THE RUSSIAN POINT OF VIEW
would be found and then a new and splendid life would begin.” That is the end. A postman drives a student to the station and all the way the student tries to make the postman talk, but he remains silent. Suddenly the postman says unexpectedly, “It’s against the regulations to take any one with the post.” And he walks up and down the platform with a look of anger on his face. “With whom was he angry? Was it with people, with poverty, with the autumn nights?” Again, that story ends.
But is it the end, we ask? We have rather the feeling that we have overrun our signals; or it is as if a tune had stopped short without the expected chords to close it. These stories are inconclusive, we say, and proceed to frame a criticism based upon the assumption that stories ought to conclude in a way that we recognise. In so doing we raise the question of our own fitness as readers. Where the tune is familiar and the end emphatic—lovers united, villains discomfited, intrigues exposed—as it is in most Victorian fiction, we can scarcely go wrong, but where the tune is unfamiliar and the end a note of interrogation or merely the information that they went on talking, as it is in Tchekov, we need a very daring and alert sense of literature to make us hear the tune, and in particular those last notes which complete the harmony. Probably we have to read a great many stories before we feel, and the feeling is essential to our satisfaction, that we hold the parts together, and that Tchekov was not merely rambling disconnectedly, but struck now
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