LITMIR.BIZ

      Published by Good Press, 2021

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      EAN 4057664650504

Table of Contents

       Cover

       Titlepage

       PREFACE

       SATAN’S DIARY

PREFACE

       Table of Contents

      SATAN’S DIARY,” Leonid Andreyev’s last work, was completed by the great Russian a few days before he died in Finland, in September, 1919. But a few years ago the most popular and successful of Russian writers, Andreyev died almost penniless, a sad, tragic figure, disillusioned, broken-hearted over the tragedy of Russia.

      A year ago Leonid Andreyev wrote me that he was eager to come to America, to study this country and familiarize Americans with the fate of his unfortunate countrymen. I arranged for his visit to this country and informed him of this by cable. But on the very day I sent my cable the sad news came from Finland announcing that Leonid Andreyev died of heart failure.

      In “Satan’s Diary” Andreyev summed up his boundless disillusionment in an absorbing satire on human life. Fearlessly and mercilessly he hurled the falsehoods and hypocrisies into the face of life. He portrayed Satan coming to this earth to amuse himself and play. Having assumed the form of an American multi-millionaire, Satan set out on a tour through Europe in quest of amusement and adventure. Before him passed various forms of spurious virtues, hypocrisies, the ruthless cruelty of man and the often deceptive innocence of woman. Within a short time Satan finds himself outwitted, deceived, relieved of his millions, mocked, humiliated, beaten by man in his own devilish devices.

      The story of Andreyev’s beginning as a writer is best told in his autobiography which he gave me in 1908.

      “I was born,” he said, “in Oryol, in 1871, and studied there at the gymnasium. I studied poorly; while in the seventh class I was for a whole year known as the worst student, and my mark for conduct was never higher than 4, sometimes 3. The most pleasant time I spent at school, which I recall to this day with pleasure, was recess time between lessons, and also the rare occasions when I was sent out from the classroom.... The sunbeams, the free sunbeams, which penetrated some cleft and which played with the dust in the hallway—all this was so mysterious, so interesting, so full of a peculiar, hidden meaning.

      “When I studied at the gymnasium my father, an engineer, died. As a university student I was in dire need. During my first course in St. Petersburg I even starved—not so much out of real necessity as because of my youth, inexperience, and my inability to utilize the unnecessary parts of my costume. I am to this day ashamed to think that I went two days without food at a time when I had two or three pairs of trousers and two overcoats which I could have sold.

      “It was then that I wrote my first story—about a starving student. I cried when I wrote it, and the editor, who returned my manuscript, laughed. That story of mine remained unpublished.... In 1894, in January, I made an unsuccessful attempt to kill myself by shooting. As a result of this unsuccessful attempt I was forced by the authorities into religious penitence, and I contracted heart trouble, though not of a serious nature, yet very annoying. During this time I made one or two unsuccessful attempts at writing; I devoted myself with greater pleasure and success to painting, which I loved from childhood on. I made portraits to order at 3 and 5 rubles a piece.

      “In 1897 I received my diploma and became an assistant attorney, but I was at the very outset sidetracked. I was offered a position on The Courier, for which I was to report court proceedings. I did not succeed in getting any practice as a lawyer. I had only one case and lost it at every point.

      “In 1898 I wrote my first story—for the Easter number—and since that time I have devoted myself exclusively to literature. Maxim Gorky helped me considerably in my literary work by his always practical advice and suggestions.”

      Andreyev’s first steps in literature, his first short stories, attracted but little attention at the time of their appearance. It was only when Countess Tolstoy, the wife of Leo Tolstoy, in a letter to the Novoye Vremya, came out in “defense of artistic purity and moral power in contemporary literature,” declaring that Russian society, instead of buying, reading and making famous the works of the Andreyevs, should “rise against such filth with indignation,” that almost everybody who knew how to read in Russia turned to the little volume of the young writer.

      In her attack upon Andreyev, Countess Tolstoy said as follows:

      “The poor new writers, like Andreyev, succeeded only in concentrating their attention on the filthy point of human degradation and uttered a cry to the undeveloped, half-intelligent reading public, inviting them to see and to examine the decomposed corpse of human degradation and to close their eyes to God’s wonderful, vast world, with the beauties of nature, with the majesty of art, with the lofty yearnings of the human soul, with the religious and moral struggles and the great ideals of goodness—even with the downfall, misfortunes and weaknesses of such people as Dostoyevsky depicted.... In describing all these every true artist should illumine clearly before humanity not the side of filth and vice, but should struggle against them by illumining the highest ideals of good, truth, and the triumph over evil, weakness, and the vices of mankind.... I should like to cry out loudly to the whole world in order to help those unfortunate people whose wings, given to each of them for high flights toward the understanding of the spiritual light, beauty, kindness, and God, are clipped by these Andreyevs.”

      This letter of Countess Tolstoy called forth a storm of protest in the Russian press, and, strange to say, the representatives of the fair sex were among the warmest defenders of the young author. Answering the attack, many women, in their letters to the press, pointed out that the author of “Anna Karenina” had been abused in almost the same manner for his “Kreutzer Sonata,” and that Tolstoy himself had been accused of exerting just such an influence as the Countess attributed to Andreyev over the youth of Russia. Since the publication of Countess Tolstoy’s condemnation, Andreyev has produced a series of masterpieces, such as “The Life of Father Vassily,” a powerful psychological study; “Red Laughter,” a war story, “written with the blood of Russia;” “The Life of Man,” a striking morality presentation in five acts; “Anathema,” his greatest drama; and “The Seven Who Were Hanged,” in which the horrors of Russian life under the Tsar were delineated with such beautiful simplicity and power that Turgenev, or Tolstoy himself, would have signed his name to this masterpiece.

      Thus the first accusations against Andreyev were disarmed by his artistic productions, permeated with sincere, profound love for all that is pure in life. Dostoyevsky and Maupassant depicted more subjects, such as that treated in “The Abyss,” than Andreyev. But with them these stories are lost in the great mass of their other works, while in Andreyev, who at that time had as yet produced but a few short stories, works like “The Abyss” stood out in bold relief.

      I recall my first meeting with Leonid Andreyev in 1908, two weeks after my visit to Count Leo Tolstoy at Yasnaya Polyana. At that time he had already become the most popular Russian writer, his popularity having overshadowed even that of Maxim Gorky.

      As

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