Take, for instance, the
characterization of Kirsten Ravn (pp. 11-15), and I wonder where in
contemporary fiction so large and deep a comprehension is shown both of
psychic and of physical forces. Emma, the heroine of Flaubert's "Madame
Bovary" is the only parallel I can recall, as regards the kind and
method of portraiture, though there is no resemblance between the
characters. In the development of the character of Rafael Kaas, there
is the same beautiful respect for human nature, the same unshrinking
statement of "shocking" facts, and the same undeviating adherence to the
logic of reality. The hair by which Rafael, as his prototype, the son of
David, is arrested and suspended in the midst of his triumphant race is
sensuality. His life is on the point of being wrecked, and his splendid
powers are dissipated by his inability to restrain his passions. The
tragic fate which hovers over him from the moment of his birth is
admirably hinted at, but not emphasized, in the sketch of his parents.
The carnal overbalance, supplied by the blood of the Kurts, wellnigh
neutralizes the mechanical genius which is hereditary in the blood of
the Ravns.
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