Jump to content

Vsevolod Garshin

From Wikipedia, the free encyclopedia

This is an old revision of this page, as edited by Ghirlandajo (talk | contribs) at 15:07, 4 September 2006 (uploaded image). The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.

Vsevolod M. Garshin

Vsevolod Mikhailovich Garshin (Все́волод Миха́йлович Гаршин) (18551888) was a Russian author of short stories.

Garshin's father was an army officer, who committed suicide in his presence, when Vsevolod was seven. He served in the army during the Russo-Turkish War, and his first stories were about the war, including the very first, "Four Days" (Russian:"Четыре дня" (Chetyre dnya)). At the age of 33, Garshin committed suicide by jumping from the fifth floor of his apartment house.

Garshin's work is not voluminous: it consists of some twenty stories, all of them contained in a single volume. His stories are permeated with the spirit of compassion and pity as intense as Dostoevsky's. That Which Was Not and Attalea Princeps are fables with animals and plants in human situations. The second of these stories is saturated with a spirit of tragic irony.

In Officer and Servant he is a forerunner of Chekhov; it is an excellently constructed story conveying an atmosphere of drab gloom and meaningless boredom. In A Very Short Novel he examines the infidelity of the woman to the crippled hero. The story displays Garshin's talent for concentration and lyrical irony.

His best-known and most characteristic story is The Red Flower, the first in a long row of lunatic-asylum stories in Russian literature (the next in time was Chekhov's Ward No. 6). In it Garshin's morbid and high-strung moral sensitiveness reaches its highest pitch. It is the history of a madman who is obsessed by the desire to challenge and defeat the evil of the world. He discovers that all evil is contained in three poppies growing in the middle of the hospital garden, and with infinite astuteness and cunning he succeeds in defeating the vigilance of his warders and picking the flowers. He dies from nervous exhaustion, but dies happy and certain of having attained his end. The oppressive atmosphere of the asylum is conveyed with effective skill. The end comes as a relief, like death to a martyr, but there is in it also a pang of bitter irony.

References

 This article incorporates text from D.S. Mirsky's "A History of Russian Literature" (1926-27), a publication now in the public domain.