BEST RUSSIAN SHORT STORIES ***
Produced by David Starner, Keith M. Eckrich, and the Project Gutenberg Online Distributed Proofreaders Team
[Illustration: ANTON P. CHEKHOV, RUSSIA'S GREATEST SHORT-STORY WRITER]
BEST RUSSIAN SHORT STORIES
Compiled and Edited by THOMAS SELTZER
CONTENTS
INTRODUCTION
THE QUEEN OF SPADES _A.S. Pushkin_
THE CLOAK _N.V. Gogol_
THE DISTRICT DOCTOR _I.S. Turgenev_
THE CHRISTMAS TREE AND THE WEDDING _F.M. Dostoyevsky_
GOD SEES THE TRUTH, BUT WAITS _L.N. Tolstoy_
HOW A MUZHIK FED TWO OFFICIALS _M.Y. Saltykov_
THE SHADES, A PHANTASY _V.G. Korolenko_
THE SIGNAL _V.N. Garshin_
THE DARLING _A.P. Chekhov_
THE BET _A.P. Chekhov_
VANKA _A.P. Chekhov_
HIDE AND SEEK _F.K. Sologub_
DETHRONED _I.N. Potapenko_
THE SERVANT _S.T. Semyonov_
ONE AUTUMN NIGHT _M. Gorky_
HER LOVER _M. Gorky_
LAZARUS _L.N. Andreyev_
THE REVOLUTIONIST _M.P. Artzybashev_
THE OUTRAGE _A.I. Kuprin_
INTRODUCTION
Conceive the joy of a lover of nature who, leaving the art galleries, wanders out among the trees and wild flowers and birds that the pictures of the galleries have sentimentalised. It is some such joy that the man who truly loves the noblest in letters feels when tasting for the first time the simple delights of Russian literature. French and English and German authors, too, occasionally, offer works of lofty, simple naturalness; but the very keynote to the whole of Russian literature is simplicity, naturalness, veraciousness.
Another essentially Russian trait is the quite unaffected conception that the lowly are on a plane of equality with the so-called upper classes. When the Englishman Dickens wrote with his profound pity and understanding of the poor, there was yet a bit; of remoteness, perhaps, even, a bit of caricature, in his treatment of them. He showed their sufferings to the rest of the world with a "Behold how the other half lives!" The Russian writes of the poor, as it were, from within, as one of them, with no eye to theatrical effect upon the well-to-do. There is no insistence upon peculiar virtues or vices. The poor are portrayed just as they are, as human beings like the rest of us. A democratic spirit is reflected, breathing a broad humanity, a true universality, an unstudied generosity that proceed not from the intellectual conviction that to understand all is to forgive all, but from an instinctive feeling that no man has the right to set himself up as a judge over another, that one can only observe and record.
In 1834 two short stories appeared, _The Queen of Spades_, by Pushkin, and _The Cloak_, by Gogol. The first was a finishing-off of the old, outgoing style of romanticism, the other was the beginning of the new, the characteristically Russian style. We read Pushkin's _Queen of Spades_, the first story in the volume, and the likelihood is we shall enjoy it greatly. "But why is it Russian?" we ask. The answer is, "It is not Russian." It might have been printed in an American magazine over the name of John Brown. But, now, take the very next story in the volume, _The Cloak_. "Ah," you exclaim, "a genuine Russian story, Surely. You cannot palm it off on me over the name of Jones or Smith." Why? Because _The Cloak_ for the first time strikes that truly Russian note of deep sympathy with the disinherited. It is not yet wholly free from artificiality, and so is not yet typical of the purely realistic fiction that reached its perfected development in Turgenev and Tolstoy.
