Contemporary Russian Novelists

PREFACE

The principal aim of this book is to give the reader a good general knowledge of Russian literature as it is to-day. The author, Serge Persky, has subordinated purely critical material, because he wants his readers to form their own judgments and criticize for themselves. The element of literary criticism is not, however, by any means entirely lacking.

In the original text, there is a thorough and exhaustive treatment of the "great prophet" of Russian literature – Tolstoy – but the translator has deemed it wise to omit this essay, because so much has recently been written about this great man.

As the title of the book is "Contemporary Russian Novelists," the essay on Anton Tchekoff, who is no longer living, does not rightly belong here, but Tchekoff is such an important figure in modern Russian literature and has attracted so little attention from English writers that it seems advisable to retain the essay that treats of his work.

Finally, let me express my sincerest thanks to Dr. G. H. Maynadier of Harvard for his kind advice; to Miss Edna Wetzler for her unfailing and valuable help, and to Miss Carrie Harper, who has gone over this work with painstaking care.

I

A BRIEF SURVEY OF RUSSIAN LITERATURE

In order to get a clear idea of modern Russian literature, a knowledge of its past is indispensable. This knowledge will help us in understanding that which distinguishes it from other European literatures, not only from the viewpoint of the art which it expresses, but also as the historical and sociological mirror of the nation's life in the course of centuries.

The dominant trait of this literature is found in its very origins. Unlike the literatures of other European countries, which followed, in a more or less regular way, the development of life and civilization during historic times, Russian literature passed through none of these stages. Instead of being a product of the past, it is a protestation against it; instead of retracing the old successive stages, it appears, intermittently, like a light suddenly struck in the darkness. Its whole history is a long continual struggle against this darkness, which has gradually melted away beneath these rays of light, but has never entirely ceased to veil the general trend of Russian thought.

As a result of the unfortunate circumstances which characterize her history, Russia was for a long time deprived of any relations with civilized Europe. The necessity of concentrating all her strength on fighting the Mongolians laid the corner-stone of a sort of semi-Asiatic political autocracy. Besides, the influence of the Byzantine clergy made the nation hostile to the ideas and science of the Occident, which were represented as heresies incompatible with the orthodox faith. However, when she finally threw off the Mongolian yoke, and when she found herself face to face with Europe, Russia was led to enter into diplomatic relations with the various Western powers. She then realized that European art and science were indispensable to her, if only to strengthen her in warfare against these States. For this reason a number of European ideas began to come into Russia during the reigns of the last Muscovite sovereigns. But they assumed a somewhat sacerdotal character in passing through the filter of Polish society, and took on, so to speak, a dogmatic air. In general, European influence was not accepted in Russia except with extreme repugnance and restless circumspection, until the accession of Peter I. This great monarch, blessed with unusual intelligence and a will of iron, decided to use all his autocratic power in impressing, to use the words of Pushkin, "a new direction upon the Russian vessel;" – Europe instead of Asia.

Peter the Great had to contend against the partisans of ancient tradition, the "obscurists" and the adversaries of profane science; and this inevitable struggle determined the first character of Russian literature, where the satiric element, which in essence is an attack on the enemies of reform, predominates. In organizing grotesque processions, clownish masquerades, in which the long-skirted clothes and the streaming beards of the honorable champions of times gone by were ridiculed, Peter himself appeared as a pitiless destroyer of the ancient costumes and superannuated ideas.

The example set by the practical irony of this man was followed, soon after the death of the Tsar, by Kantemir, the first Russian author who wrote satirical verses. These verses were very much appreciated in his time. In them, he mocks with considerable fervor the ignorant contemners of science, who taste happiness only in the gratification of their material appetites.

At the same time that the Russian authors pursued the enemies of learning with sarcasm, they heaped up eulogies, which bordered on idolatry, on Peter I, and, after him, on his successors. In these praises, which were excessively hyperbolical, there was always some sincerity. Peter had, in fact, in his reign, paved the way for European civilization, and it seemed merely to be waiting for the sovereigns, Peter's successors, to go on with the work started by their illustrious ancestor. The most powerful leaders, and the first representatives of the new literature, strode ahead, then, hand in hand, but their paths before long diverged. Peter the Great wanted to use European science for practical purposes only: it was only to help the State, to make capable generals, to win wars, to help savants find means to develop the national wealth by industry and commerce; he – Peter – had no time to think of other things. But science throws her light into the most hidden corners, and when it brings social and political iniquities to light, then the government hastens to persecute that which, up to this time, it has encouraged.

The protective, and later hostile, tendencies of the government in regard to authors manifested themselves with a special violence during the reign of Catherine II. This erudite woman, an admirer of Voltaire and of the French "encyclopédistes," was personally interested in writing. She wrote several plays in which she ridiculed the coarse manners and the ignorance of the society of her time. Under the influence of this new impulse, which had come from one in such a high station in life, a legion of satirical journals flooded the country. The talented and spiritual von Vizin wrote comedies, the most famous of which exposes the ignorance and cruelty of country gentlemen; in another, he shows the ridiculousness of people who take only the brilliant outside shell from European civilization. Shortly, Radishchev's "Voyage from Moscow to St. Petersburg" appeared. Here the author, with the fury of passionate resentment, and with sad bitterness, exposes the miserable condition of the people under the yoke of the high and mighty. It was then that the empress, Catherine the Great, so gentle to the world at large and so authoritative at home, perceiving that satire no longer spared the guardian principles necessary for the security of the State, any more than they did popular superstitions, manifested a strong displeasure against it. Consequently, the satirical journals disappeared as quickly as they had appeared. Von Vizin, who, in his pleasing "Questions to Catherine" had touched on various subjects connected with court etiquette, and on the miseries of political life, had to content himself with silence. Radishchev was arrested, thrown into a fortress, and then sent to Siberia. They went so far as to accuse Derzhavin, the greatest poet of this time, the celebrated "chanter of Catherine," in his old age, of Jacobinism for having translated into verse one of the psalms of David; besides this, the energetic apostle of learning, Novikov, a journalist, a writer, and the founder of a remarkable society which devoted itself to the publication and circulation of useful books, was accused of having had relations with foreign secret societies. He was confined in the fortress at Schluesselburg after all his belongings had been confiscated. The critic and the satirist had had their wings clipped. But it was no longer possible to check this tendency, for, by force of circumstances, it had been planted in the very soul of every Russian who compared the conditions of life in his country with what European civilization had done for the neighboring countries.

Excluded from journalism, this satiric tendency took refuge in literature, where the novel and the story trace the incidents of daily life. Since the writers could not touch the evil at its source, they showed its consequences for social life. They represented with eloquence the empty and deplorable banality of the existence forced upon most of them. By expressing in various ways general aspirations towards something better, they let literature continue its teaching, even in times particularly hostile to freedom of thought, like the reign of Nicholas I, the most typical and decided adversary of the freedom of the pen that Europe has ever seen. Literature was, then, considered as an inevitable evil, but one from which the world wanted to free itself; and every man of letters seemed to be under suspicion. During this reign, not only criticisms of the government, but also praises of it, were considered offensive and out of place. Thus, the chief of the secret police, when he found that a writer of that time, Bulgarine, whose name was synonymous with accuser and like evils, had taken the liberty to praise the government for some insignificant improvements made on a certain street, told him with severity: "You are not asked to praise the government, you must only praise men of letters."

Nothing went to print without the authorization of the general censor, an authorization that had to be confirmed by the various parts of the complex machine, and, finally, by a superior committee which censored the censors. The latter were themselves so terrorized that they scented subversive ideas even in cook-books, in technical musical terms, and in punctuation marks. It would seem that under such conditions no kind of literature, and certainly no satire, could exist. Nevertheless, it was at this period that Gogol produced his best works. The two most important are, his comedy "The Revizor," where he stigmatizes the abuses of administration, and "Dead Souls," that classic work which de Vogüé judges worthy of being given a place in universal literature, between "Don Quixote" and "Gil Blas," and which, in a series of immortal types, flagellates the moral emptiness and the mediocrity of life in high Russian society at that time.

At the same time, Griboyedov's famous comedy, "Intelligence Comes to Grief," which the censorship forbade to be produced or even published, was being circulated in manuscript form. This comedy, a veritable masterpiece, has for its hero a man named Chatsky, who was condemned as a madman by the aristocratic society of Moscow on account of his independent spirit and patriotic sentiments. It is true that in all of these works the authors hardly attack important personages or the essential bases of political organization. The functionaries and proprietors of Gogol's works are "petites gens," and the civic pathos of Chatsky aims at certain individuals and not at the national institutions. But these attacks, cleverly veiling the general conditions of Russian life, led the intelligent reader to meditate on certain questions, and it also permitted satire to live through the most painful periods. Later, with the coming of the reforms of Alexander II, satire manifested itself more openly in the works of Saltykov, who was not afraid to use all his talent in scourging, with his biting sarcasm, violence and arbitrariness.

Another salient trait of Russian literature is its tendency toward realism, the germ of which can be seen even in the most old-fashioned works, when, following the precepts of the West, they were taken up first with pseudo-classicism, and then with the romantic spirit which followed.

Pseudo-classicism had but few worthy representatives in Russia, if we omit the poet Derzhavin, whom Pushkin accused of having a poor knowledge of his mother tongue, and whose monotonous work shows signs of genius only here and there.

As to romanticism! Here we find excellent translations of the German poets by Zhukovsky, and the poems of Lermontov and Pushkin, all impregnated with the spirit of Byron. But these two movements came quickly to an end. Soon realism, under the influence of Dickens and Balzac, installed itself as master of this literature, and, in spite of the repeated efforts of the symbolist schools, nothing has yet been able to wipe it out. Thus, the triumph of realism was not, as in the case of earlier tendencies, the simple result of the spirit of imitation which urges authors to choose models that are in vogue, but it was a response to a powerful instinct. The truth of this statement is very evident in view of the fact that realism appeared in Russian literature at a time when it was still a novelty in Europe. The need of representing naked reality, without any decorations, is, so to speak, innate in the Russian author, who cannot, for any length of time, be led away from this practice. This is the very reason why the Byronian influence, at the time of Pushkin and Lermontov, lasted such a short time. After having written several poems inspired by the English poet, Pushkin soon disdained this model, which was the sole object of European imitation. "Byron's characters," he says, "are not real people, but rather incarnations of the various moods of the poet," and he ends by saying that Byron is "great but monotonous." We find the same thing in Lermontov, who was fond of Byron, not only in a transient mood of snobbery, but because the very strong and sombre character of his imagination naturally led him to choose this kind of intense poetry. He was exerting himself to regard reality seriously and to reproduce it with exactitude, at the very time when he was killed in a duel at the youthful age of twenty-seven.

Pushkin's best work, his novel in verse, "Evgeny Onyegin," although it came so early, was constructed according to realistic principles; and although we still distinguish romantic tints, it is a striking picture of Russian society at the beginning of the 19th century. We find the same tendency in Lermontov's prose novel, "A Hero of Our Times," in which the hero, Pechorin, has many traits in common with Evgeny Onyegin. This book immediately made a deep impression. It was really nothing more than a step taken in a new direction by its author. But it was a step that promised much. An absurd fatality destroyed this promise, and hindered the poet, according to the expression of an excellent critic of that time, from "rummaging with his eagle eye, among the recesses of the world."

The works of writers of secondary rank, contemporaneous with the above mentioned, also reveal a realistic tendency. Then appeared, to declare it with a master's power, that genius of a realist, of whom we have already made mention, Gogol. There was general enthusiasm; Gogol absorbed almost the entire attention of the public and men of letters. The great critic and publicist Byelinsky, in particular, took it upon himself to elaborate in his works the theories of realism; he formulated the program about 1850 under the name of the "naturalistic school." Thus the germs of the past had expanded triumphantly in the work of Gogol, and the way was now clear for Turgenev, Dostoyevsky, Tolstoy, Goncharov, Ostrovsky, and Pisemsky, who, while enlarging the range and perfecting the methods of the naturalistic school, conquered for their native literature the place which it has definitely assumed in the world.

Although we may infer that Russian realism has its roots in a special spiritual predilection, we must not nevertheless forget the historical conditions which prepared the way for it and made its logical development easy. Russian literature, called on to struggle against tremendous obstacles, could hardly have gone astray in the domain of a nebulous idealism.

The third distinctive trait of this literature is found in its democratic spirit. Most of the heroes are not titled personages; they are peasants, bourgeois, petty officials, students, and, finally, "intellectuals." This democratic taste is explained by the very constitution of Russian society.

The spirit of the literature of a nation is usually a reflection of the social class which possesses the preponderant influence from a political or economic standpoint or which is marked by the strength of its numbers. The preponderance of the upper middle class in England has impressed on all the literature of that country the seal of morality belonging to that class; while in France, where aristocracy predominated, one still feels the influence of the aristocratic traditions which are so brilliantly manifested in the pseudo-classic period of its literature. But many reasons have hindered the aristocracy and the bourgeoisie from developing in Russia. The Russian bourgeois was, for a long time, nothing but a peasant who had grown rich, while the noble was distinguished more by the number of his serfs and his authority than by his moral superiority. Deprived of independence, these two classes blended and still blend with the immense number of peasants who surround them on all sides and submerge them irresistibly, however they may wish to free themselves.

Very naturally, the first Russian authors came from the class of proprietors, rural lords, who were the most intelligent, not to say the only intelligent people. In general, the life of the lord was barely distinguishable from that of the peasant. As he was usually reared in the country, he passed his childhood among the village children; the people most dear to his heart, often more dear to him than his father or mother, were his nurse and the other servants, – simple people, who took care of him and gave him the pleasures of his youthful existence. Before he entered the local government school, he had been impregnated with goodness and popular poetry, drawn from stories, legends, and tales to which he had been an ardent listener. We find the great Pushkin dedicating his most pathetic verses to his old nurse, and we often see him inspired by the most humble people. In this way, to the theoretic democracy imported from Europe is united, in the case of the Russian author, a treasure of ardent personal recollections; democracy is not for him an abstract love of the people, but a real affection, a tenderness made up of lasting reminiscences which he feels deeply.

This then was the mental state of the most intelligent part of this Russian nobility, which showed itself a pioneer of the ideas of progress in literature and life. There were even singular political manifestations produced. Rostopchin said: "In France the shoemakers want to become noble; while here, the nobles would like to turn shoemakers." But, in spite of all, the greater part of this caste, with its essential conservative instincts, was nothing more than an inert mass, without initiative, and incapable even of defending its own interests except by the aid of the government.

Rostopchin did not suspect the profound truth of his capricious saying.

This truth burst forth in all its strength about 1870, the time of the great reforms undertaken by Alexander II, when the interests of the people were, for the first time, the order of the day. It was at this period that a great deal of studying was being done with great enthusiasm and that a general infatuation for folklore and for a "union with the masses" was being shown. The desire to become "simplified," that is to say to have all people live the same kind of life, the appearance of a type, celebrated under the sarcastic name of "noble penitent" (meaning the titled man who is ashamed of his privileged position as if it were a humiliating and infamous thing), the politico-socialistic ideology of the first Slavophiles, still half conservative, but wholly democratic; all these things were the results of the manifestations which astonished Rostopchin and made the more intelligent class of Russians fraternize more with the masses. In our day, this tendency has been eloquently illustrated by the greatest Russian artist and thinker, Tolstoy, who was the very incarnation of the ideas named above, and who always appears to us as a highly cultured peasant. The hero of "Resurrection" sums up in a few words this sympathy for the people: "This is it, the big world, the true world!" he says, on seeing the crowd of peasants and workingmen packed into a third-class compartment.

In the last half of the 19th century, Russian literature took a further step in the way of democracy. It passed from the hands of the nobility into the hands of the middle class, as the conditions under which it existed brought it closer to the people and made it therefore more accessible to their aspirations. It is no longer the great humanitarians of the privileged class who paint the miserable conditions among which people vegetate; it is the people themselves who are beginning to speak of their miseries and of their hopes for a better life. The result is a deep penetration of the popular mind, in conjunction with an acute, and sometimes sickly, nervousness, which is shown in the works of the great Uspensky, and, more recently still, in Tchekoff, Andreyev, and many others.

None of these writers belong to the aristocracy, and two of them – Tchekoff and Gorky – have come up from the masses: the former was the son of a serf, and the latter the son of a workingman. Let me add that, among the women of letters, the one who is most distinguished by her talent in describing scenes from popular life – Mme. Dmitrieva – is the daughter of a peasant woman.

Thus, as we have shown, the Russian writers alone, under the cover of imaginative works which became expressive symbols, could undertake a truly efficacious struggle against tyranny and arbitrariness. They found themselves in that way placed in a peculiar social position with corresponding duties. Men expected from them, naturally, a new gospel and also a plan of conduct necessary in order to escape from the circle of oppression. The best of the Russian writers have undertaken a difficult and perilous task; they have become the guides, and, so to speak, the "masters" of life. This tendency constitutes a new trait in Russian literature, one of its most characteristic; not that other literatures have neglected it, but no other literature in the world has proclaimed this mission with such a degree of energy and with such a spirit of sacrifice. Never, in any other country, have novelists or poets felt with such intensity the burden on their souls. At this point Gogol, first of all, became the victim of this state of things.

The enthusiasm stirred up by his works and by the immense hopes that he had evoked suddenly elevated him to such a height in the minds of his contemporaries that he felt real anguish. Artist he was, and now he forced himself to become a moralist; he rushed into philosophical speculations which led him on to a nebulous mysticism, from which his talent suffered severely. When he realized what had happened, despair seized him, his ideas troubled him, and he died in terrible intellectual distress.

We see also the great admirer of Gogol – Dostoyevsky – under different pretexts making known in almost all his novels and especially in his magazine articles, "Recollections of an Author," his opinions on the reforms about to be realized. He studies the problems of civilization which concern humanity in general, and particularly insists upon the mission of the Russian people, who are destined, he believes, to end all the conflicts of the world by virtue of a system based upon Christian love and pity.

Turgenev, himself, although above all an artist, does not remain aloof from this educational work. In his "Annals of a Sportsman," he attacks bondage. And when it was abolished, and when in the very heart of Russian society, among the younger generation, the revolutionists appeared, Turgenev attempted to paint these "new men." Thus in his novel, "Fathers and Sons," he sketches in bold strokes the character of the nihilist Bazarov. This celebrated type cannot, however, be considered a true representative of the mentality of the "new men," for it gave only a few aspects of their character, which, besides, did not have Turgenev's sympathy.