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Updated: May 5, 2025
Here is something awfully interesting: Herr von Kraics came yesterday from Radufalva, his best friend left him the Radufalva estate out of gratitude, because 8 years ago he gave up his fiancee with whom the friend was in love. It's true, Colonel Bruckner says that K. is a wretched milksop; but I don't think so at all; he has such fiery eyes, and looks a real Hungarian nobleman.
Professor Bruckner has said of Andreev's stories, "I do not recall a single one which would not get fearfully on a man's nerves." He has deepened the universal gloom of Russian fiction, not by descending into the slums with Gorki, but by depicting life as seen through the strange light of a decaying mind. He has often been compared, especially among the Germans, with Edgar Allan Poe.
And the symphonies of Gustav Mahler seem an assurance of present tendencies. The influence of Bach, revived early in the century, grew steadily as a latent leaven. It is well known that Bruckner, who paid a personal homage to Wagner, became a political figure in the partisan dispute, when he was put forth as the antagonist of Brahms in the symphony.
One would have said that this little barbarian was put there for a wager. His articles from 1884 to 1887 are full of life and humour. He upholds the great classic masters in them: Gluck, Mozart, Beethoven, and Wagner; he defends Berlioz; he scourges the modern Italians, whose success at Vienna was simply scandalous; he breaks lances for Bruckner, and begins a bold campaign against Brahms.
In Germany since the masterpieces of Brahms we glean little besides the learnedly facile scores of a Bruckner, with a maximum of workmanship and a minimum of sturdy feeling, or a group of "heroic" symphonies all cast in the same plot of final transfiguration. The one hopeful sign is the revival of a true counterpoint in the works of Mahler.
I am not exaggerating when I say that such views are held; for instance, Professor Bruckner, a most level-headed critic, in his learned and exhaustive survey of Russian literature, says that it is not in "Faust," but rather in "Crime and Punishment," that the whole grief of mankind takes hold of us.
Among the most famous writers on the history of philosophy, are Bruckner, Hegel, Brandis, I. G. Buhle, Tennemann, Ritter, Plessing, Schwegler, Hermann, Meiners, Stallbaum, and Speugel. The history of Ritter is well translated, and is always learned and suggestive. Tennemann, translated by Morell, is a good manual, brief, but clear.
And so the Wagner-Vereine would have had a useful task to fulfil if they had set themselves to defend all the young and original forces in art. Sometimes they did so, and Bruckner or Hugo Wolf found in some of them their best allies.
Of this Bruckner is a proof; for, if any man by pure knowledge could make a symphony, it was he. But, with almost superhuman skill, there is something wanting in the inner connection, where the main ideas are weak, forced or borrowed. It is only the true poetic rapture that ensures the continuous absorption that drives in perfect sequence to irresistible conclusion. I. Solenne.
On the Russian sovereigns: R. N. Bain, The First Romanovs, 1613-1725 , and, by the same author, Pupils of Peter the Great: a History of the Russian Court and Empire from 1697 to 1740 ; Eugene Schuyler, Peter the Great, 2 vols. , a scholarly work; Kazimierz Waliszewski, Peter the Great, an admirable study trans. from the French by Lady Mary Loyd , and, by the same author, though not as yet translated, L'heritage de Pierre le Grand: regne des femmes, gouvernement des favoris, 1725-1741 and La derniere des Romanov, Elisabeth R ; Alexander Bruckner, Peter der Grosse , and, by the same author, Katharina die Zweite , important German works, in the Oncken Series; E. A. B. Hodgetts, The Life of Catherine the Great of Russia , a recent fair-minded treatment in English.
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