THE RUSSIAN POINT OF VIEW
Once the eye is used to these shades, half the “conclusions” of fiction fade into thin air; they show like transparences with a light behind them—gaudy, glaring, superficial. The general tidying up of the last chapter, the marriage, the death, the statement of values so sonorously trumpeted forth, so heavily underlined, become of the most rudimentary kind. Nothing is solved, we feel; nothing is rightly held together. On the other hand, the method which at first seemed so casual, inconclusive, and occupied with trifles, now appears the result of an exquisitely original and fastidious taste, choosing boldly, arranging infallibly, and controlled by an honesty for which we can find no match save among the Russians themselves. There may be no answer to these questions, but at the same time let us never manipulate the evidence so as to produce something fitting, decorous, agreeable to our vanity. This may not be the way to catch the ear of the public; after all, they are used to louder music, fiercer measures; but as the tune sounded, so he has written it. In consequence, as we read these little stories about nothing at all, the horizon widens; the soul gains an astonishing sense of freedom.
In reading Tchekov we find ourselves repeating the word “soul” again and again. It sprinkles his pages. Old drunkards use it freely; “. . . you are high up in the service, beyond all reach, but haven’t real soul, my dear boy . . . there’s no strength in it.” Indeed, it is the soul that is the chief character in Russian fiction. Delicate and subtle in Tchekov, subject to an in-
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