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Updated: May 31, 2025
Yes, Zola is not Voltaire, and we are none of us Voltaires, but there are in life conjunctions of circumstances when the reproach that we are not Voltaires is least of all appropriate. Think of Korolenko, who defended the Multanovsky natives and saved them from penal servitude. Dr. Haas is not a Voltaire either, and yet his wonderful life has been well spent up to the end.
Millions of copies of this work ought to be distributed; it ought to be read by every one who has a heart. But above all, it is as the pure artist that Korolenko merits most attention. It is his talent that has already made him famous, and it is his talent that will make him immortal in Russian literature. Korolenko is at present one of the most popular writers among the educated classes.
His descriptions are not irrelevant ornaments, but they constitute an organic and integral part of the picture. In both Turgenev and Korolenko the surrounding country reflects the feelings and emotions of the heroes, and takes on a purely lyric character. One might almost say that these country scenes breathe, speak a human language, and whisper mysterious legends.
The sight of this despairing and lonely man, who wanders about in the Siberian forests with his little daughter, calls louder for justice than all the speeches in the world. Through the wealth of his talent and knowledge, Korolenko is of tremendous social value in three fields of work, practical affairs, journalism, and art.
But Alexander Kuprin does not depict adepts of the "religion of pity," nor the psychology of the abnormal, the "pathological case," so curious and rare, and so dear to the author of "Crime and Punishment." He does not reincarnate the sad genius of Korolenko. He is equally separated from Tolstoy and Gorky. He is himself.
Makar begins to weep, and Tayon weeps too.... And the young gods and the angels, they also shed tears. Again the balance moves. But this time it is in the opposite direction. Makar has received justice from the hands of Tayon. Korolenko does not try to reconcile us to reality, but to mankind.
During the months of May and June, 1890, he succeeded under great difficulties to collect for his protest sixty-six signatures in Moscow and over fifty signatures in St. Petersburg, including those of Leo Tolstoi, Vladimir Korolenko, and other literary celebrities. Despite its mild tone, the protest which had been framed by Solovyov was barred from publication by the Russian censor.
"In the year 1893-1894," writes Gorky, "I made the acquaintance of Vladimir Korolenko, to whom I owe my introduction into 'great' literature. He has done a great deal for me in teaching me many things." The important influence of Korolenko on the literary development of Gorky can best be seen in one of the latter's letters to his biographer, Mr. Gorodetsky.
Besides his novels Merezhkovsky has published several essays, on Pushkin, Maykov, Korolenko, Calderon, the French neo-romanticists, Ibsen and others.... The most important of all are: "The Causes of the Decadence of Modern Russian Literature" and "Tolstoy and Dostoyevsky."
The movement was so powerful that many of the younger generation who could have done other things took up this work; others, on principle, married humble peasants. In 1872 Korolenko left for Moscow, and there entered the Academy of Agriculture. He was expelled after two years and sent to Kronstadt for having taken part in student manifestations. Several years later, we find him again in St.
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