Stunned by this puddle of life, unable to make sense of it, Fomá questions, and questions vainly, whether of Sófya Medynsky in her drawing-room of beauty, or in the foulest depths of the first chance courtesan’s heart. Linboff, whose books contradict one another, cannot help him; nor can the pilgrims on crowded steamers, nor the verse writers and harlots in dives and boozingkens. And so, wondering, pondering, perplexed, amazed, whirling through the mad whirlpool of life, dancing the dance of death, groping for the nameless, indefinite something, the magic formula, the essence, the intrinsic fact, the flash of light through the murk and dark—the rational sanction for existence, in short—Fomá Gordyéeff goes down to madness and death.
It is not a pretty book, but it is a masterful interrogation of life—not of life universal, but of life particular, the social life of to-day. It is not nice; neither is the social life of to-day nice. One lays the book down sick at heart—sick for life with all its “lyings and its lusts.” But it is a healthy book. So fearful is its portrayal of social disease, so ruthless its stripping of the painted charms from vice, that its tendency cannot but be strongly for good. It is a goad, to prick sleeping human consciences awake and drive them into the battle for humanity.
But no story is told, nothing is finished, some one will object. Surely, when Sásha leaped overboard and swam to Fomá, something happened. It was pregnant with possibilities. Yet it was not finished, was not decisive. She left him to go with the son of a rich vodka-maker. And all that was best in Sófya Medynsky was quickened when she looked upon Fomá with the look of the Mother-Woman. She might have been a power for good in his life, she might have shed light into it and lifted him up to safety and honour and understanding. Yet she went away next day, and he never saw her again. No story is told, nothing is finished.
Ah, but surely the story of Fomá Gordyéeff is told; his life is finished, as lives are being finished each day around us. Besides, it is the way of life, and the art of Górky is the art of realism. But it is a less tedious realism than that of Tolstoy or Turgenev. It lives and breathes from page to page with a swing and dash and go that they rarely attain. Their mantle has fallen on his young shoulders, and he promises to wear it royally.
Even so, but so helpless, hopeless, terrible is this life of Fomá Gordyéeff that we would be filled with profound sorrow for Górky did we not know that he has come up out of the Valley of Shadow. That he hopes, we know, else would he not now be festering in a Russian prison because he is brave enough to live the hope he feels. He knows life, why and how it should be lived. And in conclusion, this one thing is manifest: Fomá Gordyéeff is no mere statement of an intellectual problem. For as he lived and interrogated living, so in sweat and blood and travail has Górky lived.
Piedmont, California.
November 1901.
THESE BONES SHALL RISE AGAIN
Rudyard Kipling, “prophet of blood and vulgarity, prince of ephemerals and idol of the unelect”—as a Chicago critic chortles—is dead. It is true. He is dead, dead and buried. And a fluttering, chirping host of men, little men and unseeing men, have heaped him over with the uncut leaves of Kim, wrapped him in Stalky & Co., for winding sheet, and for headstone reared his unconventional lines, The Lesson. It was very easy. The simplest thing in the world. And the fluttering, chirping gentlemen are rubbing their hands in amaze and wondering why they did not do it long ago, it was so very, very simple.
But the centuries to come, of which the fluttering, chirping gentlemen are prone to talk largely, will have something to say in the matter. And when they, the future centuries, quest back to the nineteenth century to find what manner of century it was—to find, not what the people of the nineteenth century thought they thought, but what they really thought, not what they thought they ought to do, but what they really did do, then a certain man, Kipling, will be read—and read with understanding. “They thought they read him with understanding, those people of the nineteenth century,” the future centuries will say; “and then they thought there was no understanding in him, and after that they did not know what they thought.”
But this is over-severe. It applies only to that class which serves a function somewhat similar to that served by the populace of old time in Rome. This is the unstable, mob-minded mass, which sits on the fence, ever ready to fall this side or that and indecorously clamber back again; which puts a Democratic administration into office one election, and a Republican the next; which discovers and lifts up a prophet to-day that it may stone him to-morrow; which clamours for the book everybody else is reading, for no reason under the sun save that everybody else is reading it. This is the class of whim and caprice, of fad and vogue, the unstable, incoherent, mob-mouthed, mob-minded mass, the “monkey-folk,” if you please, of these latter days. Now it may be reading The Eternal City. Yesterday it was reading The Master Christian, and some several days before that it was reading Kipling. Yes, almost to his shame be it, these folk were reading him. But it was not his fault. If he depended upon them he well deserves to be dead and buried and never to rise again. But to them, let us be thankful, he never lived. They thought he lived, but he was as dead then as he is now and as he always will be.