The daily worker. [volume] (Chicago, Ill.) 1924-1958, 1928-03-24

among tnem, WIN
GoRh its party, Narod
maya Volya (Freedom of the People,,
went out among the people in order
to stir up the oppressed masses, par
ticularly the peasants, against the
hated czarist despotism. The most
heroic act of Narodnaya Volya was
the assassination of Gar Alexander
II in 1881. But instead of putting an
end to the czarist despotism, the as
sassination of Alexander II really
put an end to the illusions that ter
rorism on the part of individual
heroes against individual representa-
tives of the old order was the most
effective revolutionary weapon for
the liberation of the masses. In adj
dition, it laid bare the essential uto-
pianism' of the Populists' belief that
Russia could avoid the capitalist-par-
liamentary development of the West
ern European countries and could, via
the primitive peasant community,
leap into the socialist paradise.
The assassination of Gear Alexan-
der II not only failed to alter the form
of government or to institute more
liberal regime, but it strengthened
the reactionary forces. And the pea
santry, who were looked upon as the
standard-bearers of socialism, did not
awaken to a new life, but remained
sunk in serfdom and darkness. All
of which gave rise to a mood of de-
preston among the Russian intelli-
gentsia, mood which was most vivid
~ reflected in the literature. Instead
of the former optimism and assur-
ance there arose a spirit of pessimism
and despair. Social themes of broad
scope were abandoned for narrow, in
Prospective soul-probings; conscious
ness of aims was supplanted by a
drifting instability, and from sane
< grasp of life, a rational approach to
world and to man, the writers sank
into the Dogs of mysticism.
This period in Russian literature
has been best characterized by it's
most distinguished representative,
Anton Chellhov. Chekhov complained
that he and his colleagues were feed
ing their readers with sweet lemon
ade, that in their works there was
something missing" Discussing the
writers of the generation before his,
Chekhov pointed out that they seem
TO be always going somewhere and
urging us to go there too, and we feel,
not with our reason alone, but with
our whole beings, that they have some
goal in view" Among u.s." Chekhov
wrote, "there are neither near nor
distant goals, and in our souls are
emptiness and desolation. We take
no part in politics and have no faith
in revolution"
This criticism of his age was made
by Chekhov in the early nineties of
the last4entury at time when the
cloud of depression that had hung
over the Russian intelligentsia was
beginning to lift and a revival of
spirit was entering into the social life
of Russia. This revival was brought
about by the birth of the revolution
airy socialist movement; for above the
growth of capitalism the disillusioned
intelligentsia was beginning to hear
the footsteps of the young struggling
proletariat. And like a sensitive Their
mometer of life, literature began to
reflect the new mood so that even in
Chekhov's writing there sounded a
more hopeful note. But it was out
of the work of Maxim Gorky that new
themes Of joy and exuberance burst
DANGEROUSLY forth.
ii.
Maxim Gorky appeared upon the
literary scene in the early nineties of
the last century lust about the time
that Chekhov was complaining about
the purposelessness and pessimism of
Russian literature. In his very first
story, "Makar Tchudra," Gorky called
to sun and light and deeds of dar-
ing. And in it was clearly revealed
that an artist had come who was sat-
urated with the joy Of life.
The old Gypsy, Makar Tchudra,
who looked after herd of horses on
the steppe close to the sea, related to
Maxim his merry old legends about
proud beauties and folk birds who
loved freedom more than life or love.
Then followed other stories
that Maxim heard in the mountains,
at the sea or on the steppe before
the open fire. There came legends