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through one of the most disheartening periods in the life of the Russian people, when under the crushing heel of the despotic Tsar Alexander III all initiative and all aspirations of the mind were ruthlessly stifled. It was the period of shameful and soulless years, with miserable people, relentless persecutors, obedient slaves and a few hunted rebels.
The horror of this era of nightmare weighed heavily on the sensitive soul of young Andreyev and he attempted suicide in 1894 by shooting himself near the heart. The attempt was unsuccessful, but left behind an affliction of the heart, of which he died twenty-five years later.
In his student years (Andreyev took up the study of law in the University of Moscow) he fell under the influence of Tchekhov and of Gorki. Andreyev did not in his earlier years dream of becoming a writer. His interest in art led him to painting and his pictures were exhibited in the independent salons and much praised. His early stories were printed in the newspapers of Moscow under the nom-de-plume of James Lynch.
Andreyev's first story printed under that nom-de-plume in 1898 aroused the interest of Maxim Gorki, who sought out the future novelist and aided him greatly with advice and suggestions.
But between the two—between the singer of the people, the singer of humanity—Gorki, on the one hand, and the artist of individuality, the painter of thought, Andreyev, there is a vast difference and divergence. One is the captive of the realities of life, in which he loses himself, the other is the captive of fancies, of ever new problems of the soul, which he endeavors to illustrate by abstract schematism, but which he ultimately fails to solve.
In this phase of Russian history falls the series of Andreyev's stories in which he chastises the Russian intelli-
