Landmarks in Russian literature

Chapter 28: FOOTNOTES:

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About This Book

A series of critical essays surveying major Russian writers and literary tendencies, beginning with a study of national character and the realism that shaped nineteenth-century prose. The author examines Gogol’s satire and popular cheerfulness, contrasts Tolstoy and Turgenev, considers Dostoevsky’s psychological intensity, and discusses the plays of Chekhov, while also reflecting on translation, reception, and critical perspective. Adopting an empathetic, insider-oriented stance, the essays combine close reading, biographical context, and thematic synthesis to guide readers through recurring motifs such as moral seriousness, paradoxical temperament, and the evolution of Russian narrative and dramatic techniques.

FOOTNOTES:

[24] Two volumes of selections from his stories have been admirably translated by Mr. Long.

[25] It proved a success.

[26] The dramatic critics of these newspapers are not the Mr. William Archers, the Mr. Walkleys, not the Faguets or the Lemaîtres of Russia, if any such exist. I have never come across anything of interest in their articles; on the other hand, they are perhaps more representative of public opinion.

[27] Since this was written Mr. Shaw’s genius has had greater justice done to it in Russia. His Cæsar and Cleopatra has proved highly successful. It was produced at the State Theatre of Moscow in the autumn of 1909 and is still running as I write. Several intelligent articles were written on it in the Moscow press.

[28] Not to mention many modern French comedies, such as those of Lemaître, Capus, etc.

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