The Hungarian War of Independence (1848-49) in which the Hungarians fought with desperate heroism against the numerically superior forces of Austria and Russia, ended in dismal failure. Some of the Hungarian leaders escaped abroad; many of those who remained were imprisoned, some even met death under the gallows.

Despite the ultimate collapse of the war, it had reverberations throughout the civilized world. Kossuth's fiery speeches were read everywhere, and his valiant efforts in behalf of his unhappy country aroused so much interest in Hungary that innumerable books and articles were published in England and America dealing not only with Kossuth and his helpmates, but also with Hungary, her language and literature, and the customs of this heretofore unknown country. Kossuth's activities, including his American tour, did not secure active help for the Hungarian cause, yet, they led to no mean achievement: they put Hungary, so to speak, on the map.

The work of Le Play, Ducpétiaux and Engel on family budget studies first attracted interest in Russia in the 1890's, at a time when zemstvo statisticians had already started to make some sample household surveys. In the twenty years before the Revolution a number of extensive studies of peasant households and a handful of small studies of workers' households were made.

There were a few isolated Russian studies before this time, but the earliest and most complete studies of peasants and workers in Russia were made by Le Play himself in 1844 and 1853.

The leading german social democrats of the nineteenth century expressed opinions at various times concerning the perennial Eastern Question. These opinions are not without interest, revealing sharply conflicting viewpoints among the socialists, as well as perceptive interpretations concerning the origins and nature of the Eastern Question.

Marx and Engels have been accused of racism and anti-Slavism because they frequently attacked the revolts of the Balkan peoples for independence. This hypothesis will be tested by ascertaining precisely what positions the two socialist pioneers took on the Near Eastern Question between the 1848 Revolutions and the Balkan Crisis of 1875-78.

This article is an attempt to enumerate and evaluate briefly the most valuable collected works of Russian classical writers: Lermontov, Gogol, Turgenev, Dostoevsky, Tolstoy and Chekhov. By "collected works" I mean what is called, in Russian, Polnoe sobranie sochinenij,— that is, editions which usually contain everything known to have been written by the author, including memoirs and letters—and Sobranie Sochinenij and Sochinenija, which usually include only the literary works of the author, generally complete, sometimes selectively i edited.

In his Nobel Peace Prize lecture in Oslo, December 11, 1957, Mr. Lester B. Pearson, the former Canadian Secretary of State for External Affairs, called attention to a fact that his generation and mine are more aware of than our younger contemporaries. He said that as a result of the spectacular advances in the physical sciences during the last fifty years, a man who had lived in 1507 would have felt more at home in 1907 than one who had died in 1907 if he came back to life today. Mr. Pearson went on to say that" a great gulf has been opened between man's material advance and his social and moral progress; a gulf in which he may one day be lost if it is not closed or narrowed."

"Everybody knows," Pushkin wrote in 1832, "that the French are the most anti-poetic nation. Their best writers, the most glorious representatives of this keen-witted and positive people, Montagne [sic], Voltaire, Montesquieu, La Harpe, and Rousseau himself have shown how the feeling of the beautiful has been foreign and incomprehensible to them." This is an indirection of poetic proportion: Pushkin was less interested in the prose which he considered the strength of the French than in the poetry which he considered their weakness. But the picture is more complex than that; it must be built up from an essentially incidental literary criticism, much of which is fragmented throughout the poet's letters, sketches, and jottings.

The American purchase of Alaska from Russia in 1867 is often cited today as an example of providential intervention in behalf of America's national security. Commentators shudder at the thought of Soviet air bases in what was once Russian America and praise the near miraculous foresight of Secretary of State William Seward.

Comprising as it does the only real estate transaction ever completed by Russia and America, Seward's annexation of Alaska properly holds a rather unique place in the diplomatic annals of both countries. The tendency of textbook writers to over-dramatize the role of Providence and to imply that Seward alone saw the value of Russian America is, however, both mistaken and unfortunate.

Since the Twentieth Congress of the Communist Party in Moscow, and especially in 1957, there has been growing evidence of unrest in the ranks of Soviet Armenian writers. Not to be outdone by their Russian colleagues, Armenian poets and novelists have produced a body of new work which has evoked from party whips in the Union of Armenian Soviet Writers a number of excoriating speeches and articles as revealing of ferment as similar manifestations to the north.

In the stacks of the Slavonic Department of the New York Public Library, a small, leather-bound volume may be found which carries the interesting legend: Boris Godunov, tragedija v trëkh dejstviakh. The author of this obscure play is one Mikhail Evstafievich Lobanov (1787-1848), a man of letters, translator of Racine, and official of the Imperial Library. The date of publication of the little volume is 1835, although the author states in the brief introduction to his play that he wrote it in 1825, and an earlier edition of the play is said to exist.

Within that present-day, postwar croatian literature which has been developing on native soil we can distinguish three generations of writers. Of these the two younger are so close to one another that it sometimes is difficult to say to which generation a writer belongs. Their position with respect to the last world war best indicates where to place them.

When the war began, the first generation was already mature in years and had more or less definitive artistic personalities.

There were many great actors in the Imperial Theatres of Russia but between 1874 and 1916 there was one actress whose talent shone brighter than any other. This was Maria Gavrilovna Savina who, for forty years, adorned the stage of the Alexandrinsky Theatre in St. Petersburg. After she played in Shpazhinsky's popular drama, "The Enchantress," the admiring theatre-goers gave her the name she deserved—"Enchantress of the Russian Stage."