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Leonid Andreyev was born in Orel, the capital of the Russian province of the same name, on August 21, 1871. He was ten years younger than his future patron and friend Maxim Gorki. He died on September 12, 1919, in Finland, an exile from his beloved chaos-ridden fatherland.

His father, a Russian of pure blood, by profession a surveyor, was a man of extraordinary physical vigor. He died at the early age of 42 as the result of a brain-stroke. His mother, a woman of much refinement and culture, was of Polish ancestry.

The earliest years of Andreyev's life were spent in close affiliation with the stage, through the personal acquaintance of his parents with the leading stage folks of the province.

He was a poor scholar and loved to play "hookey," preferring the great outdoors to the crowded class-room. His marks were very poor as the result. But he was a voracious reader of literature. His latter years in high school (gymnasium) were influenced by Tolstoy's works on non-resistance, by Schopenhauer, and by the first works of Maxim Gorki. The death of his father and the seeds of the pessimistic philosophy gave the inner life of the budding novelist a morose and pessimistic direction. In his teens Leonid Andreyev made three unsuccessful attempts at suicide.

It has been the fate of Leonid Andreyev to live through four distinct phases of Russian history, each of which has contributed to the shaping of his art.

In the latter eighties and the early nineties he had passed through one of the most disheartening periods in the life of the Russian people, when under the crushing heel of the despotic Tsar Alexander III all initiative and all aspirations of the mind were ruthlessly stifled. It was the period of shameful and soulless years, with miserable people, relentless persecutors, obedient slaves and a few hunted rebels.

The horror of this era of nightmare weighed heavily on the sensitive soul of young Andreyev and he attempted suicide in 1894 by shooting himself near the heart. The attempt was unsuccessful, but left behind an affliction of the heart, of which he died twenty-five years later.

In his student years (Andreyev took up the study of law in the University of Moscow) he fell under the influence of Tchekhov and of Gorki. Andreyev did not in his earlier years dream of becoming a writer. His interest in art led him to painting and his pictures were exhibited in the independent salons and much praised. His early stories were printed in the newspapers of Moscow under the nom-de-plume of James Lynch.

Andreyev's first story printed under that nom-de-plume in 1898 aroused the interest of Maxim Gorki, who sought out the future novelist and aided him greatly with advice and suggestions.

But between the two—between the singer of the people, the singer of humanity—Gorki, on the one hand, and the artist of individuality, the painter of thought, Andreyev, there is a vast difference and divergence. One is the captive of the realities of life, in which he loses himself, the other is the captive of fancies, of ever new problems of the soul, which he endeavors to illustrate by abstract schematism, but which he ultimately fails to solve.

In this phase of Russian history falls the series of Andreyev's stories in which he chastises the Russian intelligent hypochondriac and the follower of Tchekhov. Maxim Gorki is to him the personification of the joy of life and of the will to battle, which permeates the earlier writings of Andreyev.

The stormy period of the political convulsion which shook Russia in the wake of the Japanese war, evoked a number of beautiful stories and essays from Andreyev's pen, thrilled and aflame with the love of budding freedom. But even here the pessimism of Andreyev breaks through. In his charming story of the French Revolution, with which we begin this present volume, "When the King Loses His Head," when liberty is in danger, when the Twentieth, the symbol of monarchy, is in the toils of the people, here and there the crowd cries "Long Live the Twenty-First," ready to resume the badge of servitude.

In the "Abyss" Andreyev portrays the shameful fall of the young idealist, but in "The Marseillaise," the prose-poem with which we conclude the present volume, written in 1905, Andreyev pictures the apotheosis of a hero hidden behind the absurd exterior of a physical weakling. "The Marseillaise" is an overture to the stirring drama of the brief but glorious epoch of the popular risings after the Japanese war.

But the monarchic power crushed the spirit of the people. A period of unparalleled persecutions, executions and repressions followed. "The Story of the Seven that were Hanged" is characteristic of this terrible period which preceded the World War. This story is dedicated to Tolstoy, and its motto might well be "Fear not them that kill the body, but cannot kill the soul." Some of the passages of this story are so stirring that it is impossible to read them without shedding a tear.

After the fall of the Romanovs, a brief period of intoxicating sense of freedom overwhelmed Russia. It was not the time for literature. It was the time for action. But all too soon chaos ensued, and the artist dropped his art to defend outraged humanity. It was away from his country, with the whole world arrayed against Russia, and with Russia arrayed against herself, that Leonid Andreyev fell the victim of heart failure, induced, as the brief despatches from Finland state, by the shock of a bomb exploding in his vicinity.

The heroes of Andreyev's stories are "people who stand apart," solitary, lonely characters, walking among men like planets among planets, and a baneful atmosphere surrounds them. The idea of most of these stories and of most of his dramas is the conflict of the personality with fate and with the falsehood which man introduces into his fate.

He has a symbolic story named "The Wall": it is the barrier which men cannot pass. The Wall is all bloodstained; at its base crawl lepers; centuries, nations strive to climb upon it. But the wall is immobile, while ever new heaps of corpses are piled up alongside.

There are walls between the closest relatives in the stories and dramas of Andreyev. Frequently the characters depicted by him are insane. Freedom becomes an illusion, a tragic mockery of mankind.

In the story of "Father Vassili" we are told of an ill-fated parish priest. Misfortunes fall upon his head with an ominous purposeful frequency. Finally his only son is drowned. The mother takes to drink to drown her sorrow. In her insane frenzy she conceives again and bears an idiot. The new child, a little monster, brings an atmosphere of horror into the home and dominates the whole household. The drunken mother accidentally sets the home on fire and dies a victim of the conflagration. All through these misfortunes Father Vassili believes in his Maker with the depth and passion of despair. But little by little this faith and this despair pass into insanity. During a requiem mass over the body of a villager Father Vassili commands the corpse to arise. He calls upon God to sustain him and to work a miracle. He is left alone with the corpse, the worshippers having fled in terror. He inclines over the body and sees in the coffin the mocking features of his idiot child. A crash of thunder rends the sky. It seems to Father Vassili that heaven and earth are crashing into nothingness, he flees precipitately into the highway and falls dead. The utter solitude of the man, the monstrous domination of elementary powers arrayed against him, a moment of consciousness of oneness with the divine and insanity, these are the constant horrible and tragic features of Andreyev's art.

In his stories dealing with biblical characters, Judas Iscariot and Lazarus, we have horror and dreams again. Judas Iscariot and the Saviour are pictured as twins nailed to the same cross and wearing the same crown of thorns. The traitor in Andreyev's story loves Jesus the Man. There is a dread secret in the terrible eyes of Judas, as there is a wondrous secret in the beautiful eyes of Jesus. This horrible proximity of divine beauty and of monstrous hideousness presents a problem which the artist tries to solve. He makes of Judas a fanatical revolutionist, the slave of an idea who has resolved to materialize "horror and dreams" and to bring about the truth. There is in Judas that same duality which characterizes so many of Andreyev's heroes. He has two faces. He lies and dissembles. Throughout the whole story the dual personality of the Traitor is brought out with wonderful skill. In "Judas Iscariot" Andreyev contrasts Judas with Jesus. In "Lazarus" he contrasts the morose Jew, whom Jesus brought back from death into life after three days and three nights in the darkness of the tomb, with the life-loving Augustus. If in "Judas Iscariot" Judas, wise, cunning and evil, overcomes Jesus, naive, meek and trustful, in "Lazarus" it is the Roman Emperor who causes the eyes of the Jew to be pierced, but is in the end overcome himself.

"Anathema"—a play of Andreyev which in grandeur of conception equals Goethe's Faust, has for its humble hero, David Leiser, trustful, stupid, guileless, ever obedient to his heart, who reaches immortality and lives the life of immortality and light. His enemy, Anathema, who follows the cold dictates of reason, is foiled.

From Andreyev's pen we have a series of dramatic pictures, "Black Masks," "King Hunger," "Savva," "To the Stars," and others, and a number of stories, some of them in places streaked with a realism that is almost too revolting for the Anglo-Saxon ideas of propriety. Thus in "My Memoirs," he tells of an insane doctor of mathematics, who confined for life in a prison for a horrible crime sets down his experiences in a series of hypocritical diary notes, and who expatiates upon the beauties of nameless vice. In "The Darkness," the bomb throwing idealist, who hiding from the police on the eve of his deed, enters a house of ill-fame and becomes so abashed at the sight of the life of an inmate that he exclaims "It is a disgrace to be good," and kisses her hand, only to have his face slapped because the fallen woman resents his parading of goodness at her expense.

Andreyev, because of the cumulative portrayals of the weird and the horrible, has been called the Russian Edgar Allan Poe. But between Poe and Andreyev there lies a century of time and a world of space.

Poe's hero, in "The Fall of the House of Usher," is the last remnant of a feudal epoch dying in a crumbling castle, every stone of which speaks of a series of generations and of external and internal dissolution. The heroes of Andreyev are solitary men, hiding in their professorial studies, in the basements of tenement houses, in the caves of Judea. Death with Poe is mysteriously beautiful, with Andreyev it is a blighting, baneful curse. The solitude of Poe's heroes is the tragic solitude of a superman on a lonely height, the solitude of Andreyev's heroes is the solitude of little men, worn out with the futile vicissitudes of life. But the horror of life and of death makes these two great artists kin. Of the Russian authors Dostoyevsky is nearest to Andreyev. The solitude of the curse-stricken man, of the man on the brink of ruin, the morbid acuteness of his perceptions, the dominion of intellect over life, the eternal longing to overstep the boundary, the endless striving with God, the city with its garrets and basements—these are the favorite themes both of Dostoyevsky and of Andreyev.

As to style, Leonid Andreyev is a wonderful word painter, but his brush knows only somber colors. The basic background of his stories and of his dramas is a dark-grey, sometimes streaked with fiery-red. His pessimism leads him to look upon the world through dark spectacles. Duke Lorenzo is held captive by "Black Masks." He sails in a ship with "black sails." At the prow of the vessel is a "young woman in black."

The stories included in this first volume of Andreyev's works in the "Russian Authors' Library" series are: "When the King Loses his Head," "Judas Iscariot," "Lazarus," "Life of Father Vassili," "Ben-Tobith" and "Dies Irae."

ARCHIBALD J. WOLFE.