# The Russian Review/Volume 1/March 1916/Literary Notes

Literary Notes.
Mystic Russia.
There are two Russias in existence. One is the Russia of the sturdy, enterprising classes, of the progressive elements in every walk of life, fully alive to the opportunities of modern civilization; the Russia of the "intellectuals," of the enthusiastic and productive Zemstvo-workers in the field of education and social amelioration, school reform, co-operative movements, workingmen's and peasants' organizations. This Russia is revealed to us through the her rapid industrial growth, through her whole political and social development.
But there is also another Russia, and the two seem to be thriving more or less harmoniously within the bounds of the vast Eurasian Empire. The second Russia is that of the "Old Believers," of the fanatical haters of Europe's culture, civilization, and democracy. It is a truly mystic Russia, and its philosophy has never yet been adequately presented to the European or American reader.
There was a time, in the history of Russia's intellectual development, when some of the ablest exponents of Russian thought supported those conception of social and political inertness which usually go under the name of the Oriental philosophy of life. That time is now past. Only here and there do we come across exponents of this Eastern philosophy who are still seeking a definition of the "truly Russian idea," which is so different from the conception of the rest of the world.
Mr. Stephen Graham seems to have been attracted by this side of Russia, and, in his new book, appears to be an ardent believer in the idea that Russia is destined to follow a different road of progress from that followed by the other nations of the world. The charms of the peculiar traits in Russia's national character and life are never lost sight of throughout his fascinating book of travel. In his impression of old Russia, he portrays most vividly the conception of life as held by that peculiar "mystic" element of the Russian nation. Surely, this element could not find a more sympathetic, clear, and powerful presentation of its case before the bar of the world's public opinion.
Mr. Graham has travelled throughout the length and breadth of Russia. He went to the far East, to Siberia, and to the far North, to Archangel. He observed the Russian pilgrims, wandering thousands of miles in order to reach Novaya Zemlia, the silent snow-bound island of trappers and hunters to which steamers come but once a year. He followed the "pereselentzi," those migratory groups, wandering out to the extremities of Russia, and extending her inhabited territory to the east, and to the south, and to the north.
A keen observer, he was fascinated by the genuineness of the Christian spirit as it exists in Russia, and by the profound contrasts and contradictions that thrive side by side, as though vast Russia were the veritable home of toleration in every ​walk of life. And he comes to the conclusion that the ideas which are in contrast with each other are fundamental: they are East and West, Materialism and Mysticism.
There is one chapter in Mr. Graham's book, to which a Russian, free from fanatical chauvinism, would take exception. It is his chapter on "The Russian Idea" in which the author says that Russia's literature, art, music, philosophy, religion, theatre, and dancing are intrinsically Russian, that no Poles, Finns, Jews, Armenians, Germans, or Kirghiz contributed anything to them. Unfortunately, Mr. Graham was badly misinformed on this point. There are many names famous in Russian letters, art, and science, which are those of persons of non-Slavic descent. Nadson, Weinberg, Aisman, Tan, in literature; Levitan, Kuindgi, Antakolsky, and Ilia Ginsburg, in art; Rubinstein, Satz, and Auer, in music; Meyerchold and Bakst in the dramatic and terpsichorean art; Prof. Chvolson and Harkavi in science; Aichenvald, Gershenson, Gornfeld, in journalism, are all of Jewish, Greek, or German descent; yet their contribution to the treasure-house of Russian thought is no less on this account. That same mystic Eastern philosophy, which holds such infinite charms for Mr. Graham, had two prominent interpreters, N. Minsky and Volynsky, who did not boast of a Slavic pedigree.
Even the father of Russian poetry, Alexander Pushkin, had Arab blood in his veins. Count Leo Tolstoy's mother was German. Kuprin and Artzibashev, two very prominent figures in the literature of to-day, are of Tartar extraction.
Every nationality in Russia has contributed to the intellectual wealth of the country, and it is in this blending of the whole country's thought that lies the glorious promise of a great Russia,—a promise that is bound to be fulfilled when the spirit of intellectual lethargy is conquered, and mystic Russia awakens from her slumber.
M. V.
Chekhov's Plays in English.
This volume, together with the first series of Chekhov's plays, offers to the American reader the complete works of Anton Chekhov. The second series is of special interest, as it contains, with two or three exceptions, translations that have never before been issued in book form, either in this country or in England. The only play in the book—and there are eight, all told,—that is easily accessible elsewhere, is "The Cherry Orchard."
Mr. West does well to give us, as his first offering, a translation of "On The High Road," the original manuscript of which was discovered only last year. So that this, the earliest of Chekhov's dramatic works, is new even to Russian readers. "On The High Road" is called by the author "a dramatic study." The scene is laid in the bar-room of an inn which is filled with pilgrims, drunkards, and others. The play is a grim bit, reminding one in its setting and atmosphere, of Gorky's "Night Shelter." As the reader may expect, there is little external action. The play is a study of the character of Bortsov, now a human derelict, but formerly a wealthy landowner. Bortsov's downfall was due to his wife,—a frivolous woman, as totally lacking in ​sympathy as is her husband in strength of character. The pitiful story of the undoing of this man is related to the motley company at the inn by a former servant of Bortsov. Then the lady herself appears. Her carriage has broken down, and she seeks shelter from the storm. Bortsov speaks to his wife, and appeals for a word of recognition. But she turns away, unmoved. And the sight of her heartlessness arouses all the bitterness pent-up in the breast of another bit of human wreckage, a tramp ruined by a heartless world. In this scene, poignant in its grim realism, there is a fine contrast of character between the two men.
The volume contains three farces: "The Proposal," "The Wedding," and "The Bear." These, too, are early works, and are characterized by a lightness of touch and a gentle playfulness of humor which Chekhov seems to have lost in later years. "The Proposal" unfolds all the petty details, the mean trivialities that come up between a man eager to propose, and a girl eager to dispose. The piece may be regarded as a preliminary study of the wedded life of the pair. The lady's father, Chubukov, and the lover, Iomov, have an exchange of pleasantries in the course of which the reader learns some interesting details of their private and family history. As Chubukov says, "Well that's a way to start your family bliss."
"The Bear" is a brief sketch of a stormy but successful courting, and the remaining farce, "The Wedding," describes a stormy wedding-supper.
Next to "The Cherry Orchard," the most important play in the volume is "The Three Sisters." It is a play that reveals the intense monotony of provincial life. As such, it is peculiarly characteristic of Chekhov's style. The three sisters have lived a colorless repressed life. Into the quiet of their lives enters, for a brief space, a great excitement and a great unrest. A regiment of soldiers stops at the village for a brief time. Then the soldiers leave, and the old inanity settles down again. A double grayness follows the brief flash of life and color.
This play, and "The Cherry Orchard," reveals the full mastery of Chekhov's delicate and refined art. He is the poet of the commonplace, and raises the threadbare to the height of dramatic action. He depicts his characters and unfolds his scenes with the light grace and the subtle touch of a skilled etcher. It is true that Chekhov does not set himself the task of attaining a philosophy of life. Perhaps he is an "inconclusive"; but as an artist his touch is sure, and his instinct infallible. He is the most truly original of all the later Russian writers. Those interested in Russian literature have every reason to congratulate themselves that they may possess, at last, the whole dramatic work of this greatest of the "modern" Russians.
L. S. F.
A book that well merits translation into Russian is Clayton S. Cooper's "American Ideals." It helps to explain the American to himself, and should have every opportunity of making clear the meaning of America to those who have come to our shores from other lands. The author starts out by asking the question: "What is an American?" ​and answers, "The personification of activity," "The apostle of bigness," "The worshipper of success," not for its own sake, but as a means to the attaining of higher ideals. The author describes our countrymen as utilitarian idealists,—men who have a clear sense of reality, and a saving sense of humor.
From this standpoint of common sense, the great ideal is "the square deal, both ways." How this ideal will, in time, bring us to true comprehension of the term equality (which may be defined as a square deal, both ways) is suggested in the work.
After comparing our ideals with those of England, and with those of the Orient, the author states that "Education is the American passion,"— the teacher is the starting point.
The chapter that will be of especial interest to Russians in this country is the one dealing with the American attitude to the immigrant. This section contains a discussion of the forces that make our country a great assimilator. An unusually interesting feature of this book is the summary of a symposium conducted by the author on the question of American Ideals. One hundred answers to this vital question are analyzed and tabulated, and the findings are highly important. One is glad to learn, in these troublous times, that our final ideals are peace and humanity. These are the great hopes of our land, which, as the author says, is "the providential Republic."