Chekhov died in 1904, soon after the Russo-Japanese War had begun. Apart from the main stream and tradition of Russian fiction and Russian prose, Merezhkovsky occupies a unique place, a place which lies between criticism and imaginative historical fiction, not unlike, in some respects--but very different in others--that which is occupied by Walter Pater in English fiction. His best known work, at least his best known work in Europe, is a prose trilogy, "The Death of the Gods" (a study of Julian the apostate), "The Resurrection of the Gods" (the story of Leonardo da Vinci), and "The Antichrist" (the story of Peter the Great and his son Alexis), which has been translated into nearly every European language. This trilogy is an essay in imaginative historical reconstitution; it testifies to a real and deep culture, and it is lit at times by flashes of imaginative inspiration which make the scenes of the past live; it is alive with suggestive thought; but it is not throughout convincing, there is a touch of Bulwer Lytton as well as a touch of Goethe and Pater in it. Merezhkovsky is perhaps more successful in his purely critical work, his books on Tolstoy, Dostoyevsky and Gogol, which are infinitely stimulating, suggestive, and original, than in his historical fiction, although, needless to say, his criticism appeals to a far narrower public. He is in any case one of the most brilliant and interesting of Russian modern writers, and perhaps the best known outside Russia. During the war, a writer of fiction made his name by a remarkable book, namely KUPRIN, who in his novel, _The Duel_, gave a vivid and masterly picture of the life of an officer in the line. Kuprin has since kept the promise of his early work. At the same time, LEONID ANDREEV came forward with short stories, plays, a description of war (_The Red Laugh_), moralities, not uninfluenced by Maeterlinck, and a limpid and beautiful style in which pessimism seemed to be speaking its last word. In 1905 the revolutionary movement broke out, with its great hopes, its disillusions, its period of anarchy on the one hand and repression on the other; out of the chaos of events came a chaos of writing rather than literature, and in its turn this produced, in literature as well as in life, a reaction, or rather a series of reactions, towards symbolism, æstheticism, mysticism on the one hand, and towards materialism--not of theory but of practice--on the other. But since these various reactions are now going on, and are vitally affecting the present day, the revolutionary movement of 1905 seems the right point to take leave of Russian literature. In 1905 a new era began, and what that era will ultimately produce, it is too soon even to hazard a guess.