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.