Aleksandr Kuprin (1870–1938)

Александр Иванович Куприн очень любил животных и посвятил им многие свои произведения. "Ни разу не видел, чтобы Куприн прошел мимо пса на улице и не остановился, чтобы его не погладить", - вспоминает один из друзей писателя. Все животные, ставшие героями его рассказов, show more существовали на самом деле: одни жили в доме самого писателя или его приятелей, о судьбе других он узнавал из газет. Любимцем Куприна был Сапсан - красивый и мощный пес древней меделянской породы. Эта книга научит детей с любовью и вниманием относиться к братьям нашим меньшим, ценить их преданность и привязанность к человеку. Выразительные иллюстрации Михаила Соломоновича Майофиса прекрасно дополняют трогательную и добрую историю о верном друге Сапсане. show less

The Duel (1905) is Russian author Aleksandr Kuprin's realist masterpiece, wining him literary fame and friendship with Anton Chekov, Maxim Gorky, Leonid Andreyev, Nobel Prize-winning Ivan Bunin and Leo Tolstoy. Kuprin was a born storyteller and has been compared with Kipling and Jack London. Like London, however, Kuprin "degenerated" later in life with the vices of women (prostitutes) and drink and his works similarly became sensational, like with the lurid account of prostitutes in The Pit show more (1915). But he reached a pinnacle of high art with The Duel.

The Duel explores "honor" in its many permutations. Honor in career, love, and the hypocrisy inherit. The main character, Romashov, is a 21 year old military officer in training in a backwater provincial town where everyone knows everyone and gossip spreads quickly. Kuprin's realistic portrayal of the horrors of Russian military life is a wonderfully rich portrait of an "odious and wanton liaison [of] gambling, drinking, soul-killing, monotonous regimental routine, with never a single inspiring word, never a ray of light in the black, hopeless darkness."

Romashov experiences a number of setbacks in his career and his romantic notions of being a hero to the Czar are shattered by cruel realities - on the brink of suicide (a common occurrence in his regiment) he undergoes a change when he discovers salvation through empathizing with the sufferings of others: "it was clear to [Romashov] at once how petty and insignificant was his own sorrow in comparison with [his friends] cruel fate." By rising above soul-crushing military doctrine of honor and violence, and finding instead sympathy with others, he finds freedom, "a proud, triumphant feeling of malicious joy and defiance."

To this end Romashov then discovers that most professions are based on "mistrust of the honor and morality of mankind.. supervisors and official, policemen, book-keepers, priests, etc.." and there are only two careers that are truly noble, science/art. and manual labor. Thus Romashov navigates his way through the world of honor in the sphere of his career, but he has a fatal flaw and that is love. In the end he is tricked by honor in love (or lack thereof) and it is his undoing. Kuprin was not entirely happy with the novels ending, and I tend to agree that its sensationalism mires it in the 19th century. It could have been a modernist novel had Romashov's duel ended in a different way, such as the alternative path suggested by his friend Nasanski. However it is still dramatic and satisfying.

The Duel is available online its original 1916 English trans.

--Review by Stephen Balbach, via CoolReading (c) 2008 cc-by-nd show less

Zheltkov, një “njeri i vogël”, po raskapitet nga dashuria për princeshën Vera Sheina, një zonjë e shoqërisë së pasur e cila pothuajse nuk është e vetëdijshme për ekzistencën e tij. Pasi bashkëshortja e tij merr një dhuratë veçanërisht të shtrenjtë ditëlindjeje, princi Vasili Shein viziton Zheltkovin, nën shoqërinë e vëllait të Verës, dhe i thotë atij të mos i ngacmojë më gruan. Zheltkov del nga skena por jo para se t’i çojë mesazh Verës të dëgjojë show more Sonatën e Dytë për Piano të Bethovenit. Muzika shkakton një transformim rrënjësor te Vera. show less

This is somewhat ridiculous in a way similar to George Sand's lyric effort in the field of ethnography ("The Devil's Swamp" or something). Really, "Else von der Tanne" by Wilhelm Raabe, which presents a similar story without the need to resort to a love affair, is much stronger. But I guess Kuprin was quite young in 1898.
And, of course, the name Eupsychy Afrikanovich takes the cake.