complete change in the psychosis of the Russian reader, the decay of the literature of passivity, and the rise of a new literature of action and physical revolt. The literature of passivity reached its height with the (sic) Chekhov. The best representative of the transition from Chekhov to the new literature of self-assertion is Maxim Gorki's friend, Leonid Andreev. . . .
"These have got clear away from the humble, ineffectual individual, 'crushed by life.' Full of learned philosophies from Max Stirner and Nietzsche, they preach, in Stirner's words, 'the absolute independence of the individual, master of himself, and of all things.' 'The death of "Everyday-ism,"' the 'resurrection of myth,' 'orgiasm,' 'Mystical Anarchism,' and 'universalist individualism' are some of the shibboleths of these new writers, who are mostly very young, very clever, and profoundly convinced that they are even cleverer than they are.
"Anarchism, posing as self-assertion, is the note in most recent Russian literature, as, indeed, it is in Russian life."
The most powerful among this school of writers, and the only one who can perhaps be called a man of genius, is Michael Artsybashev. He came honestly by his hot, impulsive temperament, being, like Gogol, a man of the South. He was born in
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