The long novel, "Resurrection," is, as Mr. Maude, the English translator, shows, not merely a story, but a general summary of all the final conclusions about life reached by its author. The English volume actually has an "Index to Social Questions, Types," etc., giving the pages where the author's views on all such topics are expressed in the book. Apart from the great transformation wrought in the character of the hero, which is the motive of the work, there are countless passages which show the genius of the author, still burning brightly in his old age. The difference between the Easter kiss and the kiss of lust is one of the most powerful instances of analysis, and may be taken as a symbol of the whole work. And the depiction of the sportsman's feelings when he brings down a wounded bird, half shame and half rage, will startle and impress every man who has carried a gun. "Resurrection" teaches directly what Tolstoi always taught--what he taught less directly, but with even greater art, in "Anna Karenina." In reading this work of his old age, we cannot help thinking of what Carlyle said of the octogenarian Goethe: "See how in that great mind, beaming in mildest mellow splendour, beaming, if also trembling, like a great sun on the verge of the horizon, near now to its long farewell, all these things were illuminated and illustrated." VI GORKI Gorki went up like the sky-rocket, and seems to have had the traditional descent. From 1900 to 1906 everybody was talking about him; since 1906 one scarcely hears mention of his name. He was ridiculously overpraised, but he ought not to be forgotten. As an artist, he will not bear a moment's comparison with Andreev; but some of his short stories and his play, "The Night Asylum," have the genuine Russian note of reality, and a rude strength much too great for its owner's control. He has never written a successful long novel, and his plays have no coherence; but, after all, the man has the real thing--vitality. Just at the moment when Chekhov appeared to stand at the head of young Russian writers, Gorki appeared, and his fame swept from one end of the world to the other. In Russia, his public was second in numbers only to Tolstoi's; Kuprin and Andreev both dedicated books to him; in Germany, France, England, and America, he became literally a household word. It is probable that there were a thousand foreigners who knew his name, to one who had heard of Chekhov. Compared with Chekhov, he had more matter and less art.