WHEN THE KING LOSES HIS HEAD

AND OTHER STORIES

By

LEONID ANDREYEV

TRANSLATED BY

ARCHIBALD J. WOLFE

NEW YORK

INTERNATIONAL BOOK PUBLISHING COMPANY

1919

PREFACE.

Leonid Andreyev was born in Orel, the capital of the Russian province of the same name, on August 21, 1871. He was ten years younger than his future patron and friend Maxim Gorki. He died on September 12, 1919, in Finland, an exile from his beloved chaos-ridden fatherland.

His father, a Russian of pure blood, by profession a surveyor, was a man of extraordinary physical vigor. He died at the early age of 42 as the result of a brain-stroke. His mother, a woman of much refinement and culture, was of Polish ancestry.

The earliest years of Andreyev's life were spent in close affiliation with the stage, through the personal acquaintance of his parents with the leading stage folks of the province.

He was a poor scholar and loved to play "hookey," preferring the great outdoors to the crowded class-room. His marks were very poor as the result. But he was a voracious reader of literature. His latter years in high school (gymnasium) were influenced by Tolstoy's works on non-resistance, by Schopenhauer, and by the first works of Maxim Gorki. The death of his father and the seeds of the pessimistic philosophy gave the inner life of the budding novelist a morose and pessimistic direction. In his teens Leonid Andreyev made three unsuccessful attempts at suicide.

It has been the fate of Leonid Andreyev to live through four distinct phases of Russian history, each of which has contributed to the shaping of his art.

In the latter eighties and the early nineties he had passed 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 intelligent hypochondriac and the follower of Tchekhov. Maxim Gorki is to him the personification of the joy of life and of the will to battle, which permeates the earlier writings of Andreyev.

The stormy period of the political convulsion which shook Russia in the wake of the Japanese war, evoked a number of beautiful stories and essays from Andreyev's pen, thrilled and aflame with the love of budding freedom. But even here the pessimism of Andreyev breaks through. In his charming story of the French Revolution, with which we begin this present volume, "When the King Loses His Head," when liberty is in danger, when the Twentieth, the symbol of monarchy, is in the toils of the people, here and there the crowd cries "Long Live the Twenty-First," ready to resume the badge of servitude.

In the "Abyss" Andreyev portrays the shameful fall of the young idealist, but in "The Marseillaise," the prose-poem with which we conclude the present volume, written in 1905, Andreyev pictures the apotheosis of a hero hidden behind the absurd exterior of a physical weakling. "The Marseillaise" is an overture to the stirring drama of the brief but glorious epoch of the popular risings after the Japanese war.

But the monarchic power crushed the spirit of the people. A period of unparalleled persecutions, executions and repressions followed. "The Story of the Seven that were Hanged" is characteristic of this terrible period which preceded the World War. This story is dedicated to Tolstoy, and its motto might well be "Fear not them that kill the body, but cannot kill the soul." Some of the passages of this story are so stirring that it is impossible to read them without shedding a tear.

After the fall of the Romanovs, a brief period of intoxicating sense of freedom overwhelmed Russia. It was not the time for literature. It was the time for action. But all too soon chaos ensued, and the artist dropped his art to defend outraged humanity. It was away from his country, with the whole world arrayed against Russia, and with Russia arrayed against herself, that Leonid Andreyev fell the victim of heart failure, induced, as the brief despatches from Finland state, by the shock of a bomb exploding in his vicinity.

The heroes of Andreyev's stories are "people who stand apart," solitary, lonely characters, walking among men like planets among planets, and a baneful atmosphere surrounds them. The idea of most of these stories and of most of his dramas is the conflict of the personality with fate and with the falsehood which man introduces into his fate.

He has a symbolic story named "The Wall": it is the barrier which men cannot pass. The Wall is all bloodstained; at its base crawl lepers; centuries, nations strive to climb upon it. But the wall is immobile, while ever new heaps of corpses are piled up alongside.

There are walls between the closest relatives in the stories and dramas of Andreyev. Frequently the characters depicted by him are insane. Freedom becomes an illusion, a tragic mockery of mankind.

In the story of "Father Vassili" we are told of an ill-fated parish priest. Misfortunes fall upon his head with an ominous purposeful frequency. Finally his only son is drowned. The mother takes to drink to drown her sorrow. In her insane frenzy she conceives again and bears an idiot. The new child, a little monster, brings an atmosphere of horror into the home and dominates the whole household. The drunken mother accidentally sets the home on fire and dies a victim of the conflagration. All through these misfortunes Father Vassili believes in his Maker with the depth and passion of despair. But little by little this faith and this despair pass into insanity. During a requiem mass over the body of a villager Father Vassili commands the corpse to arise. He calls upon God to sustain him and to work a miracle. He is left alone with the corpse, the worshippers having fled in terror. He inclines over the body and sees in the coffin the mocking features of his idiot child. A crash of thunder rends the sky. It seems to Father Vassili that heaven and earth are crashing into nothingness, he flees precipitately into the highway and falls dead. The utter solitude of the man, the monstrous domination of elementary powers arrayed against him, a moment of consciousness of oneness with the divine and insanity, these