But it is time to mention some of the precursors of nihilism. First of all there is Alexander Herzen, a brilliant, paradoxical writer, a great visionary, a keen satirist, the poet of denial, a romanticist and idealist to his own sorrow, and, in the bottom of his soul, sceptical and melancholy. Herzen was born in Moscow in the year of the Fire, and his mind began to mature about the time the December conspirators forced Nicholas I. into trembling retirement. He was wont to say that he had seen the most imposing personification of imperial power, had grown up under the shadow of the secret police and panted in its clutches. Charmed by the philosophical doctrines of Hegel and Feuerbach, which were then superseding the French, he became a socialist and a revolutionary. Just at the time when to have a constitution was the ideal and the dream of the Latin peoples, who were willing to tear themselves to pieces to obtain it, this Sclav was writing that a constitution was a miserable contract between a master and his slaves! Herzen was but a little more than twenty years old when he was sent to Siberia. On his return from exile he found at home a mental effervescence, a Germanic and idealist current in the wake of the eminent critic Bielinsky, Sclavophiles singing hymns in praise of national life and repudiating European civilization which was in turn defended by the so-called Occidentals; and lastly he found a set of literary, innovators who formed the famousnatural school, at the head of which was the great Gogol. Herzen fell into this whirl of ideas, and his æsthetic doctrines and advanced Hegelianism had great influence, and after some more serious works he published his celebrated novel, "Who is to Blame?"—a masterly effort, which gained him immense renown in Russia. It was masterly more by reason of the popularity it achieved than by its literary merit, for Herzen is, after all, not to be counted among the chief novel-writers of Russia. Herzen was born to point the way to a social Utopia rather than the road to pure Beauty. He invented new phases of civilization, societies transformed by the touch of a magic wand. The star of Proudhon was at this time in the ascendant, and Herzen, attracted by its brilliancy, left his country never to return; but he did not on this account cease to exercise a great influence upon her destinies, so great, indeed, that some profess to think that had Herzen never lived, nihilism would have perished in the bud.
Herzen hailed with delight the French revolution of 1848. He expected to behold a social liquidation, but he saw instead only a conservative republic,—a change of form. Then he cried out in savage despair, and his words have become the true nihilist war-cry: "Let the old world perish! Let chaos and destruction come upon it! Hail, Death! Welcome to the Future!"
To sweep away the past with one stroke became his perennial aspiration. He drew a vivid picture of a secret tribunal which everynew mancarries within himself, to judge, condemn, and guillotine the past; he described how a man, fearful of following up his logical conclusions, after citing before this tribunal the Church, the State, the family, the good, and the evil, might make an effort to save a rag of the worn-out yesterday, unable to see that the lightest weight would prove a hindrance to his passage from the old world to the new. "There is a remarkable likeness between logic and terror," he said. "It is not for us to pluck the fruits of the past, but to destroy them, to persecute them, to judge them, to unmask them, and to immolate them upon the altars of the future. Terror sentenced human beings; it concerns us to judge institutions, demolish creeds, put no faith in old things, unsettle every interest, break every bond, without mercy, without leniency, without pity."
This was his programme: Not to civilize or to progress, but to obliterate, to demolish; to replace what he called the senile barbarity of the world with a juvenile barbarity; "to go to the very limits of absurdity,"—these are his own words. They contain the sum of nihilism; they include the pessimist despair, and the foolish proscription of art, beauty, and culture, which to an artistic mind is the greatest crime that can be laid at the door of any political or philosophical doctrine. A tendency that aspires to overthrow the altar sacred to the Muses and the Graces can never prevail.
Herzen went to London, established a press for the dissemination of political writings in Russia, and organized a secret society for Russian refugees, among whom he counted Bakunine; and having refused to return to his country, he founded a singular paper called "The Bell" (Kolokol), of which thousands of copies, though strictly prohibited by the censor, crossed the frontier. They were distributed and read on every hand, and a copy was regularly placed, by invisible hands, in the chamber of the emperor, who devoured it no less eagerly than his faithful subjects. From the pages of this illegal publication the sovereign learned of secret intrigues in his palace, of plots among his high officials, and scandalous stories reported by the socialist refugee with incredible accuracy. By the side of these evidences of dexterity and cleverness, some of the stratagems recounted of the times of our own Carlist war seem mere child's play.
As the precursor of nihilism Herzen excites great interest, but there is much to be said of Tchernichewsky and Bakunine. It is said that the latter's influence was more felt abroad than at home, and that he fanned the activity of the Internationalist societies, and of the Swiss, Italian, and Spanish laboring classes. Be that as it may, Bakunine was a classic type of the conspirator by profession,—in love with his dangerous work. He adopted as his motto that to destroy is to create. Caussidière saw him and watched him during the insurrections in Paris, and exclaimed, "What a man! The first day of the revolution he is a treasure; on the second we must shoot him!" Paris was not the only witness of his feats; he fought like a lion at the barricades in Dresden, and was elected dictator; he took an active part in the Polish insurrection; he quite outshone Carl Marx in the International, and with him originated the anarchist faction, and that last grade of revolution, amorphism. As for Tchernichewsky, he is considered the great master and inspirer of contemporary nihilism, his principal claim to such a place being based on a novel; and at the bottom of the Russian revolution we shall always find the epic fictions of our day exerting a powerful influence.
With Herzen's novel the tendencies of nihilism were first revealed; with Tchernichewsky's they became fixed and decisive. Novels of Gogol and Turguenief overthrew serfdom, and novels of Turguenief, Dostoiëwsky, Tolstoï, Gontcharof, and Tchedrine are the documents which historians will consult hereafter when the great contest between the revolution and the old society shall be written. When Tchernichewsky wrote his famous novel, he had already tried his hand at various public questions, had made a compilation from the "Political Economy" of John Stuart Mill, and was a prisoner on the charge of organizing the revolutionary propaganda in Russia along with Herzen, Ogaref, and Bakunine, who were refugees in London. Before setting out to suffer his sentence of fifteen years' imprisonment and perpetual residence in Siberia, he was tied to a stake in a public square of St. Petersburg, and after the reading of the sentence a sword was broken over his head. What a blow was dealt at absolute power by this man, shut up, annihilated, suppressed, and civilly dead! Happy the cause that hath martyrs!
His novel produced an indescribable sensation. The nihilists were inclined to resent Turguenief's "Fathers and Sons," whose hero, the materialist Bazarof, represented the new generation, or, according to them, caricatured it. Tchernichewsky's book was considered to be a faithful picture, and a model besides for the party; it was the nihilists painted by one of themselves, so to speak. Although it is tedious and inconsistent in its arguments, the book shows much talent and a fertile imagination; the author declares that it is his purpose to stereotype the personality of thenew man, who is but an evanescent type, a sign of the times, destined to disappear with the epoch he has initiated. Writing about the year 1850, he says, "Six years ago there were no such men; three years ago they were little noticed, and now—but what matters what is thought of them now? Soon enough they will hear the cry, Save us! and whatever they command shall be done." Farther on he says that thesenew menin turn shall disappear to the last man; and after a long time men shall say, "Since the days of those men things go on better, although not entirely well yet." Then the type shall reappear again in larger numbers and in greater perfection, and this will continue to happen until men say, "Now we are doing well!" And when this hour arrives, there will be no special types of humanity, there will be nonew men, for all shall realize the largest sum of perfection possible. Such is the theory of this famous martyr, and it is certainly as original as it is curious.
The admirers of Tchernichewsky's novel compare it to "The City of the Sun," by Campanella, "Utopia," by Sir Thomas More, "The Journey to Icaria," by Cabet, and the phalansterian sketches by Fourier's disciples. This comparison is alone sufficient to decide the rivalry in favor of Turguenief; for the Siberian exile wrought only in the interest of socialist propaganda, while the author of "Virgin Soil," whether accurate or not in detail, was a consummate artist. Only political excitement can dictate certain judgments and decisions. If I speak now more at length of the exile's novel, it is for the sake of its representative value, and as a reflection of nihilism in literature. The title is, "What to do?" The author wishes to solve the problem put by Herzen in the title to his novel, "Who is to blame?" and under the guise of a love-quarrel he delineates the ideal of the contemporary generation represented by two favorite characters, the two classic types of the nihilist novel,—the student of medicine, anew man, saturated with science and German metaphysics, and a brave girl longing to beinitiatedand thirsting to consecrate herself to some lofty cause. Among other curiosities there is a nihilist husband, who, on discovering that his wife is enamoured of somebody else, calculates his moral sufferings as equivalent to the excitement produced by four cupfuls of strong coffee, and he therefore takes two morphine pills and declares that he feels better! In spite of being prohibited by the censor, this novel, as might be expected, had a great success; the editions multiplied clandestinely; the heroine's type became immensely popular; the young girls took to the study of medicine with an enthusiasm and a will to which I can personally testify; and if report be true, a part of the new ideas concerning conjugal equality and the constitution of the family proceeded from this novel. The popularity of the author, glorified by the halo of his sufferings and imprisonment, far superseded that of Herzen.
Materialism and positivism soon came also to replace the visions of Herzen; for when Alexander II. opened the frontiers which the inflexible Nicholas had closed, the students brought home new idols from the German universities. Schopenhauer and Buchner superseded Hegel and Feuerbach. Schopenhauer, with his pessimism, his theory of Nirvana and universal annihilation, arrived just in time to foster the germs of fatalism dormant within the Russian soul; and Buchner, by means of his very superficial but eloquent book, was also in season to offer an accessible, clear, and popular formula to unthinking minds and negative or indolent temperaments; "Force and matter" was for a time the Bible of Russian students. It will be readily seen that the revolutionary formula and methods in Russia always came from abroad; but they met with tendencies which were unexpected, even though they proved favorable to development. The philosophy of nihilism was drawn from Western sources, no doubt; yet this phenomenon made its appearance only in Russia, a land predisposed to realism and mysticism, to brutality and languor, and above all to melancholy limitless as its plains.
We are told of the now famous saying of a nihilist, who, being asked his doctrines, replied, "To see earth and heaven, Church and State, God and king, and to spit upon them all!" Although the verb tospitis not so offensive in Russia as here, and is rather a sign of repugnance than of insult, such a reply contains the sum of negative nihilism; and negation, the critical period, cannot last longer than the despairing sigh of the dying. The active phase of nihilism, the reign of terror, passed by quickly, and now the party is beginning to lay aside its ferocious radicalism and deal with realities.
The reign of terror was short but tragic. We have seen that the active nihilists were a few hundred inexperienced youths without position or social influence, armed only with leaflets and tracts. This handful of boys furiously threw down the gauntlet of defiance at the government when they saw themselves pursued. Resolved to risk their heads (and with such sincerity that almost all the associates who bound themselves to execute what they calledthe people's willhave died in prison or on the scaffold), they adopted as their watchwordman for man. When the sanguinary reprisals fell upon Russia from one end to the other, the frightened people imagined an immense army of terrorists, rich, strong, and in command of untold resources, covering the empire. In reality, the twenty offences committed from 1878 to 1882, the mines discovered under the two capitals, the explosions in the station at Moscow and in the palace at St. Petersburg, the many assassinations, and the marvellous organization which could get them performed with circumstances so dramatic and create a mysterious terror against which the power of the government was broken in pieces,—all this was the work of a few dozens of men and women seemingly endowed with ubiquitousness, so rapid and unceasing their journeys, and so varied the disguises, names, and stratagems they made use of to bewilder and confound the police. It was whispered that millions of money were sent in from abroad, that there were members of the Czar's family implicated in the conspiracy, that there was an unknown chief, living in a distant country, who managed the threads of a terrible executive committee which passed judgment in the dark, and whose decrees were carried out instantly. Yet there were only a few enthusiastic students, a few young girls ready to perform any service, like the heroine of Turguenief's "Shadows;" a few thousand rubles, each contributing his share; and, after all, a handful of determined people, who, to use the words of Leroy-Beaulieu, had made a covenant with death. For a strong will, like intelligence or inspiration, is the patrimony of the few; and so, just as ten or twelve artist heads can modify the æsthetic tendency of an age, six or eight intrepid conspirators are enough to stir up an immense empire.
After Karakozof's attempt upon the life of the Czar (the first spark of discontent), the government augmented the police and endowed Muravief, who was nicknamedthe Hangman, with dictatorial powers. In 1871 the first notable political trial was held upon persons affiliated with a secret society. Persecutions for political offences are a great mistake. Maltreatment only inspires sympathy. After a few such trials the doors had to be closed; the public had become deeply interested in the accused, who declared their doctrines in a style only comparable to the acts of the early Christian martyrs. Who could fail to be moved at the sight of a young woman like Sophia Bardina, rising modestly and explaining before an audience tremulous with compassion her revolutionary ideas concerning society, the family, anarchy, property, and law? Power is almost always blind and stupid in the first moments of revolutionary disturbances. In Russia men risked life and security as often by acts of charity toward conspirators as by conspiracy itself. In Odessa, which was commanded by General Totleben, the little blond heads of two children appeared between the prison bars; they were the children of a poor wretch who had dropped five rubles into a collection for political exiles, and these two little ones were sentenced to the deserts of Siberia with their father. And the poet Mikailof chides the revolutionaries with the words: "Why not let your indignation speak, my brothers? Why is love silent? Is our horrible misfortune worthy of nothing more than a vain tribute of tears? Has your hatred no power to threaten and to wound?"
The party then armed itself, ready to vindicate its political rights by means of terror. The executive committee of the revolutionary socialists—if in truth such a committee existed or was anything more than a triumvirate—favored this idea. Spies and fugitives were quickly executed. The era of sanguinary nihilism was opened by a woman, the Charlotte Corday of nihilism,—Vera Zasulitch. She read in a newspaper that a political prisoner had been whipped, contrary to law,—for corporal punishment had been already abolished,—and for no worse cause than a refusal to salute General Trepof; she immediately went and fired a revolver at his accuser. The jury acquitted her, and her friends seized her as she was coming out of court, and spirited her away lest she should fall into the hands of the police; the emperor thereupon decreed that henceforth political prisoners should not be tried by jury. Shortly after this the substitute of the imperial deputy at Kief was fired upon in the street; suspicion fell upon a student; all the others mutinied; sixteen of them were sent into exile. As they were passing through Moscow their fellow-students there broke from the lecture-halls and came to blows with the police. Some days later the rector of the University of Kief, who had endeavored to keep clear of the affair, was found dead upon the stairs; and again later, Heyking, an officer of thegendarmerie, was mortally stabbed in a crowded street. The clandestine press declared this to have been done by order of the executive committee; and it was not long before the chief of secret police of St. Petersburg received a very polite notice of his death-sentence, which was accomplished by another dagger, and the clandestine paper, "Land and Liberty," said by way of comment, "The measure is filled, and we gave warning of it." Months passed without any new assassinations; but in February, 1879, Prince Krapotkine, governor of Karkof, fell by the hand of a masked man, who fired two shots and fled, and no trace of him was to be found, though sentence of death against him was announced upon the walls of all the large towns of Russia. The brother of Prince Krapotkine was a furious revolutionary, and conducted a socialist paper in Geneva at that time. In March it fell to the turn of Colonel Knoup of thegendarmerie, who was assassinated in his own house, and beside him was found a paper with these words: "By order of the Executive Committee. So will we do to all tyrants and their accomplices." A pretty nihilist girl killed a man at a ball; it was at first thought to be a love-affair, but it was afterward found out that the murderess did the deed by order of the executive committee, or whatever the hidden power was which inspired such acts. On the 25th of this same March a plot against the life of the new chief of police, General Drenteln, was frustrated, and the walls of the town then flamed with a notice that revolutionary justice was about to fall upon one hundred and eighty persons. It rained crimes,—against the governor of Kief, against Captain Hubbenet, against Pietrowsky, chief of police, who was riddled with wounds in his own room; and lastly on the 14th of April Solovief attempted the life of the Czar, firing five shots, none of which took effect. On being caught, the would-be assassin swallowed a dose of poison, but his suicide was also unsuccessful. Solovief, however, had reached the heights of nihilism; he had dared to touch the sacred person of the Czar. He was the ideal nihilist: he had renounced his profession, determined togo with the people, and became a locksmith, wearing the artisan's dress; he was marriedmystically, and byfree graceorfree will, and it was said that he was a member of the terrible executive committee. He suffered death on the gallows with serenity and composure, and without naming his accomplices. "Land and Liberty" approved his acts by saying, "We should be as ready to kill as to die; the day has come when assassination must be counted as a political motor." From that day Alexander II. was a doomed man, and his fatal moment was not far off. The revolutionaries were determined to strike the government with terror, and to prove to the people that the sacred emperor was a man like any other, and that no supernatural charm shielded his life. At the end of 1879 and the beginning of 1880 two lugubrious warnings were forced upon the emperor: first, the mine which wrecked the imperial train, and then the explosion which threw the dining-room of the palace in ruins, which catastrophe he saw with his own eyes. About this time the office of a surreptitious paper was attacked, the editors and printers of which defended themselves desperately; alarmed by this significant event, the emperor intrusted to Loris Melikof, who was a liberal, an almost omnipotent dictatorship. The conciliatory measures of Melikof somewhat calmed the public mind; but just as the Czar had convened a meeting for the consideration of reforms solicited by the general opinion, his own sentence was carried out by bombs.
It is worthy of note that both parties (the conservative and the revolutionary) cast in each other's face the accusation of having been the first to inflict the death-penalty, which was contrary to Russian custom and law. If Russia does not deserve quite so appropriately as Spain to be called the country ofvice versas, it is nevertheless worth while to note how she long ago solved the great juridical problem upon which we are still employing tongue and pen so busily. Not only is capital punishment unknown to the Russian penal code, but since 1872 even perpetual confinement has been abolished, twenty years being the maximum of imprisonment; and this even to-day is only inflicted upon political criminals, who are always treated there with greater severity than other delinquents. Before the celebrated Italian criminalist lawyer, Beccaria, ever wrote on the subject, the Czarina Elisabeth Petrowna had issued an edict suppressing capital punishment. The terrible Muscovite whip probably equalled the gibbet, but aside from the fact that it had been seldom used, it was abolished by Nicholas I. If we judge of a country by its penal laws, Russia stands at the head of European civilization. The Russians were so unaccustomed to the sight of the scaffold, that when the first one for the conspirators was to be built, there were no workmen to be found who knew how to construct it.
It is not easy to say whether the government was ill-advised in confronting the terrors of nihilism with the terrors of authority. Public executions are contageous in their effect, and blood intoxicates. The nihilists, even in the hour of death, did not neglect their propaganda, and held up to the people their dislocated wrists as evidences of their tortures. One must put one's self in the place of a government menaced and attacked in so unusual a manner. Certain extreme measures which are the fruit of the stress of the moment are more excusable than the vacillating system commonly practised from time immemorial; and which is foster-mother to professional demagogues, and dynamiters by vocation and preference.
The police as organized in Russia seem to inspire greater horror even than the nihilist atrocities. In the face of judicial reforms there exists an irresponsible tribunal, called the Third Section of the Imperial Chancellorship. The worst of this kind of arbitrary and antipathetic institutions is that imagination attributes many more iniquities to them than they in reality commit. Russian written law declares that no subject of the Czar can be condemned without a public trial; but the special police has the right to arrest, imprison, and make way with, rendering no account to any one. Thus absolute power leaps the barriers of justice. It must be acknowledged that the dark ways of the special police only reflected those of their nihilist adversary. Nowhere in the world, however, is the police so hated; nowhere do they perform their work in so irritating a manner as in Russia; and the public, far from assisting them, as in England and France, fights and circumvents them. The proneness to secret societies in Russia is the result of the perpetual and odious tyranny of the police. The Russian lives in clandestine association like a fish in water; so much so that after the fall of Loris Melikof the reactionaries were no less eager for it than the nihilists, and bound themselves together under the name of the Holy League, taking as a model the revolutionary executive committee, and even including the death-sentence in their rules.
War without quarter was declared, and the police organized a counter-terror characterized by impeachment, suspicion, espionage, and inquisition. There were domiciliary visitations; every one was obliged to take notice whether any illegal meetings were held in his neighborhood, or any proscribed books or explosive materials were to be seen; no posters were allowed to be put on the walls, and every one was expected to aid the arrest of any suspicious person; a vigilant watch was kept upon Russian refugees; the rigors of confinement were enforced; and all this made the police utterly abhorred, even in a country accustomed to endure them as a traditional institution since the last of the Ruriks and the first of the Romanoffs.
The chief of the Third Section became a power in the land. The Section worked secretly and actively. The chief and the emperor maintained incessant communication, and the former was made a member of the cabinet, and could arrest, imprison, exile, and put out of the way, whomever he pleased. During the reign of the kind-hearted Alexander II. his power declined for a while, until nihilist plots and manœuvres caused it to be redoubled. There was a struggle unto death between two powers of darkness, from which the police came out beaten, having been unable to save the lives of their chief and the sovereign.
While the Third Section attacked personal security and liberty, the censorship, more intolerable still, hemmed in the spirit and condemned to a death by inanition a young people hungry for literature and science, for plays, periodicals, and books. Mutilated as it is, the newspaper is bread to the soul of the Russian. The Russian press, like all the obstacles that absolute power finds in its way, was founded by one of their imperial civilizers, Peter the Great, and it maintained a purely literary character until the reign of Alexander II., when it took a political form. Under the iron hand of the censor, the Russian press has learned the manner and artifices of the slave; in allusions, insinuations, retentions, and half-meanings it is an adept, for only so can it convey all that it is forbidden to speak. It must emigrate and recross the frontier as contraband in order to speak freely.
The censor lies ever in ambush like a mastiff ready to bite; and sometimes its teeth clinch the most inoffensive words on the page, the most innocent page in the book, the librettos of operas, as for example "The Huguenots" and "William Tell." In 1855 certain literary works were exempted from the previous censure, but this beneficence was not extended to the periodical press. The newspapers of St. Petersburg and Moscow were open to a choice between the new and old systems, between submitting to the rule of the censor and a deluge of denunciations, seizures, suspensions, and suppressions; and they willingly chose the former. So the Russian press exists under an entirely arbitrary sufferance, and according as the political scales rise and fall they are allowed to-day what was prohibited yesterday, and sometimes their very means of sustenance are cut off by an embargo on certain numbers or the proscription of advertisements. If a liberal minister is to the fore, times are prosperous; if there is a reaction, they are crushed to death. This accounts for the popularity of the secret press, which is at work even in buildings belonging to the crown, in seminaries and convents, and in the very laboratory of dynamite bombs.
Books are as much harassed as periodicals. The Russians, being very fond of everything foreign, sigh for books from abroad, especially those that deal with political and social questions; but the censor has custom-houses at the frontier, and the officials, with the usual perspicacity of literary monitors, finally let slip that which may prove most dangerous and subversive, and exercise their zeal upon the most ingenuous. They have even cut off thefeuilletinesof thousands of French papers,—what patience it must have required to do it!—while Madame Gagneur's novel, "The Russian Virgins," passed unmutilated. I wonder what would be the fate of my peaceful essays should they receive the unmerited honor of translation and reach the frontiers of Muscovy!
As to the foreign reviews, they are submitted to a somewhat amusing process, called thecaviar. Suspicious passages, if they escape the scissors, get an extra dash of printing-ink. Thus the Russian is not even free to read till he goes from home, and by force of dieting he suffers from frequent mental indigestion, and the weakest sort ofspiritsgoes to his head!
All this goes to prove that if speculative nihilism is a moral infirmity congenital to the soul of the Russian, active and political nihilism is the fruit of the peculiar situation of the empire. The phrase is stale, but in the present case accurate. Russia is passing through a period of transition. She goes forward to an uncertain future, stumbles and falls; her feet bleed, her senses swim; she has fits of dementia and even of epilepsy. Good intention goes for nought, whether the latent generosity of revolutionaries, or of government and Czar. Where is there a person of nobler desires and projects than Alexander II.? But his great reforms seemed rather to accelerate than to calm the revolutionary fever.
As long as the revolution does not descend from the cultivated classes upon the masses of the people, it must be content with occasional spurts, chimerical attempts, and a few homicides; but if some day the socialist propaganda, which now begins to take effect in the workshops, shall make itself heard in the country villages, and the peasant lend an ear to those who say to him, "Rise, make the sign of the Cross and take thy hatchet with thee," then Russia will show us a most formidable insurrection, and that world of country-folk, patient as cattle, but fanatical and overwhelming in their fury, once let loose, will sweep everything before it. Nothing will appease or satisfy it. The constitutions of Western lands they have already torn in pieces without perusal. Even the revolutionaries would prefer to those illusory statutes a Czar standing at the head of the peasants, and institutions born within their own land. It is said that now, just as the nihilist frenzy is beginning to subside, one can perceive a smouldering agitation among the people manifesting itself occasionally in conflagrations, anti-Semitic outbreaks, and frequent agrarian crimes. What a clouded horizon! What volcanic quakings beneath all that snow! On the one hand the autocratic power, the secular arm, consecrated by time, tradition, and national life; on the other the far-reaching revolution, fanatical and impossible to appease with what has satisfied other nations; and at bottom the cry of the peasants, like the sullen roar of the ocean, for—it is a little thing—the land!
From this state of anguish, of unrest, of uncertainty, has been brought forth, like amber from the salt sea, a most interesting literature. Into this relatively peaceful domain we are about to penetrate. But before speaking of the novel itself I must mention as briefly as possible the sources and vicissitudes of Russian letters up to the time when they assumed a national and at the same time a social and political character.
I will avoid tiresome details, and the repetition of Russian names which are formidable and harsh to our senses, besides being confusing and at first sight all very much alike, and much given to terminating inof,—a syllable which on Russian lips is nevertheless very euphonious and sweet. I will also avoid the mention of books of secondary importance; for as this is not a course of Russian literature, it would be pedantry to refer to more than those I have read from cover to cover. I will mention in passing only a few authors of lesser genius than the four whom Melchior de Voguié very correctly estimates as the perfect national types; namely, Gogol, Turguenief, Dostoiëwsky, and Tolstoï, and I will give only a succinct review of the primitive period, the classicism and romanticism, the satire and comedy antecedent to Gogol, this much being necessary in order to bring out the transformation due to the prodigious genius of this founder of realism, and consummated in the contemporary novel.
Literature, considered not as rhetorical feats or as the art of speaking and writing well, but as a manifestation of national life or of the peculiar inclinations of a people, exists from the time when the spirit of the people is spontaneously revealed in legends, traditions, proverbs, and songs. The fertility of Russian popular literature is well known to students of folk-lore. Critics have demonstrated to us that between the primitive oral, mythical, and poetical literature of Russia and the present novel (which is profoundly philosophical in character, and inspired by that austere muse, the Real) there is as close a relationship as between the gray-haired grandfather who has all his life followed the plough, and his offspring who holds a chair in a university. Russian literature was born beside the Danube, in the fatherland of the Sclavonic people. The various tribes dispersed themselves over the Black Sea, and the Russian Sclavs, following the course of the Dnieper, began to elaborate their heroic mythology with feats of gods and demi-gods against the forces of Nature, and monsters and other fantastic beings. A warlike mode of life and a semi-savage imagination are reflected in their legends and songs. All this period is covered by thebilinas, a word which is explained by Russian etymology to meansongs of the past. These epics tell of the exploits of ancient warriors who personify the blind and chaotic forces of Nature and the elements.Esviatogor, for example, represents a mountain;Volkmay mean a wolf, a bull, or an ant; there is a godlike tiller of the soil who stands for Russian agriculture, and who is the popular and indigenous hero, in opposition to the fighting and adventurous heroVolga, who stands for the ruling classes. Perhaps thesebilinasand the Finnish Kalevala are the only primitive epics in which the laborer plays a first part and puts the fighting hero into the shade. In these national poems of a people descended from the Scythians, who in the days of Herodotus were proud of calling themselvesfarmersorlaborers, the two most attractive figures are the heroes of the plough, Mikula and Ilia; it is as though the singers of long ago started the worship of the peasant, which is the dogma of the present novel, or as though the apotheosis of agriculture were an idea rooted in the deepest soil of the national thought of Russia.
Next after this primitive cycle comes the age of chivalry, known under the name of Kief cycle, which has its focus in the Prince Vladimir called the Red Sun; but even in this Round Table epic we find the heroicmujik, the giant Cossack, Ilias de Moron. The splendor of the hero-mythical epoch faded after the advent of Christianity, and the heroes of Kief and Novgorod fell into oblivion; onebilinatells now "the paladins of Holy Russia disappeared; a great new force that was not of this world came upon them," and the paladins, unable to conquer it, and seeing that it multiplied and became only more powerful with every stroke, were afraid, and ran and hid themselves in the caverns, which closed upon them forever. Since that day there are no more paladins in Holy Russia.
In everybilina, and also in songs which celebrate the seed-time, the pagan feast of the summer solstice, and the spring-time, we notice the two characteristics of Russian thought,—a lively imagination and a dreamy sadness, which is most evident in the love-songs. On coming in contact with Christianity the pagan tale became a legend, and the clergy, brought from Byzantium by Valdimir the Baptizer, gave the people the Gospel in the Sclavonic tongue, translated by two Greek brothers, Cyril and Methodius, and the day of liturgical and sacred literature was at hand. The apostles of Christianity arranged the alphabet of thirty-eight letters, which represent all the sounds in the Sclav language, and founded also the grammar and rhetoric. As in every other part of Christendom, these early preachers were the first to enlighten the people, bringing ideas of culture entirely new to the barbarous Sclavonic tribes; and the poor monk, bent over his parchment, writing with a sharp-pointed reed, was the first educator of the nation. In the eleventh century the first Russian literary efforts began to take shape, being, like all early-written literature, of essentially clerical origin and character,—such as epistles, sermons, and moral exhortations. The chief writers of that time were the monk Nestor, the metropolitan Nicephorous, and Cyril the Golden-Mouthed, who imitated the florid Byzantine eloquence. At the side of ecclesiastical literature history was born; the lives of the saints prepared the ground for the chroniclers, and Nestor's Chronicle, the first book on Russian history, was written. The early essays in profane history, which took the form of fables and trenchant sayings disclosing a vein of satire, still smack of the ecclesiastical flavor, although they contain the instincts of a laic and civil literature.
The people had their epic, the clergy accumulated their treasures, but the warriors and knights, who with the sovereign formed a separate society, must have their heroic cycle also; and bards and singers were found to give it to them in fragmentary pieces, among which the most celebrated is the "Song of the Host of Igor," which relates the victories of a prince over the savage tribes of the steppes. The poem is a mixture of pagan and Christian wonders, which is only natural, since in the twelfth century (the era of its composition) Christianity, while triumphant in fact, had not yet succeeded in driving out the old Sclavonic deities.
In the eighth century the Tartar invasion interrupted the course of civil literature. Russia then had no time for the remembrance of anything but her disasters, and the Church became again the only depository of the civilization brought from Byzantium, and of the intellectual riches of the nation; for the Khans, who destroyed everything else, regarded the churches and images with superstitious respect. The little then written expresses the grief of Russia over her catastrophe, but in sermon form, presenting it as a punishment from Heaven, and a portent of the end of the world; it was the universal panic of the Middle Ages arrived in Russia three centuries late. Until the fourteenth century there was no revival of historical narrations in sufficient numbers to show the preponderance of the epic spirit in the Russian people. In the fifteenth century, for the first time, oral literature really penetrated into the domain of the written; but the inevitable and tiresome mediæval stories of Alexander the Great and the Siege of Troy, the Thousand and One Nights, and others, entering by way of Servia and Bulgaria, appear among the literature of the southern Sclavs; and tales of chivalry from Byzantium are also rearranged and copied,—an element of imitation and artificiality which never took deep root in Russia, however. Aside from some few tales, the only germs of vitality are to be found in the apocryphal religious narratives, which were an early expression of the spirit of mysticism and exegesis, natural to Muscovite thought; and in the songs, also religious, chanted by pilgrims on their way to visit the shrines, and by the people also, but probably the work of the monks. These are still sung by beggars on the streets, and the people listen with delight.
In the sixteenth century there were Maximus the Greek (the Savonarola of Russia), the priest Silvester, author of "Domostrof," a book which was held to contain the model of ancient Russian society, and lastly the Czar, Ivan the Terrible himself, who wrote many notable epistles, models of irony. The songs of the people still flourished, and they were provided with subject-matter by the awful figure and actions of the emperor, who was beloved by the people, because, like Pedro the Cruel of Castile, he dared to bridle the nobles. The popular poet describes him as giving to a potter the insignia and dignity of a Boyar. This tyrant, the most ferocious that humanity ever endured, busied himself with establishing the art of printing in Russia, with the help of Maximus the Greek, who was a great friend of Aldus the Venetian, the famous printer. According to the Metropolitan Macarius, God himself from his high throne put this thought into the heart of the Czar. On the 1st of May, 1564, the first book printed in Russia, "The Acts of the Apostles," made its appearance.
The Russian theatre grew out of the symbolic ceremonies of the church and the representations given by the Polish Jesuits in the colleges; and through Poland, in the seventeenth century, by means of translations or imitations, came also that kind of literary recreations known in France and Italy during the fourteenth century under the name of novels and facetias. But these did not intercept the natural course of the national spirit, nor drown the popular voice,—theduma, or meditation, the religious canticle, the satire, and especially the incessant reiteration of thebilinas, which were now devoted to relating the heroic conquests of the Cossacks. The impulse communicated to Russian thought by Peter the Great at last obliterated the chasm between popular and written literature. Peter established in Russia a school of translators; whatever he thought useful and beneficial he had correctly translated, and then he established the academy. He set up the first regular press and founded the first periodical paper. Not having much confidence in ecclesiastical literature, he commanded that the monks should be deprived of pen, ink, and paper; and on the other hand he revived the theatre, which was apparently dead, and under the influence of his reforms there arose the first Russian writer who can properly be called such,—Lomonosof, the personification of academical classicism, who wrote because he thought it his business, in a well-ordered State, to write incessantly, to polish and perfect the taste, the speech, and even the characters of his fellow-countrymen; he was always a rhetorician, a censor, a corrector, and we seem to see him always armed with scissors and rule, pruning and shaping the myrtles in the garden of literature. The Czar pensioned this ornamental poet, after the fashion of French monarchs, and he in turn bequeathed to his country, of course, a heroic poem entitled "Petriada." His best service to the national literature was in the line of philology; he found a language unrefined and hampered by old Sclavonic forms, and he refined it, softened it, made it more flexible, and ready to yield sweeter melody to those who played upon it thereafter.
Semiramis, in her turn, was not less eager to forward the cause of letters; she had also her palace poet, Derjavine, the Pindar of her court; and not being satisfied with this, her imperial hands grasped the foils and fought out long arguments in the periodicals, to which she contributed for a long time. Woman, just at that time emerging from Oriental seclusion, as during the Renaissance in Europe, manifested an extraordinary desire to learn and to exercise her mind. Catherine became a journalist, a satirist, and a dramatic author; and a lady of her court, the Princess Daschkof, directed the Academy of Sciences, and presided over the Russian Academy founded by Catherine for the improvement and purification of the language, while three letters in the new dictionary are the exclusive work of this learned princess.
Catherine effectively protected her literary men, being convinced that letters are a means of helping the advancement of a barbarous people, in fact the highways of communication; and under her influence a literary Pleiad appeared, among whom were Von-Vizine, the first original Russian dramatist; Derjavine, the official bard and oracle; and Kerakof, the pseudo-classic author of the "Rusiada." Court taste prevailed, and Montesquieu, Voltaire, Rousseau, and Diderot ruled as intellectual masters of a people totally opposed to the French in their inmost thoughts.
The thing most grateful to the Russian poet in Catherine's time was to be called the Horace or the Pindar of his country; the nobles hid their Muscovite ruggedness under a coat of Voltairian varnish, and even the seminaries resounded with denunciations offanaticismandhorrid superstition. Other nations have been known to go thus masked unawares. But new currents were undermining the possessions of the Encyclopedists. During the last years of Catherine's reign the theosophical doctrines from Sweden and Germany infiltrated Russia; mysticism brought free-masonry, which finally mounted the throne with Alexander I., the tender friend of the sentimental Valeria; and even had Madame Krudener never appeared to shape in her visions the protest of the Russian soul against the dryness and frivolity of the French philosophers, the fresh lyric quality of Rousseau, Florian, and Bernardin Saint-Pierre would still have flowed in upon the people of the North by means of that eminent man and historian, Karamzine.
Before achieving the title of the Titus Livius of Russia, Karamzine, being a keen intellectual observer of what was going on abroad, founded, by means of a novel, theemotional school, declaring that the aim of art is "to pour out floods of grateful impressions upon the realms of the sentimental." This sounds like mere jargon, but such was their mode of speech at the time; and that their spirits demanded just such food is proved by the general use of it, and by the tears that rained upon the said novel, in which the Russianmujikappears in the disguise of a shepherd of Arcadia. These innocent absurdities, which were the delight of our own grandmothers, prepared the way for Romanticism, and the appearance of Lermontof and Puchkine.
The period of lyric poetry represented by these two excellent poets, Lermontof and Puchkine, was considered the most glorious in Russian literature, and there are yet many who esteem it as such in spite of the contemporary novel. Undoubtedly rhyme can do wonders with this rich tongue in which words are full of color, melody, and shape, as well as ideas. A fine critic has said that Russian poetry is untranslatable, and that one must feel the beauty of certain stanzas of Lermontof and Puchkine sensually, to realize why they are beyond even the most celebrated verses in the world.
At the beginning of the century classicism was in its decline; Russia was leaving her youth behind her, and after 1812 she became totally changed. The Napoleonic wars caused the alliance with Germany, and secret societies of German origin flourished under the favor of the versatile Alexander I. Weary of the artificial literature imposed by the iron will of Peter the Great, and stirred by a great desire for independence, like all the other nations awakened by Napoleon, Russia held her breath and listened to the birdlike song of the harbingers of a new era, to the great romantic poets who, almost simultaneously and with marvellous accord, burst forth in England, Italy, France, Spain, and Russia. The air was full of melody like the sudden twang of harp-strings in the darkness of the night; and perhaps the autocratic severity of Nicholas I. by forcing attention from public affairs and concentrating it upon literature, was a help rather than a hindrance to this revelation and development.
Alexander Puchkine, the demi-god of Russian verse, carried African as well as Sclavonic blood in his veins, being the grandson of an Abyssinian named Abraham Hannibal, a sort of Othello upon whom Peter the Great bestowed the rank of general and married him to a lady of the court. During the poet's childhood an old servant beguiled him with legends, fables, and popular tales, and the seed fell upon good ground. He left home at the age of fourteen, having quarrelled with all his family and become an out-and-out Voltairian; his professor at the Lyceum—of whom no more needs be said than that he was a brother of Marat—had instilled into his youthful mind the superficial atheism then the fashion; his other tutors declared that this impetuous and fanciful child was throwing away body and soul; yet, when the occasion came, Puchkine remembered all that his old nurse had told him, and found himself with an exquisite æsthetic instinct, in touch with the popular feeling.
When Nicholas I., in December, 1825, mounted the throne vacated by the death of Alexander I. and the renunciation of the Grand-Duke Constantine, Puchkine, then scarcely more than twenty-six years of age, found himself in exile for the second time. His first appearance in public life coincided with the reactionary mood of Alexander I. and the favoritism of the retrogressive minister, Count Arakschef; and the young men from the Lyceum, who had been steeping their souls in liberalism, found themselves defrauded of their expectations of active life, discussions closed, meetings prohibited, and Russia again in a trance of Asiatic immobility. The young nobility began to entertain themselves with conspiracy; and those who had no talent for that, spent their time in drinking and dissipation. Puchkine was as much inclined toward the one as the other. His passionate temperament led him into all sorts of adventures; his eager imagination and his literary tastes incited him to political essays, though under pain of censure. Living amid a whirl of amusement, and coveting an introduction to aristocratic circles, he launched his celebrated poem of "Russia and Ludmilla," which placed him at once at the head of the poets of his day, who had formed themselves into a society called "Arzamas," which was to Russian Romanticism what the Cénacle was to the French,—a centre of attack and defence against classicism; but at length their literary discussions overstepped the forbidden territory of politics, and certain ideas were broached which ended in the conspiracy of December. If Puchkine was not himself a conspirator, he was at least acquainted with the movement; his ode to liberty alarmed the police, and the Czar said to the director of the Lyceum, "Your former pupil is inundating Russia with revolutionary verses, and every boy knows them by heart." That same afternoon the Czar signed the order for Puchkine's banishment,—a great good-fortune for the poet; for had he not been banished he might have been implicated in the conspiracy about to burst forth, and sent to Siberia or to the quicksilver mines. He was expelled from Odessa, which was his first place of confinement, because his Byronic bravado had a pernicious influence upon the young men of the place, and he was sent home to his father, with whom he could come to no understanding whatever. While there he heard of the death of Alexander and the events of December. Upon knowing that his friends were all compromised and under arrest, he started for St. Petersburg, but having met a priest and seen a hare cross his path, he considered these ill omens, and, yielding to superstition, he turned back. Soon afterward he wrote to the new Czar begging reprieve of banishment, which was granted. The Iron Czar sent for him to come to the palace, and held with him a conversation or dialogue which has become famous in the annals of the historians:
"If you had found yourself in St. Petersburg on the 25th of December, where would you have been?" asked Nicholas.
"Among the rebels," answered the poet.
Far from being angry, the sovereign was pleased with his reply, and he embraced Puchkine, saying: "Your banishment is at an end; and do not let fear of the censors spoil your poetry, Alexander, son of Sergius, for I myself will be your censor."
This is not the only instance of this inflexible autocrat's warm-heartedness. More than once his imperial hand stayed the sentence of the censors and gave the wing to genius. Nicholas was not afraid of art, and was, besides, an intelligent amateur of literature. We shall see how he protected even the satire of Gogol. And so, with a royal suavity which softens the most selfish character, Nicholas gained to his side the first poet of Russia, and forever alienated him from the cause for which his friends suffered in gloomy fortresses and in exile, or perished on the scaffold. Puchkine had no other choice than to accept the situation or forfeit his freedom,—to make peace with the emperor or to go and vegetate in some village and bury his talent alive. He chose his vocation as poet, accepted the imperial favor, and returned to St. Petersburg, where he found a remnant of the Arzamas, but now languid and without creative fire. Being restored to his place in high society, he tasted the delights of living in a sphere with which his refined and aristocratic nature was in harmony. He was a poet; he enjoyed the privileges and immunities of a demi-god, the just tribute paid to the productive genius of beauty. And yet at times the pride and independence hushed within his soul stirred again, and he thought with horror upon the hypocrisy of his position as imperial oracle. But he found himself at the height of his glory, doing his best work, seldom annoyed by the censorial scissors, thanks to the Czar; and so, flattered by the throne, the court, and the public, he led to the altar his "brown-skinned virgin," his beautiful Natalia, with whom he was so deeply in love. Having satisfied every earthly desire, he must needs, like Polycrates, throw his ring into the sea.
All his happiness came to a sudden end, and not only his happiness, but his life, went to pay his debt to that high society which had received him with smiles and fair promises. Puchkine's end is as dramatic as any novel. A certain French Legitimist who had been well received by the nobility at St. Petersburg took advantage of the chivalrous customs then in vogue there, to pay court to the poet's beautiful wife, electing her as the lady of his thoughts without disguise. Society protected this little skirmish, and assisted the gallant to meet his lady at every entertainment and in everysalon; and as Puchkine, though quite unsuspicious, showed plainly that he did not enjoy the game, they amused themselves with exciting and annoying him, ridiculing him, and making him the butt of epigrams and anonymous verses. The marriage of "Dante"—as the adorer of his wife was called—with his wife's sister, far from calming his nerves, only irritated him the more, and he believed it to be a stratagem on the lover's part, a means of approaching the nearer to his desires. Becoming desperate, he sought and obtained a challenge to a duel, and fell mortally wounded by a ball from his adversary. Two days later he died, having just received a letter from the emperor, saying:—
"Dear Alexander, Son of Sergius,—If it is the will of Providence that we should never meet again in this world, I counsel you to die like a Christian. Give yourself no anxiety for your wife and children; I will care for them."
"Dear Alexander, Son of Sergius,—If it is the will of Providence that we should never meet again in this world, I counsel you to die like a Christian. Give yourself no anxiety for your wife and children; I will care for them."
Russia cried out with indignation at the news of his death, accusing polite society in round terms of having taken the part of the professional libertine against the husband,—of the French adventurer against their illustrious compatriot; and Lermontof voiced the national anger in some celebrated lines to this effect:—
"Thy last days were poisoned by the vicious ridicule of low detractors; thou hast died thirsting for vengeance, moaning bitterly to see thy most beautiful hopes vanished; none understood the deep emotion of thy last words, and the last sigh of thy dying lips was lost."
"Thy last days were poisoned by the vicious ridicule of low detractors; thou hast died thirsting for vengeance, moaning bitterly to see thy most beautiful hopes vanished; none understood the deep emotion of thy last words, and the last sigh of thy dying lips was lost."
But I agree with those who, in spite of this fine elegy, do not regret the premature end of the romantic poet. His life, exuberant, brilliant, fecund, passionate, like that of Byron, could have no more appropriate termination than a pistol-shot. He died before the end of romanticism—his tragic history lent him a halo which lifts his figure above the mists of time. I have seen Victor Hugo and our own Zorilla in their old age, and I was not guilty of wishing them anything but long life and prosperity; but, æsthetically speaking, it seemed to me that both of them had lived forty years too long, and that Alfred de Musset, Espronceda, and Byron were well off in their glorious tombs.
Puchkine belongs undeniably to the great general currents of European literature; only now and then does he manifest the peculiar genius of his country which was so strongly marked in Gogol. But it would be unjust to consider him a mere imitator of foreign romanticists, and some even claim that he always had one foot upon the soil of classicism, taking the phrase in the Helenic sense, as particularly shown in his "Eugene Oneguine," and that, were he to live again, his talents would undergo a transformation and shine forth in the modern novel and the national theatre. Besides being a lyric poet of first rank, Puchkine must also be considered a superb prose writer, having learned from Voltaire a harmony of arrangement, a discreet selection of details, and a concise, clear, and rapid phrasing. His novel, "The Captain's Daughter," is extremely pretty and interesting, at times amusing, or again very touching, and in my opinion preferable in its simplicity to the interminable narratives of Walter Scott. But Puchkine has one remarkable peculiarity, which is, that while he had a keen sympathy with the popular poetry, and was fully sensible of the revelation of it by Gogol, which he applauded with all his heart, yet the author of "Boris Godonof" was so caught in the meshes of romanticism that he never could employ his faculties in poetry of a national character. Puchkine's works have no ethnical value at all. His melancholy is not the despairing sadness of the Russian, but the romanticmorbidezzaexpressed often in much the same words by Byron, Espronceda, and de Musset. The phenomenon is common, and easily explained. It lies in the fact that romanticism was always and everywhere prejudicial to the manifestation of nationality, and made itself a nation apart, composed of half-a-dozen persons from every European country. Realism, with its principles—whether tacitly or explicitly accepted—of human verities, heredity, atavism, race and place influences, etc., became a necessity in order that writers might follow their natural instincts and speak in their own mother tongue.
Within the restricted circle of poets who hovered around Puchkine, one deserves especial mention, namely, Lermontof. He is the second lyric poet of Russia, and perhaps embodies the spirit of romanticism even more than Puchkine; he is the real Russian Byron. His life is singularly like that of Puchkine, he having also been banished to the Caucasus, and for the very reason of having written the elegy upon Puchkine's death; like him he was also killed in a duel, but still earlier in life, and before he had reached the plenitude of his powers.
Lermontof became the singer of the Caucasian region. At that time it was really a great favor to send a poet to the mountains, for there he came in contact with things that reclaimed and lifted his fancy,—air, sun, liberty, a wooded and majestic landscape, picturesque and charming peasant-maidens, wild flowers full of new and virginal perfume like the Haydees and Fior d'Alizas sung of by our Western poets. There they forgot the deceits of civilization and the weariness of mind that comes of too much reading; there the brain was refreshed, the nerves calmed, and the moral fibre strengthened. Puchkine, Lermontof, and Tolstoï, each in his own way, have lauded the regenerative virtue of the snow-covered mountains. But Lermontof in particular was full of it, lived in it, and died in it, after his fatal wound at the age of twenty-six, when public opinion had just singled him out as Puchkine's successor. He had drunk deeply of Byron's fountain, and even resembled Byron in his discontent, restlessness, and violent passions, which more than Byron's were tinged with a stripe of malice and pride, so that his enemies used to say that to describe Lucifer he needed only to look at himself in the glass. There is an unbridled freedom, a mocking irony, and at times a deep melancholy at the bottom of his poetic genius; it is inferior to Puchkine's in harmony and completeness, but exceeds it in an almost painful and thrilling intensity; there was more gall in his soul, and therefore more of what has been called subjectivity, even amounting to a fierce egoism. Lermontof is the high-water mark of romanticism, and after his death it necessarily began to ebb; it had exhausted curses, fevers, complaints, and spleens, and now the world of literature was ready for another form of art, wider and more human, and that form was realism.
I am sorry to have to deal inisms, but the fault is not mine; we are handling ideas, and language offers no other way. The transition came by means of satire, which is exceptionally fertile in Russia. A genius of wonderful promise arose in Griboiëdof, a keen observer and moralist, who deserves to be mentioned after Puchkine, if only for one comedy which is considered the gem of the Russian stage, and is entitled (freely rendered) "Too Clever by Half." The hero is a misanthropic patriot who sighs for the good old times and abuses the mania for foreign education and imitation. This shows the first impulse of the nation to know and to assert itself in literature as in everything else. Being prohibited by the censor, the play circulated privately in manuscript; every line became a proverb, and the people found their very soul reflected in it. Five years later, when Puchkine was returning from the Caucasus, he met with a company of Georgians who were drawing a dead body in a cart: it was the body of Griboiëdof, who had been assassinated in an insurrection.
Between the decline of the romantic period and the appearance of new forms inspired by a love of the truth, there hovered in other parts of Europe undefined and colorless shapes, sterile efforts and shallow aspirations which never amounted to anything. But not so in Russia. Romanticism vanished quickly, for it was an aristocratic and artificial condition, without root and without fruit conducive to the well-being of a nation which had as yet scarcely entered on life, and which felt itself strong and eager for stimulus and aim, eager to be heard and understood; realism grew up quickly, for the very youth of the nation demanded it. Russia, which until then had trod with docile steps upon the heels of Europe, was at last to take the lead by creating the realistic novel.
She had not to do violence to her own nature to accomplish this. The Russian, little inclined to metaphysics, unless it be the fatalist philosophy of the Hindus, more quick at poetic conceptions than at rational speculations, carries realism in his veins along with scientific positivism; and if any kind of literature be spontaneous in Russia it is the epic, as shown now in fragmentary songs and again in the novels. Before ever they were popular in their own country, Balzac and Zola were admired and understood in Russia.
The two great geniuses of lyric poetry, Puchkine and Lermontof, confirm this theory. Though both perished before the descriptive and observing faculties of their countrymen were matured, they had both instinctively turned to the novel, and perhaps the possible direction of their genius was thus shadowed forth as by accident. Puchkine seems to me endowed with qualities which would have made him a delightful novel-writer. His heroes are clearly and firmly drawn and very attractive; he has a certain healthy joyousness of tone which is quite classic, and a brightness and freedom of coloring that I like; in the short historic narrative he has left us we never see the slightest trace of the lyric poet. As to Lermontof, is it not marvellous that a man who died at the age of twenty-six years should have produced anything like a novel? But he left a sort of autobiography, which is extremely interesting, entitled "A Contemporary Hero," which hero, Petchorine by name, is really the type of the romantic period, exacting, egotistical, at war with himself and everybody else, insatiable for love, yet scorning life, a type that we meet under different forms in many lands; now swallowing poison like De Musset's Rolla, now refusing happiness like Adolfo, now consumed with remorse like Réné, now cocking his pistol like Werther, and always in a bad humor, and to tell the truth always intolerable. "My hero," writes Lermontof, "is the portrait of a generation, not of an individual." And he makes that hero say, "I have a wounded soul, a fancy unappeased, a heart that nothing can ease. Everything becomes less and less to me. I have accustomed myself to suffering and joy alike, and I have neither feelings nor impressions; everything wearies me." But there are many fine pages in the narratives of Lermontof besides these poetical declamations. Perhaps the novel might also have offered him a brilliant future.
The sad fate of the writers during the reign of Nicholas I. is remarkable, when we consider how favorable it was to art in other respects. Alexander Herzen calculated that within thirty years the three most illustrious Russian poets were assassinated or killed in a duel, three lesser ones died in exile, two became insane, two died of want, and one by the hand of the executioner. Alas! and among these dark shadows we discern one especially sad; it is that of Nicholas Gogol, a soul crushed by its own greatness, a victim to the noblest infirmity and the most generous mania that can come upon a man, a martyr to love of country.
Gogol was born in 1809; he was of Cossack blood, and first saw the light of this world amid the steppes which he was afterward to describe so vividly. His grandfather, holding the child upon his knee, amused him with stories of Russian heroes and their mighty deeds, not so very long past either, for only two generations lay between Gogol and the Cossack warriors celebrated in thebilinas. Sometimes a wandering minstrel sang these for him, accompanying himself on thebandura. In this school was his imagination taught. We may imagine the effect upon ourselves of hearing the Romance of the Cid under such circumstances. When Gogol went to St. Petersburg with the intention of joining the ranks of Russian youth there, though ostensibly to seek employment, he carried a light purse and a glowing fancy. He found that the great city was a desert more arid than the steppes, and even after obtaining an office under the government he endured poverty and loneliness such as no one can describe so well as himself. His position offered him one advantage which was the opportunity of studying the bureaucratic world, and of drawing forth from amid the dust of official papers the material for some of his own best pages. On the expiration of his term of office he was for a while blown about like a dry leaf. He tried the stage but his voice failed him; he tried teaching but found he had no vocation for it. Nor had he any aptitude for scholarship. In the Gymnasium of Niejine his rank among the pupils was only medium; German, mathematics, Latin, and Greek were little in his line; he was an illiterate genius. But in his inmost soul dwelt the conviction that his destiny held great things in store for him. In his struggle with poverty, the remembrance of the hours he had passed at school reading Puchkine and other romantic poets began to urge him to try his fortune at literature. One day he knocked with trembling hand at Puchkine's door; the great poet was still asleep, having spent the night in gambling and dissipation, but on waking, he received the young novice with a cordial welcome, and with his encouragement Gogol published his first work, called "Evenings at the Farm." It met with amazing success; for the first time the public found an author who could give them a true picture of Russian life. Puchkine had hit the mark in advising him to study national scenes and popular customs; and who knows whether perhaps his conscience did not reproach him with shutting his own eyes to his country and the realities she offered him, and stopping his ears against the voice of tradition and the charms of Nature?
Gogol's "Evenings at the Farm" is the echo of his own childhood; in these pages the Russia of the people lives and breathes in landscapes, peasants, rustic customs, dialogues, legends, and superstitions. It is a bright and simple work, not yet marked with the pessimism which later on darkened the author's soul; it has a strong smell of the soil; it is full of dialect and colloquial diminutive and affectionate terms, with now and then a truly poetical passage. Is it not strange that the intellect of a nation sometimes wanders aimlessly through foreign lands seeking from without what lies handier at home, and borrowing from strangers that of which it has a super-abundance already? And how sweet is the surprise one feels at finding so beautiful the things which were hidden from our understanding by their very familiarity!
"The Tales of Mirgorod," which followed the "Evenings at the Farm," contain one of the gems of Gogol's writings, the story of "Taras Boulba." Gogol has the quality of the epic poet, though he is generally noted only for his merits as a novelist; but judging from his greatest works, "Taras Boulba" and "Dead Souls," I consider his epic power to be of the first class, and in truth I hold him to be, rather more than a modern novelist, a master poet who has substituted for the lyric poetry brought into favor by romanticism the epic form, which is much more suited to the Russian spirit. He is the first who has caught the inspiration of thebilinas, the hero-songs, the Sclavonic poetry created by the people. The novel, it is true, is one manifestation of epic poetry, and in a certain way every novelist is a rhapsodist who recites his canto of the poem of modern times; but there are some descriptive, narrative fictions, which, imbued with a greater amount of the poetic element united to a certain large comprehensive character, more nearly resemble the ancient idea of the epopee; and of this class I may mention "Don Quixote," and perhaps "Faust," as examples. By this I do not mean to place Gogol on the same plane as Goethe and Cervantes; yet I associate them in my mind, and I see in Gogol's books the transition from the lyric to the epic which is to result in the true novel that begins with Turguenief.
All the world is agreed that "Taras Boulba" is a true prose poem, modelled in the Homeric style, the hero of which is a people that long preserved a primitive character and customs. Gogol declared that he merely allowed himself to reproduce the tales of his grandfather, who thus becomes the witness and actor in this Cossack Iliad.
One charming trait in Gogol is his love for the past and his fidelity to tradition; they have as strong an attraction for him certainly as the seductions of the future, and both are the outcome of the two sublime sentiments which divide every heart,—retrospection and anticipation. Gogol, who is so skilful in sketching idyllic scenes of the tranquil life of country proprietors, clergy, and peasants, is no less skilful in his descriptions of the adventurous existence of the Cossack; sometimes he is so faithful to the simple grandeur of his grandfather's style, that though the action in "Taras Boulba" takes place in recent times, it seems a tale of primeval days.
The story of this novel—I had almost said this poem—unfolds among the Cossacks of the Don and the Dnieper, who were at that time a well-preserved type of the ancient warlike Scythians that worshipped the blood-stained sword. Old Taras Boulba is a wild animal, but a very interesting wild animal; a rude and majestic warrior-like figure cast in Homeric mould. There is, I confess, just a trace of the leaven of romanticism in Taras. Not all in vain had Gogol hidden Puchkine's works under his pillow in school-days; but the whole general tone recalls inevitably the grand naturalism of Homer, to which is added an Oriental coloring, vivid and tragical. Taras Boulba is an Ataman of the Cossacks, who has two young sons, his pride and his hope, studying at the University of Kief. On a declaration of war between the savage Cossack republic and Poland, the old hawk calls his two nestlings and commands them to exchange the book for the sword. One of the sons, bewitched by the charms of a Polish maiden, deserts from the Cossack camp and fights in the ranks of the enemy; he at length falls into the power of his enraged father, who puts him to death in punishment for his treason. After dreadful battles and sieges, starvation and suffering, Taras dies, and with him the glory and the liberty of the Cossacks. Such is the argument of this simple story, which begins in a manner not unlike the Tale of the Cid. The two sons of Taras arrive at their father's house, and the father begins to ridicule their student garb.
"'Do not mock at us, father,' says the elder."'Listen to the gentleman! And why should I not mock at you, I should like to know?'"'Because, even though you are my father, I swear by the living God, I will smite you.'"'Hi! hi! What? Your father?' cries Taras, receding a step or two."'Yes, my own father; for I will take offence from nobody at all.'"'How shall we fight then,—with fists?' exclaims the father in high glee."'However you like.'"'With fists, then,' answers Taras, squaring off at him. 'Let us see what sort of fellow you are, and what sort of fists you have.'"
"'Do not mock at us, father,' says the elder.
"'Listen to the gentleman! And why should I not mock at you, I should like to know?'
"'Because, even though you are my father, I swear by the living God, I will smite you.'
"'Hi! hi! What? Your father?' cries Taras, receding a step or two.
"'Yes, my own father; for I will take offence from nobody at all.'
"'How shall we fight then,—with fists?' exclaims the father in high glee.
"'However you like.'
"'With fists, then,' answers Taras, squaring off at him. 'Let us see what sort of fellow you are, and what sort of fists you have.'"
And so father and son, instead of embracing after a long absence, begin to pommel one another with naked fists, in the ribs, back, and chest, each advancing and receding in turn.
"'Why, he fights well,' exclaims Taras, stopping to take breath. 'He is a hero,' he adds, readjusting his clothes. 'I had better not have put him to the proof. But he will be a great Cossack! Good! my son, embrace me now.'"
"'Why, he fights well,' exclaims Taras, stopping to take breath. 'He is a hero,' he adds, readjusting his clothes. 'I had better not have put him to the proof. But he will be a great Cossack! Good! my son, embrace me now.'"
This is like the delight of Diego Lainez in the Spanish Romanceros, when he says, "Your anger appeases my own, and your indignation gives me pleasure."
Could Gogol have been acquainted with the Tale of the Cid and the other Spanish Romanceros? I do not think it too audacious to believe it possible, when we know that this author was a delighted reader of "Don Quixote," and really drew inspiration from it for his greatest work. But let us return to "Taras Boulba." Another admirable passage is on the parting of the mother and sons. The poor wife of Taras is the typical woman of the warlike tribes, a gentle and miserable creature amid a fierce horde of men who are for the most part celibates,—a creature once caressed roughly for a few moments by her harsh husband, and then abandoned, and whose love instincts have concentrated themselves upon the fruits of his early fugitive affection. She sees again her beloved sons who are to spend but one night at home,—for at break of day the father leads them forth to battle, where perhaps at the first shock some Tartar may cut off their heads and hang them by the hair at his saddle-girths. She watches them while they sleep, kept awake herself by hope and fear.
"'Perhaps,' she says to herself, 'when Boulba awakes he will put off his departure one or two days; perhaps he was drunk, and did not think how soon he was taking them away from me.'"
"'Perhaps,' she says to herself, 'when Boulba awakes he will put off his departure one or two days; perhaps he was drunk, and did not think how soon he was taking them away from me.'"