Is this extravagant praise?  Then let me echo William Dean Howells:  “I know very well that I do not speak of Tolstoy’s books in measured terms; I cannot.”

The Russian writers so far considered have made valuable contributions to the short story; but, with the exception of Pushkin, whose reputation rests chiefly upon his poetry, their best work, generally, was in the field of the long novel.  It was the novel that gave Russian literature its pre-eminence.  It could not have been otherwise, since Russia is young as a literary nation, and did not come of age until the period at which the novel was almost the only form of literature that counted.  If, therefore, Russia was to gain distinction in the world of letters, it could be only through the novel.  Of the measure of her success there is perhaps no better testimony than the words of Matthew Arnold, a critic certainly not given to overstatement.  “The Russian novel,” he wrote in 1887, “has now the vogue, and deserves to have it...  The Russian novelist is master of a spell to which the secret of human nature—­both what is external and internal, gesture and manner no less than thought and feeling—­willingly make themselves known...  In that form of imaginative literature, which in our day is the most popular and the most possible, the Russians at the present moment seem to me to hold the field.”

With the strict censorship imposed on Russian writers, many of them who might perhaps have contented themselves with expressing their opinions in essays, were driven to conceal their meaning under the guise of satire or allegory; which gave rise to a peculiar genre of literature, a sort of editorial or essay done into fiction, in which the satirist Saltykov, a contemporary of Turgenev and Dostoyevsky, who wrote under the pseudonym of Shchedrin, achieved the greatest success and popularity.

It was not however, until the concluding quarter of the last century that writers like Korolenko and Garshin arose, who devoted themselves chiefly to the cultivation of the short story.  With Anton Chekhov the short story assumed a position of importance alongside the larger works of the great Russian masters.  Gorky and Andreyev made the short story do the same service for the active revolutionary period in the last decade of the nineteenth century down to its temporary defeat in 1906 that Turgenev rendered in his series of larger novels for the period of preparation.  But very different was the voice of Gorky, the man sprung from the people, the embodiment of all the accumulated wrath and indignation of centuries of social wrong and oppression, from the gentlemanly tones of the cultured artist Turgenev.  Like a mighty hammer his blows fell upon the decaying fabric of the old 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