THE SECOND AGE OF POETRY
The fifties, the sixties, and the seventies were, all over Europe, the
epoch of Parnassian poetry. In England, Tennyson was pouring out his
"fervent and faultless melodies," Matthew Arnold was playing his
plaintive harp, and the Pre-Raphaelites were weaving their tapestried
dreams; in France, Gautier was carving his cameos, Banville's
Harlequins and Columbines were dancing on a Watteau-like stage in the
silver twilight of Corot, Baudelaire was at work on his sombre bronze,
Sully-Prudhomme twanged his ivory lyre, and Leconte de Lisle was
issuing his golden coinage. It was, in poetry, the epoch of art for
art's sake.
Russian poetry did not escape the universal tendency; but in Russia
everything was conspiring to put poetry, and especially that kind of
poetry, in the shade. In the first place, events of great magnitude
were happening--the wide reforms, the emancipation of the serfs, the
growth of Nihilism, which was the product of the disillusion at the
result of the reforms: in the second place, criticism under the
influence of Chernyshevsky, Pisarev, and Dobrolyubov was entirely
realistic and positivist, preaching not art for life's sake only, but
the absolute futility of poetry; and, in the third place, work of the
supremest kind was being done in narrative fiction; in the fourth
place, no prophet-poet was forthcoming whose genius was great enough
to voice national aspirations. All this tended to put poetry in the
shade, especially as such poets as did exist were, with one notable
exception, Parnassians, whose talent dwelt aloof from the turbid
stream of life, and who sought to express the adventures of their
souls, which were emotional and artistic, either in dreamy music or in
exquisite shapes and colours. This neglect of verse lasted right up
until the end of the seventies. When, however, in the eighties, the
wave of political crisis reached its climax and, after the
assassination of Alexander II, rolled back into a sea of stagnant
reaction, the poets, who had been hitherto neglected, and quietly
singing all the while, were discovered once more, and the shares in
poetry continued to rise as time went on; thus the poets of the
sixties reaped their due meed of appreciation.
A proof of how widespread and deep this neglect was is that TYUTCHEV,
whose work attracted no attention whatever until 1854, and met with no
wide appreciation until a great deal later, was four years younger
than Pushkin, and a man of thirty when Goethe died. He went on living
until 1873, and can be called the first of the Parnassians.
Politically, he was a Slavophile, and sang the "resignation" and
"long-suffering" of the Russian people, which he preferred to the
stiff-neckedness of the West. But the value of his work lies less in
his Slavophile aspirations than in its depth of thought and lyrical
feeling, in the contrast between the gloomy forebodings of his
imagination and the sunlike images he gives of nature. His verse is
like a spring day, dark with ominous thunderclouds, out of which a
rainbow and a shaft of sunlight fall on a dewy orchard and light it
with a silvery smile. His verse is, on the one hand, full of
foreboding and terror at the fate of man and the shadow of
nothingness, and, on the other hand, it twitters like a bird over the
freshness and sunshine of spring. He sings the spring again and again,
and no Russian poet has ever sung the glory, the mystery, the wonder,
and the terror of night as he has done; his whole work is compounded
of glowing pictures of nature and a world of longing and of
unutterable dreams.
The dreamy dominion of the Parnassian age, on whose threshold Tyutchev
stood, was to be disturbed by the notes of a harsher and stronger
music.
NEKRASOV (1821-77), Russia's "sternest painter," and certainly one of
her best, drew his inspiration direct from life, and sang the
sufferings, the joys, and the life of the people. He is a Russian
Crabbe; nature and man are his subjects, but nature as the friend and
foe of man, as a factor, the most important factor in man's life, and
not as an ideal storehouse from which a Shelley can draw forms more
real than living man, nurslings of immortality, or a Wordsworth reap
harvests of the inward eye. He called his muse the "Muse of Vengeance
and of Grief." He is an uncompromising realist, like Crabbe, and
idealizes nothing in his pictures of the peasant's life. Like Crabbe,
he has a deep note of pathos, and a keen but not so minute an eye for
landscape.
On the other hand, he at times attains to imaginative sublimity in his
descriptions, as, for instance, in his poem called _The Red-nosed
Frost_, where King Frost approaches a peasant widow who is at work in
the winter forest, and freezes her to death. As Daria is gradually
freezing to death, the frost comes to her like a warrior; and his
semblance and attributes are drawn in a series of splendid stanzas. He
sings to her of his riches that no profusion can decrease, and of his
kingdom of silver and diamonds and pearls: then, as she freezes, she
dreams of a hot summer's day, and of the rye harvest and of the
familiar songs--
"Away with the song she is soaring,
She surrenders herself to its stream,
In the world there is no such sweet singing
As that which we hear in a dream."
His longest and most ambitious work was a kind of popular epic, _Who
is Happy in Russia?_ written in short lines which have the popular
ring and accent. Some peasants start on a pilgrimage to find out who
is happy in Russia. They fly on a magic carpet, and interview
representatives of the different classes of society, the pope, the
landowner, the peasant woman, each new interview producing a whole
series of stories, sometimes idyllic and sometimes tragic, and all
showing their genius as intimate pictures of various phases of Russian
life. Here, again, the analogy with Crabbe suggests itself, for
Nekrasov's tales, taking into consideration the difference between the
two countries, have a marked affinity, both in their subject matter,
their variety, their stern realism, their pathos, their bitterness,
and their observation of nature, with Crabbe's stories in verse.
Two of Nekrasov's long poems tell the story in the form of
reminiscence,--and here again the naturalness and appropriateness of
the diction is perfect,--of the Russian women, Princess Volkonsky and
Princess Trubetzkoy, who followed their husbands, condemned to penal
servitude for taking part in the Decembrist rising, to Siberia. Here,
again, Nekrasov strikes a note of deep and poignant pathos, all the
more poignant from the absolute simplicity with which the tales are
told. Nekrasov towers among the Parnassians of the time and has only
one rival, whom we shall describe presently.
The Parnassians are represented by three poets, MAIKOV (1821-97), FET
(1820-98), and POLONSKY (1820-98), all three of whom began to write
about the same time, in 1840; none of these three poets was didactic,
and all three remained aloof from political or social questions.
Maikov is attracted by classical themes, by Italy and also by old
ballads, but his strength lies in his plastic form, his colour, and
his pictures of Russian landscape; he writes, for instance, an
exquisite reminiscence of a day's fishing when he was a boy.
The quality of Fet's muse, in contrast to Maikov's concrete
plasticity, is illusiveness; his lyrics express intangible dreams and
impressions; delicate tints and shadows tremble and flit across his
verse, which is soft as the orient of a pearl; and his fancy is as
delicate as a thread of gossamer: he lives in the borderland between
words and music, and catches the vague echoes of that limbo.
"The world in shadow slipped away
And, like a silent dream took flight,
Like Adam, I in Eden lay
Alone, and face to face with night."
He sings about the southern night amidst the hay; or again about the
dawn--
"A whisper, a breath, a shiver,
The trills of the nightingale,
A silver light and a quiver
And a sunlit trail.
The glimmer of night and the shadows of night
In an endless race,
Enchanted changes, flight after flight,
On the loved one's face.
The blood of the roses tingling
In the clouds, and a gleam in the grey,
And tears and kisses commingling--
The Dawn, the Dawn, the Day!"
Polonsky's verse, in contrast to Fet's gentle epicurean temperament,
his delicate half-tones and illusive whispers, is made of sterner
stuff; and, in contrast to Maikov's sculptural lines, it is
pre-eminently musical, and reflects a fine and charming personality.
His area of subjects is wide; he can write a child's poem as
transparent and simple as Hans Andersen--as in his conversation
between the sun and the moon--or call up the "glory that was Greece,"
as in the poem when his "Aspasia" listens to the crowds acclaiming
Pericles, and waits in rapturous suspense for his return--an evocation
that Browning would have envied for its life and Swinburne for its
sound.
But neither Maikov, Fet, nor Polonsky, exquisite as much of their
writing is, produced anything of the calibre of Nekrasov, even in
their own province; that is to say, they were none of them as great in
the artistic field as he was in his didactic field. Compared with him,
they are minor poets. There is one poet of this epoch who does rival
Nekrasov in another field, and that is COUNT ALEXIS TOLSTOY (1817-75),
who was also a Parnassian and remained aloof from didactic literature;
yet, under the pseudonym of Kuzma Prutkov, he wrote a satire, a
collection of platitudes, that are household words in Russia; also a
short history of Russia in consummately neat and witty satirical
verse. As well as his satires, he wrote an historical novel, _Prince
Serebryany_, and more important still, a trilogy of plays, dealing
with the most dramatic epoch of Russian history, that of Ivan the
Terrible. The trilogy, written in verse, consists of the "Death of
Ivan the Terrible," "The Tsar Feodor Ivanovitch" and "Tsar Boris."
They are all of them acting plays, form part of the current classical
repertory, and are effective, impressive and arresting when played on
the stage.
But it is as a poet and as a lyrical poet that Alexis Tolstoy is most
widely known. Versatile with a versatility that recalls Pushkin, he
writes epical ballads on Russian, Northern, and even Scottish themes,
and dramatic poems on Don Juan, St. John Damascene, and Mary
Magdalene; and, besides these, a whole series of personal lyrics,
which are full of charm, tenderness, music and colour, harmonious in
form and transparent. No Russian poet since Pushkin has written such
tender love lyrics, and nobody has sung the Russian spring, the
Russian summer, and the Russian autumn with such tender lyricism. His
poem on the early spring, when the fern is still tightly curled, the
shepherd's note still but half heard in the morning, and the birch
trees just green, is one of the most tender, fresh, and perfect
expressions of first love, morning, spring, dew, and dawn in the
world's literature. His songs have inspired Tchaikovsky and other
composers. The strongest and highest chord he struck is in his St.
John Damascene; this contains a magnificent dirge for the dead which
can bear comparison even with the _Dies Iræ_ for majesty, solemn
pathos, and plangent rhythm.
His pictures of landscapes have a peculiar charm. The following is an
attempt at a translation--
"Through the slush and the ruts of the highway,
By the side of the dam of the stream,
Where the fisherman's nets are drying,
The carriage jogs on, and I dream.
I dream, and I look at the highway,
At the sky that is sullen and grey,
At the lake with its shelving reaches,
And the curling smoke far away.
By the dam, with a cheerless visage
Walks a Jew, who is ragged and sere.
With a thunder of foam and of splashing,
The waters race over the weir.
A boy over there is whistling
On a hemlock flute of his make;
And the wild ducks get up in a panic
And call as they sweep from the lake.
And near the old mill some workmen
Are sitting upon the green ground,
With a wagon of sacks, a cart horse
Plods past with a lazy sound.
It all seems to me so familiar,
Although I have never been here,
The roof of that house out yonder,
And the boy, and the wood, and the weir.
And the voice of the grumbling mill-wheel,
And that rickety barn, I know,
I have been here and seen this already,
And forgotten it all long ago.
The very same horse here was dragging
Those sacks with the very same sound,
And those very same workmen were sitting
By the rickety mill on the ground.
And that Jew, with his beard, walked past me,
And those waters raced through the weir;
Yes, all this has happened already,
But I cannot tell when or where."
The people also produced a poet during this epoch and gave Koltsov a
successor, in the person of NIKITIN; his themes are taken straight
from life, and he became known through his patriotic songs written
during the Crimean War; but he is most successful in his descriptions
of nature, of sunset on the fields, and dawn, and the swallow's nest
in the grumbling mill. Two other poets, whose work became well known
later, but passed absolutely unnoticed in the sixties, were
SLUCHEVSKY, a philosophical poet, whose verse, excellent in
description, suffers from clumsiness in form, and APUKHTIN, whose
collected poems and ballads, although he began to write in 1859, were
not published until 1886. Apukhtin is a Parnassian. The bulk of his
work, though perfect in form, is uninteresting; but he wrote one or
two lyrics which have a place in any Russian Golden Treasury, and his
poems are largely read now.
In the eighties, a reaction against the anti-poetical tendency set in,
and poets began to spring up like mushrooms. Of these, the most
popular and the most remarkable is NADSON (1862-87); he died when he
was twenty-four, of consumption. Since then his verse has gone through
twenty-one editions, and 110,000 copies have been sold; ten editions
were published in his own lifetime. And there are innumerable musical
settings by various composers to his lyrics. His verse inaugurates a
new epoch in Russian poetry, the distinguishing features of which are
a great attention to form and _technique_, a Parnassian love of colour
and shape, and a deep melancholy.
Nadson sings the melancholy of youth, the dreams and disillusions of
adolescence, and the hopelessness of the stagnant atmosphere of
reaction to which he belonged. This last fact accounted in some
measure for his extraordinary popularity. But it was by no means its
sole cause; his verse is not only exquisite but magically musical, to
an extent which makes the verse of other poets seem a stuff of coarser
clay, and his pictures of nature, of spring, of night, and especially
of night in the Riviera (with a note of passionate home-sickness),
have the aromatic, intoxicating sweetness of syringa. Verse such as
this, sensitive, ultra-delicate, morbid, nervous, and pessimistic, is
bound to have the defects of its qualities, in a marked degree; one is
soon inclined to have enough of its sultry, oppressive atmosphere, its
delicate perfume, its unrelieved gloom and its music, which is nearly
always not only in a minor key but in the same key. Nobody was more
keenly aware of this than Nadson himself, and one of his most
beautiful poems begins thus--
"Dear friend, I know, I know, I only know too well
That my verse is barren of all strength, and pale, and delicate,
And often just because of its debility I suffer
And often weep in secret in the silence of the night."
And in another poem he writes his apology. He has never used verse as
a toy to chase tedium; the blessed gift of the singer has often been
to him an unbearable cross, and he has often vowed to keep silent;
but, if the wind blows, the Æolian harp must needs respond, and
streams of the hills cannot help rushing to the valley if the sun
melts the snow on the mountain tops. This apologia more than all
criticism defines his gift. His temperament is an Æolian harp, which,
whether it will or no, is sensitive to the breeze; its strings are
few, and tuned to one key; nevertheless some of the strains it has
sobbed have the stamp of permanence as well as that of ethereal magic.
The poets that come after Nadson belong to the present day; there are
many, and they increase in number every year. The so-called "decadent"
school were influenced by Shelley, Verlaine, and the French
symbolists; but there is nothing which is decadent in the ordinary
sense of the word in their verse. Their influence may not be lasting,
but they are factors in Russian literature, and some of them, SOLOGUB,
BRUSOV, BALMONT, and IVANOV, have produced work which any school would
be glad to claim. This is also true of ALEXANDER BLOCH, one of the
most original as well as one of the most exquisite of living Russian
poets.
CONCLUSION
With the death of Turgenev and Dostoyevsky, the great epoch of Russian
literature came to an end. A period of literary as well as of
political stagnation began, which lasted until the Russo-Japanese War.
This was followed by the revolutionary movement, which, in its turn,
produced a literary as well as a political chaos, the effect of which
and of the manifold reactions it brought about are still being felt.
It was only natural, if one considers the extent and the quality of
the productions of the preceding epoch, that the soil of literary
Russia should require a rest.
As it is, one can count the writers of prominence which the epoch of
stagnation produced on one's fingers--CHEKHOV, GARSHIN, KOROLENKO, and
at the end of the period MAXIME GORKY, and apart from them, in a
by-path of his own, MEREZHKOVSKY. Of these Chekhov and Gorky tower
above the others. Chekhov enlarged the range of Russian literature by
painting the middle-class and the _Intelligentsia_, and brought back
to Russian literature the note of humour; and Gorky broke altogether
fresh ground by painting the vagabond, the artisan, the tramp, the
thief, the flotsam and jetsam of the big town and the highway, and by
painting in a new manner.
Gorky's work came like that of Mr. Rudyard Kipling to England, as a
revelation. Not only did his subject matter open the doors on
dominions undreamed of, but his attitude towards life and that of his
heroes towards life seemed to be different from that of all Russian
novelists before his advent; and yet the difference between him and
his forerunners is not so great as it appears at first sight. It is
true that his rough and rebellious heroes, instead of playing the
Hamlet, or of finding the solution of life in charity and humility or
submission, are partisans of the survival of the fittest with a
vengeance, the survival of the strongest fist and the sharpest knife;
yet are these new heroes really so different from the uncompromising
type that we have already seen sharing one half of the Russian stage,
right through the story of Russian literature, from Bazarov back to
Peter the Great, and on whose existence was founded the remark that
Peter the Great was one of the ingredients in the Russian character?
Put Bazarov on the road, or Lermontov, or even Peter the Great, and
you get Gorky's barefooted hero.
Where Gorky created something absolutely new was in the surroundings
and in the manner of life which he described, and in the way he
described them; this is especially true of his treatment of nature:
for the first time in Russian prose literature, we get away from the
"orthodox" landscape of convention, and we are face to face with the
elements. We feel as if a new breath of air had entered into
literature; we feel as people accustomed to the manner in which the
poets treated nature in England in the eighteenth century must have
felt when Wordsworth, Byron, Shelley and Coleridge began to write.
Chekhov worked on older lines. He descends directly from Turgenev,
although his field is a different one. He, more than any other writer
and better than any other writer, painted the epoch of stagnation,
when Russia, as a Russian once said, was playing itself to death at
_vindt_ (an older form of _Bridge_). The tone of his work is grey, and
indeed resembles, as Tolstoy said, that of a photographer, by its
objective realism as well as by its absence of high tones; yet if
Chekhov is a photographer, he is at the same time a supreme artist, an
artist in black and white, and his pessimism is counteracted by two
other factors, his sense of humour and his humanity; were it not so,
the impression of sadness one would derive from the sum of misery
which his crowded stage of merchants, students, squires, innkeepers,
waiters, schoolmasters, magistrates, popes, officials, make up between
them, would be intolerable. Some of Chekhov's most interesting work
was written for the stage, on which he also brought Scenes of Country
Life, which is the sub-title of the play _Uncle Vanya_. There are the
same grey tints, the same weary, amiable, and slack people, bankrupt
of ideals and poor in hope, whom we meet in the stories; and here,
too, behind the sordid triviality and futility, we hear the "still sad
music of humanity." But in order that the tints of Chekhov's delicate
living and breathing photographs can be effective on the stage, very
special acting is necessary, in order to convey the quality of
atmosphere which is his special gift. Fortunately he met with exactly
the right technique and the appropriate treatment at the Art Theatre
at Moscow.
Chekhov died in 1904, soon after the Russo-Japanese War had begun.
Apart from the main stream and tradition of Russian fiction and
Russian prose, Merezhkovsky occupies a unique place, a place which
lies between criticism and imaginative historical fiction, not unlike,
in some respects--but very different in others--that which is occupied
by Walter Pater in English fiction. His best known work, at least his
best known work in Europe, is a prose trilogy, "The Death of the Gods"
(a study of Julian the apostate), "The Resurrection of the Gods" (the
story of Leonardo da Vinci), and "The Antichrist" (the story of Peter
the Great and his son Alexis), which has been translated into nearly
every European language. This trilogy is an essay in imaginative
historical reconstitution; it testifies to a real and deep culture,
and it is lit at times by flashes of imaginative inspiration which
make the scenes of the past live; it is alive with suggestive thought;
but it is not throughout convincing, there is a touch of Bulwer
Lytton as well as a touch of Goethe and Pater in it. Merezhkovsky is
perhaps more successful in his purely critical work, his books on
Tolstoy, Dostoyevsky and Gogol, which are infinitely stimulating,
suggestive, and original, than in his historical fiction, although,
needless to say, his criticism appeals to a far narrower public. He is
in any case one of the most brilliant and interesting of Russian
modern writers, and perhaps the best known outside Russia.
During the war, a writer of fiction made his name by a remarkable
book, namely KUPRIN, who in his novel, _The Duel_, gave a vivid and
masterly picture of the life of an officer in the line. Kuprin has
since kept the promise of his early work. At the same time, LEONID
ANDREEV came forward with short stories, plays, a description of war
(_The Red Laugh_), moralities, not uninfluenced by Maeterlinck, and a
limpid and beautiful style in which pessimism seemed to be speaking
its last word.
In 1905 the revolutionary movement broke out, with its great hopes,
its disillusions, its period of anarchy on the one hand and
repression on the other; out of the chaos of events came a chaos of
writing rather than literature, and in its turn this produced, in
literature as well as in life, a reaction, or rather a series of
reactions, towards symbolism, æstheticism, mysticism on the one hand,
and towards materialism--not of theory but of practice--on the other.
But since these various reactions are now going on, and are vitally
affecting the present day, the revolutionary movement of 1905 seems
the right point to take leave of Russian literature. In 1905 a new era
began, and what that era will ultimately produce, it is too soon even
to hazard a guess.
Looking back over the record of Russian literature, the first thing
which must strike us, if we think of the literature of other
countries, is its comparatively short life. There is in Russian
literature no Middle Ages, no Villon, no Dante, no Chaucer, no
Renaissance, no _Grand Siècle_. Literature begins in the nineteenth
century. The second thing which will perhaps strike us is that, in
spite of its being the youngest of all the literatures, it seems to be
spiritually the oldest. In some respects it seems to have become
over-ripe before it reached maturity. But herein, perhaps, lies the
secret of its greatness, and this may be the value of its contribution
to the soul of mankind. It is--
"Old in grief and very wise in tears":
and its chief gift to mankind is an expression, made with a
naturalness and sincerity that are matchless, and a love of reality
which is unique,--for all Russian literature, whether in prose or
verse, is rooted in reality--of that grief and that wisdom; the grief
and wisdom which come from a great heart; a heart that is large enough
to embrace the world and to drown all the sorrows therein with the
immensity of its sympathy, its fraternity, its pity, its charity, and
its love.
CHRONOLOGICAL TABLE
1113. _The Chronicle of Nestor._
1692. First play produced in Russia, Gregory.
Simeon Polotsky's _The Prodigal Son_ acted.
1703. The first Russian newspaper, _The Russian News_, appears.
1725. Death of Peter the Great.
Foundation of the Academy of Science.
1744. Death of Kantemir.
1750. Death of Tatishchev.
1755. University of Moscow founded.
1762. Accession of Catherine the Great.
1765. Death of Lomonosov.
1790. Radishchev's _Journey Through Russia_ published.
1796. Death of Catherine the Great.
1800. First edition of _The Story of the Raid of Prince Igor_
published.
1802. Zhukovsky translates Gray's _Elegy_.
Death of Radishchev.
1806. Krylov's first fables published.
1816. Death of Derzhavin.
_History of the Russian State_, by Karamzin, published.
1819. University of St. Petersburg founded.
1820. Pushkin's _Ruslan and Ludmila_ published.
1823. Griboyedov's _Misfortune of Being Clever_ circulated.
First Canto of _Eugene Onegin_ published.
1825. The Decembrist Attempt.
1826. Rileev hanged.
Death of Karamzin.
1827. Pushkin's _Gypsies_ published.
1829. Death of Griboyedov.
Pushkin's _Poltava_ published.
1831. Pushkin's _Boris Godunov_ published.
Complete version of _Eugene Onegin_ published.
1832. Gogol's _Evening on the Farm near the Dikanka_ published.
1834. Gogol's _Mirgorod_ published.
1835. Gogol's _Revisor_ produced on the stage.
1836. Chaadaev's letters published.
1837. Death of Pushkin.
1841. Death of Lermontov.
1842. Death of Koltsov.
Gogol's _Dead Souls_ published.
1844. Death of Krylov.
1847. Gogol's correspondence published.
Turgenev's _Sportsman's Sketches_ published.
Death of Belinsky.
1849. Dostoyevsky imprisoned.
1856-7. Saltykov's _Government Sketches_ appear.
1859. Ostrovsky's _Storm_ produced.
Goncharov's _Oblomov_ published.
1860. Turgenev's _Fathers and Sons_ published.
1861. Emancipation of the Serfs.
1862. Pisemsky's _Troubled Sea_ published.
1863. Chernyshevsky's _What is to be Done?_ published.
1865. Leskov's _No Way Out_ published.
1865-1872. Tolstoy's _War and Peace_ appeared.
1866. Dostoyevsky's _Crime and Punishment_ published.
1868. Dostoyevsky's _Idiot_ published.
1875. Death of Count Alexis Tolstoy.
1875-6. Tolstoy's _Anna Karenina_ published.
1877. Death of Nekrasov.
1881. Death of Dostoyevsky.
1883. Death of Turgenev.
1886. Death of Ostrovsky.
1887. Death of Nadson.
1889. Death of Saltykov.
1900. Death of Soloviev.
Production of Chekhov's _Chaika_ (Seagull).
1904. Production of Chekhov's _Cherry Orchard_.
Death of Chekhov.
1910. Death of Tolstoy.
INDEX
Acton, Lord, 146
Ainsworth, Harrison, 82
Aksakov, Ivan, 154
----, Serge, 154 f.
Alexander I, 9, 30 f., 44, 124, 169
---- II, 52, 153, 160, 179, 227
Alexis, Tsar, 23
Andreev, Leonid, 248
_Anna Karenina_, Tolstoy's, 205 f.
Apukhtin, 238
Arnold, Matthew, 123, 146, 226
Atheism and Socialism, 150 f.
Bakunin, 179, 180
Balfour, Mr. A. J., 182
Balmont, 242
Bariatinsky, Prince, 101
Batyushkov, 58
Baudelaire, 226
Beaconsfield, Lord, 146
Belinsky, 142, 150
_Bell, The_, Herzen edits, 151, 153, 180
Bloch, Alexander, 242
_Bogoiskateli_, 198, 199
Brontë, Charlotte, 222
----, Emily, 46
Brückner, Prof., 144, 145, 147, 214
Brusov, 242
Bulgaria, 12
Bulgaria, liberation of, 170, 171
Bürger's _Leonore_ translated into Russian, 52
Burns, Robert, 125
Byron, 61 f., 66, 67, 71, 72 (footnotes), 73, 98, 119, 123, 146
Byzantium, Emperor of, 11
Catherine I, 18 (footnote)
---- II, 27, 32, 33, 80, 155
Chaadaev, 148
Chekhov, 243, 244 f.
Chernyshevsky, 180, 181, 227
Chesterton, Mr. G. K., 182
Christianity of the East, 11
_Chronicle of Kiev_, the, 15 f.
_Chronicle of Nestor_, the, 15 f.
Church, the, influence on Russian literature, 11, 21
Constantine, 44
Corot, 226
Crabbe, Nekrasov and, 229 f.
Crimean War, the, 160, 202, 238
Danilevsky, 180
Daudet, 172
"Decembrist" rising, the, 44, 45, 61, 92
Delvig, Baron, 101
Demetrius, 21, 67
Derzhavin, 29, 56
Diderot, 27
Dobrolyubov, 180, 181, 227
Donne, John, 97
Dostoyevsky, 96, 99, 109, 143, 145, 160, 161, 164, 167, 173, 180,
192, 196 f., 200, 210 f., 220 f.
Eastern and Western Churches, schism of, 13, 22, 182, 183
Eliot, Sir Charles, 13
Elizabeth, Empress, 26
Emancipation of the serfs, the, 160, 227
Falconet's equestrian statue of Peter the Great, 85
Fet, 232 f.
Flaubert, 162, 204
French influence in Russia, 26
French Revolution, the, 27, 40, 159
Gagarin, Prince, 150
Garshin, 243
Gautier, 226
German influence in Russia, 26
Goethe, death of, 228
----, Pushkin's resemblance to, 92 f.
Gogol, Nicholas, 126 f., 190
Goncharov, 143, 176 f.
Gorky, Maxime, 164, 243, 244 f.
Gray's _Elegy_, Russian translations of, 52, 53
Gregory, Protestant pastor of the Sloboda, 23
Griboyedov, 45 f., 126, 191
Grigoriev, 179, 180
Grigorovich, 194, 195
Grimm's Fairy Tales, 84
Haumant, M., 168
Heckeren-Dantes' duel with Pushkin, 90
Heine, 98
Herzen, Alexander, 143, 150 f., 180
Hoffmann, 127
Homyakov, 154
Hugo, Victor, 117, 118, 172
Ivan III, 20, 21, 24
---- IV ("The Terrible"), 24, 67, 235
Ivanov, 242
_Jane Eyre_ cited, 222
Kantemir, Prince, 27
Karakozov, 153
Karamzin, 18, 32 f., 141
Katkov, 180, 182
Keats, 146
_Kidnapped_ (Stevenson's), 129
Kiev, destruction of, 19;
rebuilding of, 21
----, the mother of Russian culture, 10 f.
Kipling, Mr. Rudyard, 244
Koltsov, 124 f.
Korolenko, 243
Krylov, 34 f., 176 f.
Kuprin, 248
La Fontaine, 35 f.
Lang, Andrew, 128
Latin language taught in Moscow, 22
Le Maistre, Joseph, 148, 149
Leo X, 13
Lermontov, 102 f., 126
Leskov, vi, 189 f.
Lisle, Leconte de, 226
Literary criticism, 141
Liturgical books, revision of, 22
Lomonosov, Michael, 26, 29
Luther, 13
Lytton, Bulwer, 248
Maikov, 232
Maupassant, 128, 172
Meredith, George, 169, 172
Merezhkovsky, 147, 205, 243, 247 f.
Mérimée, 83, 141
Mill, John Stuart, 181
Mickiewicz, the Pole, 87
Montesquieu, 27
Morley, John, 146
Moscow, 10, 19, 21
Moscow Art Theatre, the, v, 221, 222, 247
----, European culture in, 23
_Moscow Journal_ founded by Karamzin, 32
Moscow, Pushkin's memorial at, 99, 220
----, schools in, 22
----, the fire of, 18
----, University of, 26
Mozart of Russian literature, the, 175
Musin-Pushkin, Count. _See_ Pushkin.
Musset, 118, 119
Mussorgsky, 67
Nadson, 239 f.
Napoleon, 30 f., 40, 111, 204
Nechaev, 218
Nekrasov, 229 f., 234
Nicholas, 44
Nicholas, Emperor, 160
Nicholas I, 103
Nihilism, 152, 163, 171, 173, 179, 217, 218, 227
Nikitin, 238
Norsemen in Russia, 10
_Odyssey_, the, Russian translation of, 52
Ostrovsky, 193 f.
Palæologa, Sophia, 21
Paris revolution of 1848, the, 159
Parnassian poetry, the epoch of, 226 f.
Pater, Walter, 247, 248
Paul, Emperor, 33
Peter the Great, 21, 24 f., 71, 85, 97
---- ---- of Poetry, the, 95
Petrashevsky and his followers, 159, 160
Pisarev, 180, 181, 227
Pisemsky, 191, 193
Poe, E. A., 86
Poland, 21, 24
Poland, the rising in, 180
Poles occupy Moscow, 24
Polevoy, 142
Polezhaev, 101
Polonsky, 232, 233 f.
Polotsky, Simeon, 22 f.
Preobrazhenskoe and its theatre, 23
Pre-Raphaelites, the, 226
Printing press, the first, 21
Propagandists of Western Ideas the, 148 f.
Prutkov, Kuzma. _See_ Tolstoy, Count Alexis.
Pugachev and the Cossack rising, 80
Pushkin vi, 18, 34, 41, 43, 50, 54 f., 109, 110, 123, 126, 132,
135, 138, 143, 162, 167, 220
Radishchev, 27 f.
Rakhmaninov, 81
Rimsky-Korsakov, 81
Rodionovna, Anna, 84, 85
Rome, Gogol settles in, 133
Rousseau, 27
Russia and political liberty, 148
----, Norsemen in, 10, 11
----, Tartar invasion of, 19, 24
----, the revolutionary movement of 1905, 243, 248, 249
Russian literature, beginnings of, 9 f.
---- ----, dawn of, 30 f.
---- ----, second renascence of, 159
---- ----, the age of prose, 126 f.
---- ----, the second age of poetry, 226 f.
---- newspaper, the first, 25
---- Nihilism. _See_ Nihilism.
---- trade centres, 10
Russia's national poet, 95
Russo-Japanese War, the, 243
Ryleev, 44
Sainte-Beuve, 146
St. Petersburg, 10
---- Jesuits, the, 148
----, the great floods of 1834, 85
Saltykov, Michael, vi, 184 f., 190 f.
Sand, George, 162
Schiller's _Maid of Orleans_, Russian translation of, 52
Schumann of Russian literature, the, 175
Seekers after God, 198
Serfs, emancipation of the, 160, 227
Shakespeare, Pushkin on, 65, 66
Shchedrin. _See_ Saltykov.
Siberia, Dostoyevsky at, 160, 213, 225
----, Radishchev at, 28
Slav race, the, 10 f.
Slavonic liturgy, introduction of, 12
Slavophiles, the, 143, 148, 152, 154, 159, 180, 228
Sluchevsky, 238
Socialism and Atheism, 150 f.
Society of Welfare, the, 43
Sologub, 242
Soloviev, Vladimir, 11, 93, 181 f.
Stebnitsky. _See_ Leskov.
Stendhal, 204
Stevenson, R. L., 127, 128, 129, 214
Strakhov, 180
Suffragettes, 163, 164
Sully-Prudhomme, 226
Suvorov, 30
Sviatoslav, 15, 16
Taine, 162
Tartar invasion of Russia, the, 19;
the Tartar yoke thrown off, 24
Tatishchev, 26
Tchaikovsky, 80, 236
Tennyson, Lord, 165, 166, 226
Thackeray, 172
Tolstoy, Count Alexis, 234 f.
----, Count Leo, 134, 161, 164, 170, 196 f., 211, 246
Turgenev, Ivan, 64, 161 f., 192
Tyutchev, 154, 228
Universal church, Soloviev's views on, 182-183
University of Moscow, the, 26, 251
Venevitinov, 101
Vienna, Congress of, 40, 43
Vigny, Alfred de, 202
Vinci, Leonardo da, 67
Virgil of Russian prose, the, 175
Vladimir, Prince of Kiev, 11
Volkonsky, Princess, 150
Voltaire, 27
Volynsky, 147
Vyatka, Saltykov banished to, 185
Vyazemsky, Prince, 141
_War and Peace_, publication of, 202 f.
Wells, Mr., 164
Wilson, John, 81
Woman's Suffrage, 182. _Cf._ Suffragettes.
Wordsworth, 120, 123
Yakovlev. _Cf._ Herzen, Alexander.
Yazykov, 101
Zhukovsky, Basil, 51 f., 83
Zola, 74, 204
_Richard Clay & Sons, Limited, London and Bungay._
The
Home University
Library of Modern Knowledge
_A Comprehensive Series of New
and Specially Written Books_
EDITORS:
Prof. GILBERT MURRAY, D.Litt., LL.D., F.B.A.
HERBERT FISHER, LL.D., F.B.A.
Prof. J. ARTHUR THOMSON, M.A., LL.D.
Prof. WILLIAM T. BREWSTER, M.A.
1/- net 256 Pages 2/6 net
in cloth in leather
_History and Geography_
3. _THE FRENCH REVOLUTION_
By HILAIRE BELLOC, M.A. (With Maps.) "It is coloured with all the
militancy of the author's temperament."--_Daily News._
4. _A SHORT HISTORY OF WAR AND PEACE_
By G. H. PERRIS. The Rt. Hon. JAMES BRYCE writes: "I have read it with
much interest and pleasure, admiring the skill with which you have
managed to compress so many facts and views into so small a volume."
8. _POLAR EXPLORATION_
By Dr W. S. BRUCE, F.R.S.E., Leader of the "Scotia" Expedition. (With
Maps.) "A very freshly written and interesting narrative."--_The
Times._
12. _THE OPENING-UP OF AFRICA_
By Sir H. H. JOHNSTON, G.C.M.G., F.Z.S. (With Maps.) "The Home
University Library is much enriched by this excellent work."--_Daily
Mail._
13. _MEDIÆVAL EUROPE_
By H. W. C. DAVIS, M.A. (With Maps.) "One more illustration of the
fact that it takes a complete master of the subject to write briefly
upon it."--_Manchester Guardian._
14. _THE PAPACY & MODERN TIMES (1303-1870)_
By WILLIAM BARRY, D.D. "Dr Barry has a wide range of knowledge and an
artist's power of selection."--_Manchester Guardian._
23. _HISTORY OF OUR TIME (1885-1911)_
By G. P. GOOCH, M.A. "Mr Gooch contrives to breathe vitality into his
story, and to give us the flesh as well as the bones of recent
happenings."--_Observer._
25. _THE CIVILISATION OF CHINA_
By H. A. GILES, LL.D., Professor of Chinese at Cambridge. "In all the
mass of facts, Professor Giles never becomes dull. He is always ready
with a ghost story or a street adventure for the reader's
recreation."--_Spectator._
29. _THE DAWN OF HISTORY_
By J. L. MYRES, M.A., F.S.A., Wykeham Professor of Ancient History,
Oxford. "There is not a page in it that is not suggestive."--_Manchester
Guardian._
33. _THE HISTORY OF ENGLAND_
_A Study in Political Evolution_
By Prof. A. F. POLLARD, M.A. With a Chronological Table. "It takes
its place at once among the authoritative works on English
history."--_Observer._
34. _CANADA_
By A. G. BRADLEY. "The volume makes an immediate appeal to the man who
wants to know something vivid and true about Canada."--_Canadian
Gazette._
37. _PEOPLES & PROBLEMS OF INDIA_
By Sir T. W. HOLDERNESS, K.C.S.I., Permanent Under-Secretary of State
of the India Office. "Just the book which newspaper readers require
to-day, and a marvel of comprehensiveness."--_Pall Mall Gazette._
42. _ROME_
By W. WARDE FOWLER, M.A. "A masterly sketch of Roman character and of
what it did for the world."--_The Spectator._
48. _THE AMERICAN CIVIL WAR_
By F. L. PAXSON, Professor of American History, Wisconsin University
(With Maps.) "A stirring study."--_The Guardian._
51. _WARFARE IN BRITAIN_
By HILAIRE BELLOC, M.A. "Rich in suggestion for the historical
student."--_Edinburgh Evening News._
55. _MASTER MARINERS_
By J. R. SPEARS. "A continuous story of shipping progress and
adventure.... It reads like a romance."--_Glasgow Herald._
61. _NAPOLEON_
By HERBERT FISHER, LL.D., F.B.A., Vice-Chancellor of Sheffield
University. (With Maps.) The story of the great Bonaparte's youth, his
career, and his downfall, with some sayings of Napoleon, a genealogy,
and a bibliography.
66. _THE NAVY AND SEA POWER_
By DAVID HANNAY. The author traces the growth of naval power from
early times, and discusses its principles and effects upon the history
of the Western world.
71. _GERMANY OF TO-DAY_
By CHARLES TOWER. "It would be difficult to name any better
summary."--_Daily News._
82. _PREHISTORIC BRITAIN_
By ROBERT MUNRO, M.A., M.D., LL.D., F.R.S.E. (Illustrated.)
91. _THE ALPS_
By ARNOLD LUNN, M.A. (Illustrated.)
92. _CENTRAL & SOUTH AMERICA_
By PROFESSOR W. R. SHEPHERD. (Maps.)
97. _THE ANCIENT EAST_
By D. G. HOGARTH, M.A. (Maps.)
98. _THE WARS between ENGLAND and AMERICA_
By Prof. T. C. SMITH.
100. _HISTORY OF SCOTLAND_
By Prof. R. S. RAIT.
_Literature and Art_
2. _SHAKESPEARE_
By JOHN MASEFIELD. "We have had more learned books on Shakespeare in
the last few years, but not one so wise."--_Manchester Guardian._
27. _ENGLISH LITERATURE: MODERN_
By G. H. MAIR, M.A. "Altogether a fresh and individual
book."--_Observer._
35. _LANDMARKS IN FRENCH LITERATURE_
By G. L. STRACHEY. "It is difficult to imagine how a better account of
French Literature could be given in 250 small pages."--_The Times._
39. _ARCHITECTURE_
By Prof. W. R. LETHABY. (Over forty Illustrations.) "Delightfully
bright reading."--_Christian World._
43. _ENGLISH LITERATURE: MEDIÆVAL_
By Prof. W. P. KER, M.A. "Prof. Ker's knowledge and taste are
unimpeachable, and his style is effective, simple, yet never
dry."--_The Athenæum._
45. _THE ENGLISH LANGUAGE_
By L. PEARSALL SMITH, M.A. "A wholly fascinating study of the
different streams that make the great river of the English
speech."--_Daily News._
52. _GREAT WRITERS OF AMERICA_
By Prof. J. ERSKINE and Prof. W. P. TRENT. "An admirable summary, from
Franklin to Mark Twain, enlivened by a dry humour."--_Athenæum._
63. _PAINTERS AND PAINTING_
By Sir FREDERICK WEDMORE. (With 16 half-tone illustrations.) From the
Primitives to the Impressionists.
64. _DR JOHNSON AND HIS CIRCLE_
By JOHN BAILEY, M.A. "A most delightful essay."--_Christian World._
65. _THE LITERATURE OF GERMANY_
By Professor J. G. ROBERTSON, M.A., Ph.D. "Under the author's skilful
treatment the subject shows life and continuity."--_Athenæum._
70. _THE VICTORIAN AGE IN LITERATURE_
By G. K. CHESTERTON. "No one will put it down without a sense of
having taken a tonic or received a series of electric shocks."--_The
Times._
73. _THE WRITING OF ENGLISH_
By W. T. BREWSTER, A.M., Professor of English in Columbia University.
"Sensible, and not over-rigidly conventional."--_Manchester Guardian._
75. _ANCIENT ART AND RITUAL_
By JANE E. HARRISON, LL.D., D.Litt. "Charming in style and learned in
manner."--_Daily News._
76. _EURIPIDES AND HIS AGE_
By GILBERT MURRAY, D.Litt., LL.D., F.B.A., Regius Professor of Greek
at Oxford. "A beautiful piece of work.... Just in the fulness of time,
and exactly in the right place.... Euripides has come into his
own."--_The Nation._
87. _CHAUCER AND HIS TIMES_
By GRACE E. HADOW.
89. _WILLIAM MORRIS: HIS WORK AND INFLUENCE_
By A. CLUTTON BROCK.
93. _THE RENAISSANCE_
By EDITH SICHEL.
95. _ELIZABETHAN LITERATURE_
By J. M. ROBERTSON, M.P.
99. _AN OUTLINE OF RUSSIAN LITERATURE_
By Hon. MAURICE BARING.
_Science_
7. _MODERN GEOGRAPHY_
By Dr MARION NEWBIGIN. (Illustrated.) "Geography, again: what a dull,
tedious study that was wont to be!... But Miss Marion Newbigin invests
its dry bones with the flesh and blood of romantic interest."--_Daily
Telegraph._
9. _THE EVOLUTION OF PLANTS_
By Dr D. H. SCOTT, M.A., F.R.S., late Hon. Keeper of the Jodrell
Laboratory, Kew. (Fully illustrated.) "Dr Scott's candid and
familiar style makes the difficult subject both fascinating and
easy."--_Gardeners' Chronicle._
17. _HEALTH AND DISEASE_
By W. LESLIE MACKENZIE, M.D., Local Government Board, Edinburgh.
18. _INTRODUCTION TO MATHEMATICS_
By A. N. WHITEHEAD, Sc.D., F.R.S. (With Diagrams.) "Mr Whitehead has
discharged with conspicuous success the task he is so exceptionally
qualified to undertake. For he is one of our great authorities upon
the foundations of the science."--_Westminster Gazette._
19. _THE ANIMAL WORLD_
By Professor F. W. GAMBLE, F.R.S. With Introduction by Sir Oliver
Lodge. (Many Illustrations.) "A fascinating and suggestive
survey."--_Morning Post._
20. _EVOLUTION_
By Professor J. ARTHUR THOMSON and Professor PATRICK GEDDES. "A
many-coloured and romantic panorama, opening up, like no other book we
know, a rational vision of world-development."--_Belfast News-Letter._
22. _CRIME AND INSANITY_
By Dr C. A. MERCIER. "Furnishes much valuable information from one
occupying the highest position among medico-legal psychologists."--_Asylum
News._
28. _PSYCHICAL RESEARCH_
By Sir W. F. BARRETT, F.R.S., Professor of Physics, Royal College of
Science, Dublin, 1873-1910. "What he has to say on thought-reading,
hypnotism, telepathy, crystal-vision, spiritualism, divinings, and so
on, will be read with avidity."--_Dundee Courier._
31. _ASTRONOMY_
By A. R. HINKS, M.A., Chief Assistant, Cambridge Observatory.
"Original in thought, eclectic in substance, and critical in
treatment.... No better little book is available."--_School World._
32. _INTRODUCTION TO SCIENCE_
By J. ARTHUR THOMSON, M.A., Regius Professor of Natural History,
Aberdeen University. "Professor Thomson's delightful literary style is
well known; and here he discourses freshly and easily on the methods
of science and its relations with philosophy, art, religion, and
practical life."--_Aberdeen Journal._
36. _CLIMATE AND WEATHER_
By Prof. H. N. DICKSON, D.Sc.Oxon., M.A., F.R.S.E., President of the
Royal Meteorological Society. (With Diagrams.) "The author has
succeeded in presenting in a very lucid and agreeable manner the
causes of the movements of the atmosphere and of the more stable
winds."--_Manchester Guardian._
41. _ANTHROPOLOGY_
By R. R. MARETT, M.A., Reader in Social Anthropology in Oxford
University. "An absolutely perfect handbook, so clear that a child
could understand it, so fascinating and human that it beats fiction
'to a frazzle.'"--_Morning Leader._
44. _THE PRINCIPLES OF PHYSIOLOGY_
By Prof. J. G. MCKENDRICK, M.D. "Upon every page of it is stamped the
impress of a creative imagination."--_Glasgow Herald._
46. _MATTER AND ENERGY_
By F. SODDY, M.A., F.R.S. "Prof. Soddy has successfully accomplished
the very difficult task of making physics of absorbing interest on
popular lines."--_Nature._
49. _PSYCHOLOGY, THE STUDY OF BEHAVIOUR_
By Prof. W. MCDOUGALL, F.R.S., M.B. "A happy example of the
non-technical handling of an unwieldy science, suggesting rather than
dogmatising. It should whet appetites for deeper study."--_Christian
World._
53. _THE MAKING OF THE EARTH_
By Prof. J. W. GREGORY, F.R.S. (With 38 Maps and Figures.) "A
fascinating little volume.... Among the many good things contained in
the series this takes a high place."--_The Athenæum._
57. _THE HUMAN BODY_
By A. KEITH, M.D., LL.D., Conservator of Museum and Hunterian
Professor, Royal College of Surgeons. (Illustrated.) "It literally
makes the 'dry bones' to live. It will certainly take a high place
among the classics of popular science."--_Manchester Guardian._
58. _ELECTRICITY_
By GISBERT KAPP, D.Eng., Professor of Electrical Engineering in the
University of Birmingham. (Illustrated.) "It will be appreciated
greatly by learners and by the great number of amateurs who are
interested in what is one of the most fascinating of scientific
studies."--_Glasgow Herald._
62. _THE ORIGIN AND NATURE OF LIFE_
By Dr BENJAMIN MOORE, Professor of Bio-Chemistry, University College,
Liverpool. "Stimulating, learned, lucid."--_Liverpool Courier._
67. _CHEMISTRY_
By RAPHAEL MELDOLA, F.R.S., Professor of Chemistry in Finsbury
Technical College, London. Presents clearly, without the detail
demanded by the expert, the way in which chemical science has
developed, and the stage it has reached.
72. _PLANT LIFE_
By Prof. J. B. FARMER, D.Sc., F.R.S. (Illustrated.) "Professor Farmer
has contrived to convey all the most vital facts of plant physiology,
and also to present a good many of the chief problems which confront
investigators to-day in the realms of morphology and of
heredity."--_Morning Post._
78. _THE OCEAN_
A General Account of the Science of the Sea. By Sir JOHN MURRAY,
K.C.B. F.R.S. (Colour plates and other illustrations.)
79. _NERVES_
By Prof. D. FRASER HARRIS, M.D., D.Sc. (Illustrated.) A description,
in non-technical language, of the nervous system, its intricate
mechanism and the strange phenomena of energy and fatigue, with some
practical reflections.
86. _SEX_
By Prof. PATRICK GEDDES and Prof. J. ARTHUR THOMSON, LL.D. (Illus.)
88. _THE GROWTH OF EUROPE_
By Prof. GRENVILLE COLE, (Illus.)
_Philosophy and Religion_
15. _MOHAMMEDANISM_
By Prof. D. S. MARGOLIOUTH, M.A., D.Litt. "This generous shilling's
worth of wisdom.... A delicate, humorous, and most responsible
tractate by an illuminative professor."--_Daily Mail._
40. _THE PROBLEMS OF PHILOSOPHY_
By the Hon. BERTRAND RUSSELL, F.R.S. "A book that the 'man in the
street' will recognise at once to be a boon.... Consistently lucid and
non-technical throughout."--_Christian World._
47. _BUDDHISM_
By Mrs RHYS DAVIDS, M.A. "The author presents very attractively as
well as very learnedly the philosophy of Buddhism."--_Daily News._
50. _NONCONFORMITY: Its ORIGIN and PROGRESS_
By Principal W. B. SELBIE, M.A. "The historical part is brilliant in
its insight, clarity, and proportion."--_Christian World._
54. _ETHICS_
By G. E. MOORE, M.A., Lecturer in Moral Science in Cambridge
University. "A very lucid though closely reasoned outline of the logic
of good conduct."--_Christian World._
56. _THE MAKING OF THE NEW TESTAMENT_
By Prof. B. W. BACON, LL.D., D.D. "Professor Bacon has boldly, and
wisely, taken his own line, and has produced, as a result, an
extraordinarily vivid, stimulating, and lucid book."--_Manchester
Guardian._
60. _MISSIONS: THEIR RISE and DEVELOPMENT_
By Mrs CREIGHTON. "Very interestingly done.... Its style is simple,
direct, unhackneyed, and should find appreciation where a more
fervently pious style of writing repels."--_Methodist Recorder._
68. _COMPARATIVE RELIGION_
By Prof. J. ESTLIN CARPENTER, D.Litt., Principal of Manchester
College, Oxford. "Puts into the reader's hand a wealth of learning and
independent thought."--_Christian World._
74. _A HISTORY OF FREEDOM OF THOUGHT_
By J. B. BURY, Litt.D., LL.D., Regius Professor of Modern History at
Cambridge. "A little masterpiece, which every thinking man will
enjoy."--_The Observer._
84. _LITERATURE OF THE OLD TESTAMENT_
By Prof. GEORGE MOORE, D.D., LL.D., of Harvard. A detailed examination
of the books of the Old Testament in the light of the most recent
research.
90. _THE CHURCH OF ENGLAND_
By Canon E. W. WATSON, Regius Professor of Ecclesiastical History at
Oxford.
94. _RELIGIOUS DEVELOPMENT BETWEEN THE OLD AND NEW TESTAMENTS_
By Canon R. H. CHARLES, D.D., D.Litt.
_Social Science_
1. _PARLIAMENT_
Its History, Constitution, and Practice. By Sir COURTENAY P. ILBERT,
G.C.B., K.C.S.I., Clerk of the House of Commons. "The best book on the
history and practice of the House of Commons since Bagehot's
'Constitution.'"--_Yorkshire Post._
5. _THE STOCK EXCHANGE_
By F. W. HIRST, Editor of "The Economist." "To an unfinancial mind
must be a revelation.... The book is as clear, vigorous, and sane as
Bagehot's 'Lombard Street,' than which there is no higher
compliment."--_Morning Leader._
6. _IRISH NATIONALITY_
By Mrs J. R. GREEN. "As glowing as it is learned. No book could be
more timely."--_Daily News._
10. _THE SOCIALIST MOVEMENT_
By J. RAMSAY MACDONALD, M.P. "Admirably adapted for the purpose of
exposition."--_The Times._
11. _CONSERVATISM_
By LORD HUGH CECIL, M.A., M.P. "One of those great little books which
seldom appear more than once in a generation."--_Morning Post._
16. _THE SCIENCE OF WEALTH_
By J. A. HOBSON, M.A. "Mr J. A. Hobson holds an unique position among
living economists.... Original, reasonable, and illuminating."--_The
Nation._
21. _LIBERALISM_
By L. T. HOBHOUSE, M.A., Professor of Sociology in the University of
London. "A book of rare quality.... We have nothing but praise for the
rapid and masterly summaries of the arguments from first principles
which form a large part of this book."--_Westminster Gazette._
24. _THE EVOLUTION OF INDUSTRY_
By D. H. MACGREGOR, M.A., Professor of Political Economy in the
University of Leeds. "A volume so dispassionate in terms may be read with
profit by all interested in the present state of unrest."--_Aberdeen
Journal._
26. _AGRICULTURE_
By Prof. W. SOMERVILLE, F.L.S. "It makes the results of laboratory work
at the University accessible to the practical farmer."--_Athenæum._
30. _ELEMENTS OF ENGLISH LAW_
By W. M. GELDART, M.A., B.C.L., Vinerian Professor of English Law at
Oxford. "Contains a very clear account of the elementary principles
underlying the rules of English Law."--_Scots Law Times._
38. _THE SCHOOL: An Introduction to the Study of Education._
By J. J. FINDLAY, M.A., Ph.D., Professor of Education in Manchester
University. "An amazingly comprehensive volume.... It is a remarkable
performance, distinguished in its crisp, striking phraseology as well
as its inclusiveness of subject-matter."--_Morning Post._
59. _ELEMENTS OF POLITICAL ECONOMY_
By S. J. CHAPMAN, M.A., Professor of Political Economy in Manchester
University. "Its importance is not to be measured by its price.
Probably the best recent critical exposition of the analytical method
in economic science."--_Glasgow Herald._
69. _THE NEWSPAPER_
By G. BINNEY DIBBLEE, M.A. (Illustrated.) The best account extant of
the organisation of the newspaper press, at home and abroad.
77. _SHELLEY, GODWIN, AND THEIR CIRCLE_
By H. N. BRAILSFORD, M.A. "Mr Brailsford sketches vividly the
influence of the French Revolution on Shelley's and Godwin's England;
and the charm and strength of his style make his book an authentic
contribution to literature."--_The Bookman._
80. _CO-PARTNERSHIP AND PROFIT-SHARING_
By ANEURIN WILLIAMS, M.A. "A judicious but enthusiastic history, with much
interesting speculation on the future of Co-partnership."--_Christian
World._
81. _PROBLEMS OF VILLAGE LIFE_
By E. N. BENNETT, M.A. Discusses the leading aspects of the British
land problem, including housing, small holdings, rural credit, and the
minimum wage.
83. _COMMON-SENSE IN LAW_
By Prof. P. VINOGRADOFF, D.C.L.
85. _UNEMPLOYMENT_
By Prof. A. C. PIGOU, M.A.
96. _POLITICAL THOUGHT IN ENGLAND: FROM BACON TO HALIFAX_
By G. P. GOOCH, M.A.
IN PREPARATION
_ANCIENT EGYPT._ By F. LL. GRIFFITH, M.A.
_A SHORT HISTORY OF EUROPE._ By HERBERT FISHER, LL.D.
_THE BYZANTINE EMPIRE._ By NORMAN H. BAYNES.
_THE REFORMATION._ By President LINDSAY, LL.D.
_A SHORT HISTORY OF RUSSIA._ By Prof. MILYOUKOV.
_MODERN TURKEY._ By D. G. HOGARTH, M.A.
_FRANCE OF TO-DAY._ By ALBERT THOMAS.
_HISTORY AND LITERATURE OF SPAIN._ By J. FITZMAURICE-KELLY, F.B.A.,
Litt.D.
_LATIN LITERATURE._ By Prof. J. S. PHILLIMORE.
_ITALIAN ART OF THE RENAISSANCE._ By ROGER E. FRY.
_LITERARY TASTE._ By THOMAS SECCOMBE.
_SCANDINAVIAN HISTORY & LITERATURE._ By T. C. SNOW.
_THE MINERAL WORLD._ By Sir T. H. HOLLAND, K.C.I.E., D.Sc.
_A HISTORY OF PHILOSOPHY._ By CLEMENT WEBB, M.A.
_POLITICAL THOUGHT IN ENGLAND: From Bentham to J. S. Mill._ By Prof.
W. L. DAVIDSON.
_POLITICAL THOUGHT IN ENGLAND: From Herbert Spencer to To-day._ By
ERNEST BARKER, M.A.
_THE CRIMINAL AND THE COMMUNITY._ By Viscount ST. CYRES.
_THE CIVIL SERVICE._ By GRAHAM WALLAS, M.A.
_THE SOCIAL SETTLEMENT._ By JANE ADDAMS and R. A. WOODS.
_GREAT INVENTIONS._ By Prof. J. L. MYRES, M.A., F.S.A.
_TOWN PLANNING._ By RAYMOND UNWIN.
London: WILLIAMS AND NORGATE
_And of all Bookshops and Bookstalls._
Transcriber's Note
Minor punctuation errors and printer errors (omitted or transposed
letters) have been repaired. Hyphenation has been made consistent.
The following amendments have also been made:
Page 22--mas amended to was--"... but in the interest of
literature, it was a misfortune ..."
Page 192--be amended to he--"... disbelieved in
Liberals, although he believed in Liberalism; ..."
Page 222--Brönte's amended to Brontë's--"These words,
spoken by Charlotte Brontë's _Jane Eyre_, ..."
Page 251--Simon amended to Simeon--"1692. ... Simeon
Polotsky's _The Prodigal Son_ acted."
End of Project Gutenberg's An Outline of Russian Literature, by Maurice Baring