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The ever supremely correct and beautiful language of Sologoub shows the power of a master, and it is most regrettable that an artist of his merit should confine himself to so morbid an art. These then are the principal authors some of whom have enjoyed an immense popularity who treat the "cursed questions:" the rights of the flesh, the problem of death, and other equally "cursed" problems.
While dying, the unfortunates have terrible visions of life and humanity. "It seemed to them that ferocious demons were chuckling and sneering silently behind human faces. And this masquerade lasted so long that the poor little tots thought that it would never end...." Sologoub is, above all, a chanter of death. Almost all of his works unveil a murder, suicide, or madness.
And most of them then do not fail to declare: 'The author has described himself in his work. But no, my dear friends and readers, it is you, and only you, whom I have painted in my book, 'The Little Demon." In "The Charms of Navii" Sologoub happily blends fantasy and reality.
In poor verse, and especially in the story, "The Castle of Cards," Kouzmine has exalted the sin of Sodom as being the most supreme form of æsthetic emotions. Closely related to these writers, although surpassing them all in original talent, Feodor Sologoub is the most intellectual and subtle of the Russian modernists. His principal work consists in depicting the small provincial towns.
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