (Annals of the Fatherland) in 1858 and 1859,
and made a profound sensation. The hero was recognized as a perfectly
elaborated portrait of a not uncommon type of Russian character: a
good-natured, warm-hearted, healthy young man, so enervated by the
atmosphere of indolence into which he has allowed himself to sink, that
nothing serves to rouse him. Love is the only impulse which could
galvanize him into life. Across his path comes the beautiful Olga, whom
the Russians claim as a poetic and at the same time a genuine
representative of the best Russian womanhood. Vigorous, alert, with mind
and heart equally well developed, she stirs the latent manhood of
Oblomof; but when he comes to face the responsibilities, the cares, and
the duties of matrimony, he has not the courage to enter upon them.
Olga marries Oblomof's friend Stoltz, whom Goncharof intended to be a
no less typical specimen of Russian manhood, and whom most critics
consider overdrawn and not true to life. The novel is a series of
wonderful _genre_ pictures: his portraits are marvels of finish and
delicacy; and there are a number of dramatic scenes, although the story
as a whole lacks movement. The first chapter, which is here reproduced,
is chosen not as perhaps the finest in the book, but as thoroughly
characteristic. It is also a fine specimen of Russian humor.

Goncharof finished in 1868 his third novel, entitled 'Abruif' (The
Precipice). It was published first in the Viestnik Yevropui (European
Messenger), and in book form in 1870. In this he tries to portray the
type of the Russian Nihilist; but Volokhof is regarded rather as a
caricature than as a faithful portrait. In contrast with him stands the
beautiful Viera; but just as Volokhof falls below Oblomof, so Viera
yields to Olga in perfect realism. One of the best characters in the
story is the dilettante Raisky, the type of the man who has an artistic
nature but no energy.