society. His was no longer a feeble, despairing protest. With the
strength and confidence of victory he made onslaught upon onslaught on
the old institutions until they shook and almost tumbled. And when
reaction celebrated its short-lived triumph and gloom settled again
upon his country and most of his co-fighters withdrew from the battle
in despair, some returning to the old-time Russian mood of
hopelessness, passivity and apathy, and some even backsliding into
wild orgies of literary debauchery, Gorky never wavered, never lost
his faith and hope, never for a moment was untrue to his principles.
Now, with the revolution victorious, he has come into his right, one
of the most respected, beloved and picturesque figures in the Russian
democracy.

Kuprin, the most facile and talented short-story writer next to
Chekhov, has, on the whole, kept well to the best literary traditions
of Russia, though he has frequently wandered off to extravagant sex
themes, for which he seems to display as great a fondness as
Artzybashev. Semyonov is a unique character in Russian literature, a
peasant who had scarcely mastered the most elementary mechanics of
writing when he penned his first story. But that story pleased
Tolstoy, who befriended and encouraged him. His tales deal altogether
with peasant life in country and city, and have a lifelikeness, an
artlessness, a simplicity striking even in a Russian author.

There is a small group of writers detached from the main current of
Russian literature who worship at the shrine of beauty and mysticism.
Of these Sologub has attained the highest reputation.

Rich as Russia has become in the short story, Anton Chekhov still
stands out as the supreme master, one of the greatest short-story