50. GORKI--FOMA GORDYEFF. _Translation published by Scribners_.

Maxim Gorki is one of the most interesting of Russian writers. His

books have that flavour of the soil and that courageous spirit of

vagabondage and social independence which is so rare and valuable a

quality in literature.

"Foma Gordyeff" is, after Dostoievsky's masterpieces, the most

suggestive and arresting of Russian stories. That paralysis of the

will which descends like an evil cloud upon Foma and at the same time

seems to cause the ground to open under his feet and precipitate him

into mysterious depths of nothingness, is at once tragically

significant of certain aspects of the Russian soul and full of

mysterious warnings to all those modern spirits in whom the power of

action is "sicklied o'er with the pale cast of thought."

For those who have been "fooled to the top of their bent" by the

stupidities and brutalities of the crowd there is a savage

satisfaction in reading of Foma's insane outbursts of misanthropy.

51. TCHEKOFF--SEAGULL. _Tchekoff's plays and short stories are

published by Scribners in admirable translations_.

Tchekoff is one of the gentlest and sweetest tempered of Russian

writers. There is in him a genuine graciousness, a politeness of soul,

an innate delicacy, which is not touched--as such qualities often are

in the work of Turgeniev--with any kind of self-conscious Olympianism.

A doctor, a consumptive, and a passionate lover of children, there is

a whimsical humanity about all that Tchekoff writes which has a

singular and quite special appeal.

The "Seagull" is a play full of delicate subtleties and dreamy

glimpses of shy humane wisdom. The manner in which outward things--the

mere background and scenery of the play--are used to deepen and

enhance the dramatic interest is a thing peculiarly characteristic of

this author. Tchekoff has that kind of imaginative sensibility which

makes every material object one encounters significant with spiritual

intimations.

The mere business of plot--whether in his plays or stories--is not the

important matter. The important matter is a certain sudden and

pathetic illumination thrown upon the essential truth by some casual

grouping of persons or of things--some emphatic or symbolic

gesture--some significant movement among the silent "listeners."

One Hundred Best Books With Commentary and an Essay on Books and Reading · 第 19 / 88 题