rkable manner
some of the conspicuous tenets of his great successor Tolstoy. The book
electrified the reading public in Russia upon its appearance in 1866,
and its fame was confirmed when it appeared in Paris in 1867. To his
remarkable faculty of awakening reverberations of melancholy and
compassion, as shown in his early work, Dostoievsky had added, by the
admission of all, a rare mastery over the emotions of terror and pity.
But such mastery was not long to remain unimpaired. _Crime and
Punishment_ was written when he was at the zenith of his power. His
remaining works exhibit frequently a marvellous tragic and analytic
power, but they are unequal, and deficient in measure and in balance.
The chief of them are: _The Injured and the Insulted_, _The Demons_
(1867), _The Idiot_ (1869), _The Adult_ (1875), _The Brothers Karamzov_
(1881).

From 1865, when he settled in St Petersburg, Dostoievsky was absorbed in
a succession of journalistic enterprises, in the Slavophil interest, and
suffered severe pecuniary losses. He had to leave Russia, in order to
escape his creditors, and to seek refuge in Germany and Italy. He was
further harassed by troubles with his wife, and his work was interrupted
by epileptic fits and other physical ailments. It was under such
conditions as these that his most enduring works were created. He
managed finally to return to Russia early in the seventies, and was for
some time director of _The Russian World_. From 1876 he published a kind
of review, entitled _Carnet d'un ecrivain_, to the pages of which he
committed many strange autobiographical facts and reflections. The last
eight years of his life were spent in comparative prosperity at St
Petersburg, where he died on the 9th of February 1881.

His life had been irremediably seared by his Siberian experiences. He
looked prematurely old; his face bore an expression of accumulated
sorrow; in disposition he had become distrustful, taciturn,
contemptuous--his favourite theme the superiority of the Russian peasant
over every other class; as an artist, though uncultured, he had ever
been subtle and sympathetic, but latterly he was tortured by tragic
visions and morbidly preoccupied by exceptional and perverted types. M.
de Vogue, in his admirable _Ecrivains russes_, has worked out with some
success a parallel between the later years of Dostoievsky and those of
Jean Jacques Rousseau. Siberia effectually convinced the novelist of the
impotence of Nihil