because it brings a really new
formula into the theatrical world. Very little action, very few
"situations;" no artificial procedure: life; dialogue imitated from
reality; an atmosphere of despair and tedium in which three beings
cruelly struggle; sincere evolution, very much pessimism, and
happiness and love, constitute the traits that characterize this
very human piece of writing.

* * * * *

Mention should also be made of Sayitzev, certain of whose stories
are comparable to the aquarelles of a landscape painter. One of his
best works is "Agrafena," a touching picture of the life of a
peasant woman. During her lifetime, she was a domestic in the
cities, and when finally, bent under years of labor, she comes back
to her native village and her daughter, whom she has secretly
brought up at great pains, it is only to find that she has committed
suicide, having been abandoned by her lover.

Among others, should be mentioned Gussev-Orenburgsky, who has
written some very interesting stories about the Russian clergy;
Skitaletz, whose "Rural Tribunal" has had a great success, and has
been translated into several languages; Seraphimovich and Teleshov,
who, like Chirikov, depict the life of the "intellectuals," and
Olizhey, the psychologist of revolutionary spheres, known
particularly by his "The Day of Judgment," which tells of an
officer, a member of a council of war, who is forced to condemn his
future brother-in-law to death. This story leaves an indescribable
impression of terror and horror.

Let us finally mention Count Alexis Tolstoy, the homonym of the
great Russian thinker, to whom the critics predict a brilliant
future. His first work appeared in 1909. He generally depicts landed
proprietors. His recent stories, "The Asking in Marriage," and
"Beyond the Volga," show signs of great strength and power of
observation.

* * * * *

Among the women, there are three who show real talent. In fact, Mme.
Hippius-Merezhkovskaya is regarded as one of the founders of Russian
modernism. We are indebted to her for some rather daring verses and
some very good stories. The most recent of these, "The Creature," is
the curious history of a love-sick prostitute; "The Devil's Doll" is
an episode in the life of the Russian "intellectuals." Endowed with
a caustic spirit, she excels all others in literary criticism.

Then comes Mme. Verbitzkaya, who has declared herself