In his stories dealing with biblical characters, Judas Iscariot and Lazarus, we have horror and dreams again. Judas Iscariot and the Saviour are pictured as twins nailed to the same cross and wearing the same crown of thorns. The traitor in Andreyev’s story loves Jesus the Man. There is a dread secret in the terrible eyes of Judas, as there is a wondrous secret in the beautiful eyes of Jesus. This horrible proximity of divine beauty and of monstrous hideousness presents a problem which the artist tries to solve. He makes of Judas a fanatical revolutionist, the slave of an idea who has resolved to materialize “horror and dreams” and to bring about the truth. There is in Judas that same duality which characterizes so many of Andreyev’s heroes. He has two faces. He lies and dissembles. Throughout the whole story the dual personality of the Traitor is brought out with wonderful skill. In “Judas Iscariot” Andreyev contrasts Judas with Jesus. In “Lazarus” he contrasts the morose Jew, whom Jesus brought back from death into life after three days and three nights in the darkness of the tomb, with the life-loving Augustus. If in “Judas Iscariot” Judas, wise, cunning and evil, overcomes Jesus, naive, meek and trustful, in “Lazarus” it is the Roman Emperor who causes the eyes of the Jew to be pierced, but is in the end overcome himself.
“Anathema”—a play of Andreyev which in grandeur of conception equals Goethe’s Faust, has for its humble hero, David Leiser, trustful, stupid, guileless, ever obedient to his heart, who reaches immortality and lives the life of immortality and light. His enemy, Anathema, who follows the cold dictates of reason, is foiled.
From Andreyev’s pen we have a series of dramatic pictures, “Black Masks,” “King Hunger,” “Savva,” “To the Stars,” and others, and a number of stories, some of them in places streaked with a realism that is almost too revolting for the Anglo-Saxon ideas of propriety. Thus in “My Memoirs,” he tells of an insane doctor of mathematics, who confined for life in a prison for a horrible crime sets down his experiences in a series of hypocritical diary notes, and who expatiates upon the beauties of nameless vice. In “The Darkness,” the bomb throwing idealist, who hiding from the police on the eve of his deed, enters a house of ill-fame and becomes so abashed at the sight of the life of an inmate that he exclaims “It is a disgrace to be good,” and kisses her hand, only to have his face slapped because the fallen woman resents his parading of goodness at her expense.