'... You think I am clever. Yes, I am at least so far clever as not to conceal from myself my disease and not to deceive myself, and not to cover up my own emptiness with other people's rags, such as the ideas of the 'sixties and so on.'
That was written in 1892. When we remember all the strange literary effort gathered round about that year in the West--Symbolism, the _Yellow Book_, Art for Art's sake--and the limbo into which it has been thrust by now, we may realise how great a precursor and, in his own despite, a leader, Anton Tchehov was. When Western literature was plunging with enthusiasm into one _cul de sac_ after another, incapable of diagnosing its own disease, Tchehov in Russia, unknown to the West, had achieved a clear vision and a sense of perspective.
To-day we begin to feel how intimately Tchehov belongs to us; to-morrow we may feel how infinitely he is still in advance of us. A genius will always be in advance of a talent, and in so far as we are concerned with the genius of Tchehov we must accept the inevitable. We must analyse and seek to understand it; we must, above all, make up our minds that since Tchehov has written and his writings have been made accessible to us, a vast amount of our modern literary production is simply unpardonable. Writers who would be modern and ignore Tchehov's achievement are, however much they may persuade themselves that they are devoted artists, merely engaged in satisfying their vanity or in the exercise of a profession like any other; for Tchehov is a standard by which modern literary effort must be measured, and the writer of prose or poetry who is not sufficiently single-minded to apply the standard to himself is of no particular account.
Though Tchehov's genius is, strictly speaking, inimitable, it deserves a much exacter study than it has yet received. The publication of this volume of his letters[8] hardly affords the occasion for that; but it does afford an opportunity for the examination of some of the chief constituents of his perfect art. These touch us nearly because--we insist again--the supreme interest of Tchehov is that he is the only great modern artist in prose. He belongs, as we have said, to us. If he is great, then he is great not least in virtue of qualities which we may aspire to possess; if he is an ideal, he is an ideal to which we can refer ourselves, He had been saturated in all the disillusions which we regard as peculiarly our own, and every quality which is distinctive of the epoch of consciousness in which we are living now is reflected in him--and yet, miracle of miracles, he was a great artist. He did not rub his cheeks to produce a spurious colour of health; he did not profess beliefs which he could not maintain; he did not seek a reputation for universal wisdom, nor indulge himself in self-gratifying dreams of a millennium which he alone had the ability to control. He was and wanted to be nothing in particular, and yet, as we read these letters of his, we feel gradually form within ourselves the conviction that he was a hero--more than that, _the_ hero of our time.