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Updated: May 27, 2025
In reading the works of Veressayev, Tchekoff, and other painters of modern Russian society, it is easy to note that not one of them anticipated this sudden change of scenery on the Russian political stage, a change which, however, was being prepared in the souls of the peasants. But let us not reproach them! Russia will always remain an enigma.
Since the death of Tchekoff, which made it necessary for the critics to study his works as a whole, and especially since the publication of his correspondence, his character has come to the fore, as it really is: he is a writer, who, by the very nature of his talent, was irresistibly forced to study the inner life of man impartially, and who, consequently, remains the enemy of all religious or philosophical dogmas which may hinder the task of the observer.
Tchekoff has given us innumerable rough sketches typical of people belonging to the most diverse social classes. He seems to take his readers by the hand and to lead them wherever he can show them characteristic scenes of modern Russian society, be it in the country, in the factory, in princely dwellings, at the post-office, or on the highway.
In him, as in Tchekoff, the number of people who suffer from life, either crushed or mutilated by it, by far exceed the number of happy ones; moreover, the best of his stories are short and sketchy like those of Tchekoff. Andreyev is then, so to speak, his spiritual son. But he is a sickly son, who carries the melancholy element to its farthest limit.
I hereby declare to Sasha Kropotkin and Cunninghame Graham that my heart is with their Russia, the Russia of Tolstoy and Turgenieff and Dostoieffsky, of Gorki and Tchekoff, of the Moscow Art Theatre and the Drury Lane Ballet, of Peter Kropotkin and all the great humanitarians, great artists, and charming people whom their very North German Tsars exile and imprison and flog and generally do what in them lies to suppress and abolish.
Tchekoff, in his sober manner, has seen and recognized the two great aspects of life: first, the world of social and historical progress with its promise of future comforts; secondly, an aspect that is closely related to the above, the obscure world of the unknown man who feels the cold breath of death upon him.
It shows itself, among most people, only on rare tragic occasions, when general or particular catastrophes take place; at other times it is smothered by the immediate cares of life, by passions that grip us, and, finally, by religion. But none of these influences had any effect on Tchekoff.
The result is a deep penetration of the popular mind, in conjunction with an acute, and sometimes sickly, nervousness, which is shown in the works of the great Uspensky, and, more recently still, in Tchekoff, Andreyev, and many others.
This universal hopelessness; this sadness, provoked by the platitudes of existence compared with the unrelenting lessons of death, of which Tchekoff speaks with such a nervous terror, can be found in almost all the works of the best known Russian writers.
The grey tones of Tchekoff have, in Andreyev, become black; his rather sad humor has been transformed into tragic irony; his subtle impressionability into morbid sensibility.
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